"I talked to a woman who asked for anonymity because she’s still associated professionally with the University of Iowa. 'When I got to Iowa,' she told me, 'I was like, who the fuck are these people? And where are the adults?'" Jia Tolentino on Thomas Sayers Ellis, VIDA, and the "tradition" of bad behavior from powerful men in the creative fields.
“No matter what anybody thinks about any of them,” said Patti Smith, “every record I’ve done has been done with the same amount of care, anguish, pain, suffering, and joy. We never threw a record together. Each record was done really seriously, as if our life depended on it.”Alan Light interviews Patti Smith, discussing her life and work. [more inside]
Dayna Evans writes about Taylor Swift for Gawker: [T]he part of Taylor’s persona that doesn’t get talked about enough [is that] she is a ruthless, publicly capitalist pop star. To think of her as womanhood incarnate is to trick oneself into forgetting about “Bad Blood” and “Better Than Revenge.” Swift isn’t here to help women—she’s here to make bank… Her plan—to be as famous and as rich as she can possibly be—is working, and by using other women as tools of her self-promotion, she is distilling feminism for her own benefit. [more inside]
"So last week, when country radio promoter Keith Hill controversially suggested that stations should stop playing songs by female artists, it’s easy to label his actions another example of misogynistic, conservative politics.The Conversation's Clifford Murphy, on why [country radio promoter] Keith Hill’s comments about women in country music cut far deeper than misogyny [more inside]
However, Hill’s comments are actually indicative of something much bigger and far more troubling: the consolidation of an entire genre of music, and the type of environment this can create. In the case of country, it’s allowed for the repurposing of the genre’s history, and the exclusion of certain individuals."
Men Who Rock II: Not Only Are These Six Up-and-Coming Male Seattle Musicians Hot, They Also Know How to Play Their Instruments! [more inside]
"The record store, the guitar shop, and now social media: when it comes to popular music, these places become stages for the display of male prowess. Female expertise, when it appears, is repeatedly dismissed as fraudulent. Every woman who has ever ventured an opinion on popular music could give you some variation (or a hundred) on my school corridor run-in, and becoming a recognized 'expert' (a musician, a critic) will not save you from accusations of fakery." The World Needs Female Rock Critics, by Anwen Crawford for the New Yorker. Discussed in the piece is Jessica Hopper's new collection of essays, The First Collection of Criticism by a Living Female Rock Critic, which has been greeted with glowing praise. Here's an interview she did with Hazlitt: 'Am I Womansplaining To You?' And here she speaks to Meredith Graves of Perfect Pussy: "Being a fangirl is all the qualification you need. And don't wait for anyone to give you permission. They won't. And you should do it anyways." [more inside]
Style Gone Wild: Why We Can't Shake the 1970s
Collectors Weekly: What prompted such radical changes in popular fashion?[more inside]
Lutyens: One reason was that people in the West were becoming increasingly affluent, and this gave young people the confidence to question their parents’ values. Because they had money, they could be more independent. Society was also becoming much more liberal as well because you had things like the legalization of homosexuality and the legalization of divorce. People were allowed to be themselves more without being judged by other people.
Then the three main minority movements — feminism, black civil rights, and gay liberation — all these minorities had been marginalized until the late ’60s. In the ’70s they began to assert themselves more and become more visible. So their style became more visible, and it influenced mainstream fashion.
The internet and Metafilter are abuzz over Maddie & Tae, the teenage country duo whose first single strikes back against the pervasive and much-maligned trend of "bro country" sweeping the country charts. But Maddie & Tae are hardly the first female country singers to bring a decidedly feminist message to the genre. Here are some highlights, in chronological order, for your listening pleasure. [more inside]
Nicki Minaj (autoplaying video) is a singer, rapper, songwriter and actress who is known for her outlandish outfits, makeup, and wigs, and gutsy, lyrically skilled rapping. She creates personas or "masks" in her music and videos to communicate her message. Recently, she released an album cover online to promote her new release, Anaconda, and to create buzz. Boy did it. (All links NSFW.) [more inside]
What Does Pussy Riot Mean Now? "With all eyes on Russia, two members of the country’s most notorious band of shit-stirrers are free after nearly two years of political imprisonment and enjoying the rock-star treatment during their first trip to the U.S. But the group’s unlikely journey from art-school project to international icons shows just how rotten Russia has become and how much the mission has changed."
"But something happened. Once industrial music had fully transitioned from avant-garde venues into nightclubs, the stench of Axe body spray began to dominate the subculture as a certain douchey, bro-tastic vibe emerged. Where the goth/industrial scene had once existed as a safe haven for artists, weirdos, outcasts, geeks, dreamers and rebels, a disturbing trend of sexism, racism and anti-intellectualism is driving people out."
Billy Joel has now officially endorsed - The Longest Time (Coral Triangle Edition), by the Barber Lab Quartet [more inside]
Quincy Jones sat in the Tenafly, New Jersey den of 16-year-old vocal student Lesley Gore, playing demo after demo, looking for the right song to cut for her first record. Out of over 200 tapes, Jones and Gore had moved only one to the "maybe" pile, and so that song, It's My Party, was recorded on March 30, 1963 in a Manhattan studio. After the session Mercury president Irving Green warned Gore not to get her hopes up, but Gore gratefully told him that it had been a great experience anyway, and it was okay if he didn't want to release it. However, later that evening Jones learned that Phil Spector had just recorded "It's My Party" for The Crystals, so Jones rushed back to the studio to press 100 test copies of the single and immediately mailed them to key radio stations across the country. [more inside]
Irish pop singer Brian McFadden released a single called 'Just The Way You Are (Drunk at the Bar)' on February 25th. Clem Bastow, in her 'Singled Out' review column for Australian street press music weekly Inpress, writes about it in the context of the centenary of International Women's Day (March 8th). [more inside]
Jenny Hagel has a three part YouTube series about "a dumpy women's studies professor [who] transforms herself into a ghetto fabulous rap star to convince people to care about feminism. When she's finished rapping...they still don't care." Parts 1, 2 and 3.
The Philosophy Research Base features thousands of annotated links and text resources for philosophy research on the Internet. Categorized by history, subject and author, this meta-index serves as both a study guide and a platform for a wide variety of community services for students and teachers in philosophy and related subjects.
The Brain That Wouldn't Die is the best public domain movie I've seen all week. Abe Baker's spooky original jazz score is a staple in sci-fi B movies. The monster is played by Eddie Carmel, subject of Diane Arbus' A Jewish giant at home with his parents in the Bronx, N.Y. 1970, in his first screen appearance. And I can't overlook the feminist take on this postwar gorefest. See for yourself.
Hormone rock "Rock with the cock taken out and it's what a lot of women want to listen to right now"
The Memory of The Netherlands is an extensive digital collection of illustrations, photographs, texts, film and audio fragments from a large variety of Dutch cultural institutions. There are about 50 collections (in english).
Women Rockin' 4 Women 2002 Festival. THIS IS BIG. Over twenty talented women. Eight female fronted bands. Nine solo female artists. Third annual event. Two sound stages. One venue. One night. Benefitting shelters for victims of domestic violence. More estrogen in one place than you can shake a stick at. You're not busy on September 28th, are ya? Granted, it might be a bit of a commute for some, but... Heaven's gonna touch Earth.