follow us in feedly
Radical feminist home design from 100 years ago had no kitchens?!?
09:49 am


Alice Constance Austin

Alice Constance Austin showing her designs for the Llano del Rio community, 1916
If you say, “We’re going to build homes without kitchens, as a way of helping women break free of their socially inscribed roles,” most people today are going to react with wonderment or disbelief. But a century ago, the idea of removing kitchens from homes was a commonplace idea among feminist thinkers.

In the years just before the First World War, attorney Job Harriman invited white, union-affiliated, and socialist residents (yes, whites only) to join a utopian society he was planning for the Llano Del Rio socialist commune in what is today Llano, California, in Los Angeles County. A year later he asked feminist architect Alice Constance Austin to create living quarters for 900 new residents—in an effort to dream up a community without domestic labor, Austin came up with a radial design for the community in which none of the single-family homes had kitchens. Her dwellings placed a living room at one end and bedrooms at the other separated by a large “dining patio.” Her plans also included built-in furniture to reduce time wasted on dusting and sweeping.

This plan depicts Austin’s radial design for Llano Del Rio
The idea was that, in the words of Manisha Aggarwal-Schifellite, “kitchens would become centralized (as would laundry), and treated as part of the larger infrastructure of the community.” According to “Another Look at the Llano Del Rio Colony” (PDF) by John M. Foster and Alex Kirkish, “Llano del Rio planned single-family houses without kitchens. Members dined communally, balancing the privacy of bedroom and parlor against the required sociability of the dining room.”

The notion of homes without kitchens had been kicking around for quite a while. In 1888 Edward Bellamy’s socialist utopian novel Looking Backward, America in the year 2000 was to be a paradise with communal kitchens. Ten years later, in 1898, Charlotte Perkins Gilman wrote the following words in her treatise Women and Economics:

Take the kitchens out of the houses, and you leave rooms which are open to any form of arrangement and extension; and the occupancy of them does not mean “housekeeping.” In such living, personal character and taste would flower as never before. … The individual will learn to feel himself an integral part of the social structure, in close, direct, permanent connection with the needs and uses of society.

In her socialist city, Austin anticipated labor-saving devices in the home and an underground central laundry and kitchens where hired chefs and workers would relieve women “of the thankless and unending drudgery of an inconceivably stupid and inefficient system, by which her labors are confiscated.”

In her book The Grand Domestic Revolution: A History of Feminist Designs for American Homes, Neighborhoods, and Cities, Dolores Hayden wrote:

Each kitchenless house was to be connected to the central kitchen through a complex underground network of tunnels. Railway cars from the center of the city would bring cooked food, laundry, and other deliveries to connection points, or “hubs,” from which small electric cars could be dispatched to the basement of each house.

Note that in addition to banishing the household of drudgery, Austin was also trying to make the town center a more tranquil place by eliminating both individual automobile traffic and frequent retail purchases (not needed with frequent food and laundry deliveries).

Unfortunately, Austin’s visions were never constructed. The First World War came along, gobbling up resources, and by 1918 the Llano Del Rio commune was a dead letter. Too bad we never got to see these ideas in action.

More after the jump…

Posted by Martin Schneider | Leave a comment
Get in the ring: Vintage images of female bodybuilders and ‘strong women’ showing off

Strong woman and acobat Louise Leers (aka Luise Krökel), 1930s.
Some of the images of the badass strong women in this post date all the way back to the very early 1900s however the female “strong woman” was an attraction as long ago as the early 1700s where women such a the “Female Italian Samson” and the “Little Woman from Geneva” would perform impressive feats of strength such as bearing massive amounts of weight on their backs or effortlessly hoisting several men in their arms.

