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Hand-embroidered: Artist sews intricate designs into her own hand
03.19.2014
09:35 am

Topics:
Art
Feminism

Tags:
Embroidery


 
Artist Eliza Bennett has created one of the more intense feminist art projects I’ve seen. For her piece, “A woman’s work is never done,” Bennett actually embroidered crude (but strangely lovely) stitches into the skin of her own hand.  While the points of entry for the thread are tiny and superficial, they occur in such high density that her hand is left swollen and irritated, most likely from the more sensitive layer of skin attempting to reject the foreign material. The work unflinchingly examines traditionally feminine labor, and the usual matronly sweetness of embroidery is suddenly stark, biological and jarring. Her statement:

Using my own hand as a base material, I considered it a canvas upon which I stitched into the top layer of skin using thread to create the appearance of an incredibly work worn hand. By using the technique of embroidery, traditionally employed to represent femininity and applying it to the expression of it’s opposite, I hope to challenge the preconceived notion that ‘women’s work’ is light and easy. Aiming to represent the effects of hard work arising from employment in low paid ancillary jobs such as cleaning, caring, and catering, all traditionally considered to be ‘women’s work’.

The final picture below is of a video projection of Bennett’s stitched hand on fabric and wall. The image becomes gauzy though the light of the projector and that jarring photograph is suddenly rendered soft and pretty.
 

 

 

 

 
Via Beautiful Decay

Posted by Amber Frost | Discussion
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Trust The Witch: Lydia Lunch, this week on ‘The Pharmacy’
02.27.2014
07:06 am

Topics:
Feminism
Music

Tags:
Lydia Lunch
The Pharmacy
Gregg Foreman


 
Gregg Foreman’s radio program, The Pharmacy, is a music / talk show playing heavy soul, raw funk, 60′s psych, girl groups, Krautrock. French yé-yé, Hammond organ rituals, post-punk transmissions and “ghost on the highway” testimonials and interviews with the most interesting artists and music makers of our times…

This week’s Gregg’s guest is singer, artist, writer, performer and all around dangerous mind, Lydia Lunch, who discusses her work with The Birthday Party’s Rowland S Howard and Nick Cave; her first performance (age 14) at an acid party in upstate NY doing spoken word in front of a psychedelic backdrop; running away to NYC (age 16) to hang out with Suicide and Mink DeVille; how she got her name, which filmmaker Russ Meyer told her is “the best name in show biz” and why she considers herself a journalist above all else.
 

 
Mr. Pharmacy is a musician and DJ who has played for the likes of Pink Mountaintops, The Delta 72, The Black Ryder, The Meek and more. Since 2012 Gregg Foreman has been the musical director of Cat Power’s band. He started dj’ing 60s Soul and Mod 45’s in 1995 and has spun around the world. Gregg currently lives in Los Angeles, CA and divides his time between playing live music, producing records and dj’ing various clubs and parties from LA to Australia.
 
Setlist

Mr. Pharmacist - The Fall
The Clapping Song - Shirley Ellis
Help You Ann - The Lyres
Intro 1 / I Can’t Stand Myself - Rx / James Chance and the Contortions
Lydia Lunch Conversation Part One
Liars Beware - Richard Hell and the Voidoids
Dance With Me - Lords of the New Church
Memorabilia - Soft Cell
Girl - Suicide
J’aime Regarder les Filles - Patrick Coutin
Last Time - The Anchors
Intro 2/Scientist at His Best - Rx/Scientist
Lydia Lunch Conversation Part Two
Atomic Bongos - Lydia Lunch
Thoughts by Sterling Morrison - Sterling Morrison/ Sun Ra
Temptation Inside Your Heart - The Velvet Underground
Contort Yourself - James White and the Blacks
Low Life - Public Image Limited
Intro 3 / Too Many Creeps - Rx / Bush Tetras
Lydia Lunch Conversation Part Three
Solar Hex - Lydia Lunch / Rowland S. Howard
Sonny’s Burning - The Birthday Party
Intro 4
Lydia Lunch Conversation Part Four
Intro 5 / Father Yod & The Spirit Of ‘76 - Rx / Ya Ho Wha 13
Open Up and Bleed - James Williamson and the Stooges
Mr. Pharmacist - The Fall

 
You can download the entire show here.