The ‘Great Sandwina’ aka, Katie Brumbach.
Sometime in the late 1800s the appearance of strong women became more prevalent in sporting events and were also a common attraction in circuses where they would showcase their superhuman strength. This in turn paved the way for other rule-breaking girls such as female wrestlers and bodybuilders. One of the best known super women was Katie Brumbach called the “Great Sandwina.” Hailing from Vienna, Brumbach’s parents were also circus performers and it would appear that she was the combination of her father (who stood 6’ 6”) and her mother (who was herself a strong woman of sorts, sporting biceps that measured 15 inches around). She not only inherited her parents physical prowess and she performed with them, as well as many of her fourteen siblings. Brumbach would go on to wow audiences by lifting her husband (who reportedly weighed 165 lbs) over her head with only one arm and 300 pounds of weights with both. In her later years Brumbach joined the Ringling Brothers and Barnum & Bailey Circus as a powerlifter where she snapped iron bars with her bare hands. At the age of 57 she was still able to pull to hoist her husband above her head with only one arm.

Another notable strong woman Kate Roberts went by the intimidating name “Vulcana.” In addition to her muscular build and ability to lift heavy weights (allegedly 181 lbs with one arm) she has some fascinating superhero-style folklore attached to her. In addition to saving a couple of drowning kids, Roberts dragged an unfortunate would-be purse snatcher who tried to steal her handbag all the way to the police station by herself. According to various historians Roberts also freed a wagon that had become stuck in a ditch in front of a crowd of awestruck Londoners. I’ve included images of other kick ass women in this post such as Abbye “Pudgy” Stockton (who was a notable member of the “Muscle Beach” crowd in the 1940s), and Joan Rhodes who enjoyed bending iron rods with her teeth and breaking nails with her bare hands.  There’s also a video of Rhodes showing off her strength in a cabaret act called the “Iron Girl in a Velvet Glove.”

‘Vulcana’ (aka Kate Roberts).

Abbye ‘Pudgy’ Stockton.
Much more after the jump…

Posted by Cherrybomb | Leave a comment
‘Father of Combat TV’ Wally George annihilates jerk who thinks there’s ‘no such thing’ as date rape

Hot Seat was a syndicated talk show, running from 1983 to 1992, hosted by raving reactionary conservative commentator (and estranged father of actress Rebecca De Mornay), Wally George, who termed his delivery “combat TV.” The show’s format was a precursor to the popular “shock talk” shows hosted by the likes of Morton Downey, Jr. and Jerry Springer, with a profoundly right-wing posture. Hot Seat‘s studio audience was generally comprised of aggressively out-of-control meatheads, and George was a fist-pounding, screaming, Reagan-worshipping bully whose shtick was so over-the-top that one often wondered if the whole thing wasn’t a put-on.

In an interview I conducted last year with Nikolas Schreck who appeared on Hot Seat three different times, Schreck described George as “a consummate showman, no more or less insincere or fake than his showbiz idol Ronald Reagan, who both cunningly played exaggerated roles for their niche Neanderthal audience in the grand old tradition of American populist demagoguery.”

I love watching old Hot seat clips on YouTube. Although I find myself disagreeing with George’s positions 99% of the time, his delivery is just so much fun in a pro-wrestling sort of way that you can’t turn away from it. Generally Wally and his guests are both playing the part of the heel, and the “debates” almost instantly devolve into name calling and posturing with the rabid audience members getting into the mix, shouting everyone, including Wally, down. If you’re not a conservative, Wally is still a guy you “love to hate.”

But then there’s that really weird 1% of the time that you find yourself actually agreeing with him. For instance, when he appeared as a guest on (White Aryan Resistance leader) Thom Metzger’s public access hateshow, Race and Reason to debate him about racism having no place in conservatism. And then there’s this clip we’re going to look at today, with Wally debating a man named Mike Hubbell who claims that there’s “no such thing” as date rape.

Keep reading after the jump…

Posted by Christopher Bickel | Leave a comment
Riot Grrrl: Allison Wolfe of Bratmobile talks about zines, feminism and her new band, Sex Stains

Allison Wolfe
Photo by Connor Collins
Allison Wolfe, iconic 90s riot grrrl and Bratmobile member hasn’t stopped playing music since their break up in the early 2000s. In fact, she has gone on to be in several other bands such as Cold Cold Hearts, Partyline, Deep Lust, Cool Moms and most recently Sex Stains (whose debut album comes out September 2nd.)

I chatted with Wolfe about her new band as well as zines, Bratmobile, being a 90s female musician and an inspirational feminist.
Girl Germs
Before Allison Wolfe and Molly Neuman started Bratmobile, they had a riot grrrl fanzine called Girl Germs:

“Molly and I met in the dorms at the University of Oregon. We weren’t in the same room but we shared a wall and we would knock on the walls. We became best friends and started plotting to do all of these things. We were fairly young girls who were getting politicized who wanted to have a voice and participate. We really wanted to have a girl programmed radio show but it turned out that the University of Oregon didn’t have a college radio so I think Tobi Vail encouraged us to do a fanzine. We started the fanzine before we started playing music or did the band. It was a good way to have a voice when we didn’t have any other means at the time. We didn’t really know what we were doing but it was fun. Our first issue had an interview with Calamity Jane. It had scene reports and a lot of it was a reaction to grunge which had completely taken over the Northwest and was too male dominated. We wanted to have a girly voice.”

From there they began travelling to Olympia often to hang out. “We were a band in theory. We had been travelling up to Olympia on weekends and telling everyone we were in a band called Bratmobile.”

Calvin Johnson called them and told them he had set up a show for Valentine’s Day 1991 and wanted them to play with Bikini Kill. At this point they were not truly a band so they had to scramble to get songs together. “We went to our friend Robert Christie and were like ‘What do we do?’ He loaned us his practice space and let us use their equipment and but we didn’t know how to write songs. He said to listen to a bunch of Ramones records but I thought if all bands listen to the Ramones in order to start bands then I wouldn’t and I vowed to never listen to them which isn’t exactly accurate but I never owned any Ramones records or listened to them that much.”

Allison said she listen to a lot of female rap and hip hop before the band started such as Salt n’ Pepa, Yo Yo, Bytches with Problems, TLC and others. “That was a big influence on us, all these really awesome, kinda goofy but politicized women in rap and hip hop that weren’t commercialized yet. It was more politicized. They had messages that were pretty important. Also, the first Batman movie had come out and Prince did the soundtrack and the Batmobile was an influence on us naming the band Bratmobile.” Their first show, which was just her and Molly at the time, was pretty much a capella. “There was a little bit of guitar and drums going on but not much… We jumped off stage and Kurt Cobain walked in right then and I walked up to him and said ‘You missed us!’ and handed him one of our fanzines.”
More after the jump…

Posted by Izzi Krombholz | Leave a comment
‘Girls Bite Back’: An early nod to women in rock with the Slits, Nina Hagen, Siouxsie and Girlschool

VHS Cover
The VHS box cover art

Girls Bite Back (aka Women in Rock, 1980) is an ahead of its time document acknowledging female rock musicians. Directed by Wolfgang Büld (who also directed Punk in London, British Rock and Lovesick) the movie opens with a photo slideshow of many pioneer musical greats including Bessie Smith, Debbie Harry, Joan Baez, Cher, Dolly Parton, Grace Slick, Janis Joplin, Linda Ronstadt, Cass Elliott, Wendy O Williams and many others while Nina Hagen performs. After this we see a segment of interviews by some of the featured performers (Siouxsie & The Banshees, The Slits, Girlschool, Lilliput, Zaza and Mania D.) and I’m amazed at how relevant their answers still are today. The women are asked what it’s like being female musicians, their overall answer is that they’re just musicians. Being female is not the important thing about what they’re doing. A young Viv Albertine is quoted saying, “We are fucking women making music—that’s all there is to say about it.” Unfortunately even with that badass mentality, 36 years later there is still a need for Viv Albertine to deface a punk exhibit for not acknowledging these important women and their impact on music.

The Slits

The most relatable thing about the women in this movie (at least for me) is a segment where they discuss their desire to be recognized as musicians and how they don’t want to be categorized as feminists or anti-male. It’s become a strange world where feminism is sometimes taken too far, as if it means hating men and wanting to be the superior gender, when really it’s all about equality. Girls Bite Back really captures this idea.