Below, Lydia fucking Lunch in NSFW action…

Posted by Tara McGinley | Discussion
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What if we lived in a female-dominated society where women acted just like men?
02.12.2014
11:12 am

Topics:
Feminism

Tags:
sexism
Eleonoré Pourriat


 
French actress, writer, and director Eleonoré Pourriat made a short satirical film, Majorité Opprimée (Oppressed Majority), in 2010 about what life would be like for a man if he had to live in a female-dominated society where women acted like condescending, dismissive, violent, raging dickheads. It finally made its way to YouTube with English subtitles recently and has been lauded by many women who live in similar urban areas for being pretty spot-on. Pourriat told The Independent this week, “Obviously, I have touched a nerve. Women in France, but not just in France, feel that everyday sexism has been allowed to go on for too long.”
 
french film stroller
 
It’s an interesting companion piece to the recent experience of the guy who posed as a woman on OKCupid and was so disturbed by the harassing messages he received from dudes that he quit a mere two hours into the experiment.

(Trigger warning!) NSFW “Majorité Opprimée (Oppressed Majority),” below:

 

Posted by Kimberly J. Bright | Discussion
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The badass girl motorcyclists of Morocco
02.11.2014
12:34 pm

Topics:
Feminism

Tags:
Bikers
Morocco

Kesh Angels
Rider
 
I don’t know a lot about these pictures of colorfully dressed Moroccan women posing with their motorcycles, but I sure do love them to bits. They’re the work of Moroccan-born photographer Hassan Hajjaj, and you couldn’t really ask for a better presentation of this material, from the cheeky poses to the arresting frames with colorful food products I can’t identify. The name of the exhibition is Kesh Angels, which runs through March 7 at the Taymour Grahne Gallery in Manhattan.

All the polka dots! It’s as if Yayoi Kusama did the costumes for a Gaspar Noé-directed remake of Al Adamson’s 1972 biker movie Angels’ Wild Women.

Here’s a small gallery of the awesome pics; there’s plenty more at this website.
 
Kesh Angels
LV Posse
 
Kesh Angels
Kesh Angels
 
Kesh Angels
Khadija
 
Kesh Angels
Nisrin
 
Kesh Angels
Nikee Rider
 
Kesh Angels
Kick Start
 
Kesh Angels
Odd 1 Out
 
Kesh Angels
M.
 
Kesh Angels
Romancia
 
via Nerdcore

Previously on Dangerous Minds:
Bill Ray’s photos of biker women 1965

Posted by Martin Schneider | Discussion
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Hilariously WRONG sexist ad from the 1970s
02.05.2014
11:28 am

Topics:
Amusing
Feminism
Food
History

Tags:
BALLS


 
Balls, huh? They give you courage? What the fuck was in them?

Here are a few choice quotes from this 1978 ad:

“You need BALLS to conquer the world.”

“Just pop a few BALLS in your mouth and you’ll be ready for anything.”

And my personal favorite:

“Brown-bag your BALLS to work, so you don’t run out of steam.”

Click here to read a larger image.


Via Boing Boing

Posted by Tara McGinley | Discussion
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What a twat: Extremely awkward Pussy Riot interview is extremely awkward
02.04.2014
09:10 am

Topics:
Feminism
Punk
Television

Tags:
Pussy Riot


That is one impressive ‘death stare’ she’s flinging at Provincial Paddy there, ain’t it?

In their first European television appearance since they were released from Russian prison, Irish talkshow host Brendan O’Connor interviewed Pussy Riot members Nadezhda Tolokonnikova and Maria Alyokhina, managing to make himself look like—this is so, so easy—a complete twat. They can’t even—indeed they do not tryto —hide their exasperation at his astonishingly witless questions.

To begin with the Saturday Night Show presenter repeatedly refers to the formerly imprisoned feminist activists as “girls.” It goes (rapidly) downhill from there and ends when he asks them what they think about Madonna and if she is a “freedom fighter, like them”!

They so clearly think O’Conner is an asshole. Even Graham Norton would have been a better choice to interview them!

The “girls” will be in New York this week for an Amnesty International event.
 

Posted by Richard Metzger | Discussion
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It didn’t always suck to be a woman in Afghanistan

afghanminiskirtskabul
 

Women in Afghanistan were not always under house arrest and forbidden by law to leave their homes unchaperoned by a male relative. Once upon a time in pre-Taliban days Afghan women had access to professional careers, university-level education, shops selling non-traditional clothing, public transportation, and public spaces, all of which they happily navigated freely and without supervision.

According to a State Department report from the Bureau of Democracy, Human Rights and Labor from 2001:

Prior to the rise of the Taliban, women in Afghanistan were protected under law and increasingly afforded rights in Afghan society. Women received the right to vote in the 1920s; and as early as the 1960s, the Afghan constitution provided for equality for women. There was a mood of tolerance and openness as the country began moving toward democracy. Women were making important contributions to national development. In 1977, women comprised over 15% of Afghanistan’s highest legislative body. It is estimated that by the early 1990s, 70% of schoolteachers, 50% of government workers and university students, and 40% of doctors in Kabul were women. Afghan women had been active in humanitarian relief organizations until the Taliban imposed severe restrictions on their ability to work. These professional women provide a pool of talent and expertise that will be needed in the reconstruction of post-Taliban Afghanistan.

Even under Hamid Karzai’s government, with the recently approved Code of Conduct for women, all of the women shown in these photographs, taken in the ‘50s, ‘60s, and early ‘70s, could still can be faulted with improper behavior, according to clerics and government officials. 

record store in kabul
 
A record store in Kabul

bioclasskabul
 
A co-ed biology class at Kabul University

girlsatuni1967
 
Afghan university students, 1967. Photo credit: Dr. Bill Podlich, Retronaut

afghanbus
 
Public transporation in Kabul

afghancollegegirls
 
University students, early 1970s

afghanlab
 
Women working in one of the labs at the Vaccine Research Center

afghan mom kids
 
Mothers and children playing at a city park—without male chaperones

afghanqueen
Queen Soraya reigned in Afghanistan with her husband King Amanullah Khan from 1919 to 1929. She would be slut-shamed or worse for wearing this dress in modern Afghanistan.

Compilation of vintage amateur footage of Afghanistan:

Via Retronaut and Zilla of the Resistance.

Posted by Kimberly J. Bright | Discussion
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Super-femme ceramics are luxurious and revolting
01.08.2014
07:00 am

Topics:
Art
Feminism

Tags:
Jessica Stoller

sculpture
 
I love it when feminine shit makes you shudder, and these ceramics are all lady—with some Cronenberg body horror to top it off. Sculptor Jessica Stoller rendered these Rococo bad trips with the finest of detail. Ornate confections and opulent embellishments hang with the weight of flesh and bloom into labial literalism. It’s girly, it’s gross, and it’s so compelling you just can’t seem to look away.
 
sculpture
 
sculpture
 
More after the jump…
 

Posted by Amber Frost | Discussion
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Camille Paglia’s narcissistic tirade to (perceived) slight: ‘I am the Susan Sontag of the 90s!’
12.20.2013
10:12 am

Topics:
Books
Feminism

Tags:
Richard Hell
Susan Sontag
Camille Paglia


 
“Libertarian feminist” Camille Paglia is getting press again, and every time Camille Paglia gets press, feminists are obliged to immediately declare their respective camps. There’s a camp that’s perpetually incensed with Paglia, a (dwindling) camp cheering her on, and then there’s my camp—the camp of feminists who hope that if we ignore her, she will simply go away.

To keep a very long story short, Camille Paglia just doesn’t really like women, preferring to decry her youngers, whilst simultaneously dismissing her foremothers. In fact, the only people she seems to really respect are men. Check out his charming excerpt from her latest essay in TIME, some lameass troll-bait titled, “It’s a Man’s World and it Always Will Be.”

Every day along the Delaware River in Philadelphia, one can watch the passage of vast oil tankers and towering cargo ships arriving from all over the world. These stately colossi are loaded, steered and off-loaded by men. The modern economy, with its vast production and distribution network, is a male epic, in which women have found a productive role — but women were not its author. Surely, modern women are strong enough now to give credit where credit is due!