An indifferent Siouxsie Sioux is interviewed saying that if it was four years earlier she wouldn’t be playing in a band. She says, “It’s too easy. It’s the thing to do if you’re bored. It used to be more of a risk.” Siouxsie actually seems quite depressed in this footage. That’s probably the saddest thing about the film, as she seems entirely over her music career almost as it was beginning. However, she builds up more enthusiasm by their third live song “Jigsaw Feeling.”
Hard rockers Girlschool

Wolfgang Büld did a great job of picking out the bands featured in the film, I mean really his band choices were on point. It’s an awesome range of bands with rare footage of live shows and intimate interviews. There is something nicely raw about it as well, no captions to tell you who each band is, no subtitles when Mania D. is interviewed (they speak German). These imperfections, while a bit frustrating because you want to know what they are saying, make the film feel low budget in a labor of love, intimate kind of way. If you’re a die-hard Nina Hagen fan, you will be disappointed. She’s only in the very beginning and end, no interviews. However, the concert footage of her is pretty rad.

Girls Bite Back is a film female musicians should see. It’s poignant, witty and a great little rockumentary. If nothing else, it’s worth it alone to watch see the live performances by Girlschool and The Slits’ interview segments—they’re so fucking cool.

Posted by Izzi Krombholz | Leave a comment
Strange, Seductive and Surreal Erotica from 1920-30’s Vienna

Atelier Manassé was a highly successful photographic studio established by husband and wife team Adorján von Wlássics (1893 - 1946) and Olga Solarics (1896 - 1969) in Austria in 1924—though some sources cite 1922.

Principally based in Vienna—with a smaller office in Berlin—the studio flourished during the 1920s and 1930s. It was known for producing highly flattering portrait photography of film, theater and cabaret stars. It could be said Adorján and Olga were the airbrush pioneers of their day—artfully painting out any blemishes or wrinkles and reducing the unsightly flab from legs and waists. The resulting photographs were mass produced and sold to fans as much sought after postcards.

But Atelier Manassé did not just specialise in lucrative publicity photographs—it also produced a vast array of erotica. In particular Olga dedicated herself to producing highly original nude photography which is credited with establishing the “pin-up” long before Playboy magazine. But Olga’s work was far superior and far more influential than any cheesecake photography—it drew on many avant garde ideas and cherry-picked styles from Surrealism and Expressionism. More importantly, Olga’s photography presented liberated images of women—relishing their own sexuality, their own bodies and their power of seduction.

There is a dedicated collectors market for Atelier Manassé photographs and even magazines all being sold at auctions and online for a goodly sum.

The following are some of the more Surreal and seductive photographs that typify the best of Atelier Manassé‘s erotica.
More beautiful photographs from Atelier Manassé, after the jump…

Posted by Paul Gallagher | Leave a comment
Meet the original Dairy Queen: Work by America’s first known butter sculptor
08:38 am


butter sculptures
Caroline S. Brooks

Caroline Shawk Brooks (1840 – 1913) charged the public a quarter a pop to come and watch her create sculptures from butter. Brooks was America’s first known butter sculptor. Her work attracted thousands of visitors to galleries when it was exhibited. Her most famous sculpture was of the blind princess Iolanthe from the verse drama King René’s Daughter by Danish poet Henrik Hertz. This beautiful butter sculpture alone drew a staggering two thousand paying visitors when it was exhibited for two weeks at a Cincinnati art gallery in 1874.

Brooks was born in Cincinnati, Ohio. From a very early age she exhibited considerable aptitude in painting, drawing and sculpture. Her first known sculpture was a bust of Italian poet Dante made of clay taken from a local stream.

By twelve she had won her first award—a gold medal for her sculpture of wax flowers. But alas a career in art was not considered a suitable occupation for a young woman. Brooks married a railroad engineer. Together they moved from Memphis, Tennessee to a farm in Phillips County, Arkansas. It was here in 1867 that Brooks made her first butter sculptures.

Taking her lead from neighboring farmers’ wives—who made small floral designs using butter molds—Brooks began making original butter sculptures to supplement the family’s income. Rejecting the sculptor’s traditional tools—perhaps because they were difficult to obtain and too expensive—Brooks used the traditional dairy farmer’s “common butter-paddles, cedar sticks, broom straws and camel’s-hair pencils” to make her buttery creations.

For around two years Brooks developed her sculptural talents. She then took time out to raise her daughter Mildred and work on the farm.

In 1873, Brooks returned to butter sculpture when she made a bas relief for her local church. This particular work became the stuff of legend—it proved so popular people visited the church from neighboring states. One man from Memphis commissioned Brooks to produce a large butter sculpture of Mary Queen of Scots. It was the start of Brooks’ professional career as a butter sculptor.

The very same year, Brooks produced her most famous work Dreaming Iolanthe, which was reviewed as a work of art by the New York Times. The paper said the “translucence” of the butter: to the complexion a richness beyond alabaster and a softness and smoothness that are very striking…no other American sculptress has made a face of such angelic gentleness as that of Iolanthe.

By public demand—and because of the obvious impermanence of her sculpting materials—Brooks made several versions of Dreaming Iolanthe. One version was exhibited at the Centennial Exposition or World’s Fair in Philadelphia in 1876 where it was described as the “most beautiful and unique exhibit” on show.

Unfortunately, Brooks did have her detractors—mostly idiotic men who claimed that only a man could be responsible for producing such beautiful, perfect butter sculptures. Brooks was unfazed. She decided to set up a workshop demonstrating her sculpting talents to a panel consisting of board members from the Exposition, a handful of newspaper hacks and a few of her most vociferous critics. In under two hours, Brooks produced yet another Dreaming Iolanthe.  It killed all criticism dead—much to the chagrin of a few cigar-chompin’ male chauvinists. Brooks was thereafter hailed as the “Butter Woman.”
A newspaper advert for Brooks demonstrating her talent as a butter sculptor at the Armory Hall, Boston in 1877.
Following directly on from her success at the Centennial Exposition, Brooks was asked to sculpt a life-size version of Iolanthe which was then sent to Paris for exhibition at the World’s Fair in 1878. It was a tremendous success. Brooks was now internationally recognized as a talented, pioneering butter sculptor.

Eventually she moved on from sculpting in butter to working with marble, stone and clay. However, Brooks always said she preferred working with butter as it was more malleable and delivered better results. Her later works included marble portrait busts of Thomas Carlyle, George Elliot, James A. Garfield, Emanuel Swedenborg, and members of the Vanderbilt family.

Apart from dealing with petty and truculent men, Brooks had to devise ways to transport her butter sculptures far across land and sea. Brooks invented special tanks filled with ice which kept her work chilled. This was understandably problematic on long ocean voyages where maintaining the correct temperature was difficult. When her work arrived in France, Brooks found it amusing to see customs officials itemise her work not as sculptures but in terms of pounds of butter.

Due to the nature of her materials there are only a few photographs of Brooks’ butter sculptures available. But thankfully what we do have is a beautiful testament to Brooks’ extraordinary talents. Someone should really think about making a film about this pioneering artist’s life.
Feminist artist Caroline S. Brooks in front of one of her butter sculptures.
‘A Study in Butter’ Life-sized version of ‘The Dreaming Iolanthe,’ ca. 1878.
More of Caroline S. Brooks’ butter sculptures, after the jump…

Posted by Paul Gallagher | Leave a comment
Absurd propaganda postcards warning men about the dangers of women’s rights, early 1900s
02:29 pm


women's rights

Here’s a collection of totally ridiculous vintage postcards and posters dated from around 1900 to 1914 warning men of the dangers associated with the suffragette movement and of allowing women to think for themselves. I think my favorite is the postcard where the woman is pinching the man’s ear and forcing him to clean the home. The nerve of her to request such a thing!



More after the jump…

Posted by Tara McGinley | Leave a comment
Marianne Breslauer’s gorgeous photos of queer, androgynous and butch women of the 1930s

The photography of Marianne Breslauer is striking for both its intimacy and its subjects—women, usually of the sleek, chic and gender-bending variety, posed to optimum androgynous elegance. A bohemian Berliner by birth, Breslauer studied under Man Ray for a time in Paris and achieved some commercial success before returning home to an increasingly volatile Germany. As a Jewish artist working in an obviously queer milieu, Breslauer eventually fled to Switzerland and retired from photography early, eventually marrying a man and becoming an art dealer.

Among the many beautiful faces captured by Breslauer was her dear friend, Swiss writer, journalist and photographer Annemarie Schwarzenbach, who she described as “neither a man nor a woman, but an angel, an archangel.” A libertine and rebel, Schwarzenbach defied her wealthy, Nazi-sympathizing family, funding anti-fascist publications and later supporting American unions at the height of the Depression—this is not to mention her adventures hitchhiking across India and Turkey, or the many lesbian affairs. Surviving addiction issues and a suicide attempt, Schwarzenbach nonetheless died at the young age of 34 after a fall from a bicycle, leaving behind a prolific body of work, 170 articles and 50 photo-reports.



More after the jump…

Posted by Amber Frost | Leave a comment
This may be the most racist, sexist, violent video game EVER (and it’s almost 35 years old)
11:51 am


Video games
Custer's Revenge

Despite exaggerations to the contrary, very few video games actually portray sexual assault. Sure, there’s a ton of murder, and definitely lots of gendered violence, but games that write in actual sexual violence are quite rare, which is actually sort of surprising when you learn about Custer’s Revenge.

The game, which came in in 1982 for the Atari 2600 and cost a whopping $49.95 (making it the priciest of Atari games then on the market), had a very simple premise: you are a naked, erection-wielding General Custer and you must avoid a volley of arrows in order to to rape a Native American who is—as indicated by the cover art—tied to a pole. Yeah, that’s it.

Custer’s Revenge was an early attempt to create and market “adult” video games, but promotion was difficult, especially since Mystique, the publishers and developers of the game, made it very clear that the game was “NOT FOR SALE TO MINORS.” In order to drum up publicity, Mystique actually showed the game to women’s and Native American groups, who were quick to give them free press with outraged protests. Feminist Andrea Dworkin even argued that Custer’s Revenge “generated many gang rapes of Native American women,” a claim that is difficult to prove, to say the least. Compared to say Pac-Man, the best-selling Atari 2600 game of all time, which sold 7 million, Custer’s Revenge was small potatoes, only selling 80,000 total. Regardless, the backlash most certainly helped move copies that might have otherwise simply collected dust on the shelf.

So how does Custer’s Revenge hold up nowadays? Despite the stomach-turning “plot,” the game actually manages to be so very comically low-rent that it falls very short of anything that is actually visually lurid. I mean you really have to use your imagination to connect those abrupt little pixels to the historic atrocities of the sexual violence and genocide exacted against Native Americans. They just didn’t quite have the technology to really depict any detail at the time, a fact which allowed game designer Joel Miller to maintain plausible deniability, claiming that the woman was a “willing participant” (this despite the game’s title and cover art). Nonetheless, Mystique later released a companion game, General Retreat, featuring the Native American woman attempting to rape Custer under cannonball fire, which, I guess, was an attempt at equality?

Ah, such innocent times! When the libidinal horrors of entertainment were technologically limited to blocky little boners and booties!
It’s possible that protests eventually staved off sales of the game, but what’s more likely is that no one really wanted to play it. PC World magazine named it the third worst game of all time, adding to the obvious objections that it was extremely difficult to play and it just looked terrible. The underground infamy of of Custer’s Revenge outlasted the game itself, inspiring a much more graphic remake in 2008, which was notably protested by a indigenous activists, including a female game designer and a video game journalist. Eventually pressure from activists got the game removed from the internet in 2014 (though I doubt too many people felt its loss).

More after the jump…

Posted by Amber Frost | Leave a comment
Page 1 of 23  1 2 3 >  Last ›