If I may dust off an old chestnut, “Cool story, bro.”  I’m sure those noble icons of manly labor are all really pleased that some bullshit academic “feminist” wrote them a weird love letter in TIME. And the prose is downright Randian in its reverence.

Yes, as far as Paglia is concerned, no one else’s feminism is quite smart enough for her—a point which she’ll readily make to you with 9,000 words on post-structuralism and a libertarian tirade. Unfortunately, I work on the Internet, which prevents me from totally ignoring her, so maybe reminding everyone how terrible she is would make me feel better? Here’s a 1993 interview with Paglia where she acts like a sputtering, defensive fool when confronted with video evidence that her formal idol, Susan Sontag, had never even heard of her.

There’s something sickeningly gratifying about seeing such an egotistical narcissist so miffed. And though I often find Susan Sontag’s work pretentious and politically unsound, the record of this moment alone is enough for me to want to defend her entire career. I have a sneaking suspicion that Sontag was probably in the “Let’s ignore her and maybe she’ll go away” camp. (Here’s Paglia’s meltdown.)
 

Posted by Amber Frost | Discussion
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Janis Ian is NOT politically correct and brilliantly defends her ‘Howard Stern’ appearance, 1994

Janis Ian
 
My love of “AM Gold” is well-documented on this blog, and I defend the soft-rock/easy listening genres of the 1970s as an artistic movement of intimacy, reflection, and pathos. John Denver? Absolutely! Let’s open the windows, and smell the fresh air! Thank god, I’m a country girl. Bill Withers? Great! I’ll make some chamomile tea and we can wrap ourselves in kaftans! Carol King? Just give me a flowing maxi dress of natural fibers, I think I’m ready for motherhood. And Janis Ian? Do you even have to ask? Janis Ian makes me want to paint my apartment burnt sienna and avocado green, put on “At Seventeen,” and do some fucking macrame.

There’s a lot that’s great about Janis Ian. Yes, “At Seventeen” is a beautiful feminist anthem of isolation and loneliness, but her first hit, “Society’s Child (Baby I’ve Been Thinking),” is also remarkable. Released when Ian was just fifteen (she wrote it at thirteen), “Society’s Child” told the story of an interracial relationship. Despite its “Leader of the Pack” teen-melodrama sound, it was actually banned on the radio. While the lyrics are pretty earnest (she was thirteen, what do you expect?), her subject indicated a serious-minded commitment to social justice. (And that didn’t come out of nowhere. Ian’s family were serious leftists, and often under surveillance for their politics.)

In 1993, at the age of 42, Janis Ian came out as a lesbian. She then immediately shocked her fans by appearing on Howard Stern’s radio show. Below is Ian’s 1994 defense of the appearance, penned for The Advocate. It seems like they have a legitimate friendship, which doesn’t surprise me—Howard always struck me as “the gentleman’s shock jock.” (I don’t really see her being friends with Mancow, right?) After the interview, you can even see video of Ian performing “Seinfeld’s Girl is Seventeen with Double Ds,” a parody of “At Seventeen” with Howard; the lyrics are reworked to mock Jerry Seinfeld’s then relationship with a 17-year-old high schooler.

And this is what’s so great about Janis Ian. For all her humanity and insight and the vulnerable beauty of her music, Janis Ian does not give a fuck about your approval.
 

I did Howard Stern last year, and joined the ranks of the Politically Incorrect.

I love doing Howard. I’ve done his morning radio show, his E! television show, and his disgusting New Year’s Eve special. (Don’t ask.)

I like Howard. He treats me with courtesy, and he recognizes my relationship as valid. In fact, he tried very hard to find an appropriate term for introducing my partner. After rejecting “Mr. Ian”, “Mrs. Ian”, and “Her Better Half”, he finally settled on “Mr. Lesbian”, a term we find appallingly funny and poignantly correct.

Stern is currently running for governor of New York, and I’m betting he’ll get over 50,000 votes. Why? Because he touches people - although by his own admission his penis is too small to touch much. (Another reason to like him: who was the last man you heard admit to that?)

Howard operates from the theater of honesty in a way very few performers dare. He says things I’m afraid to say, and admits to feelings I’ve overheard on tour buses and in mens’ locker rooms when no one thinks I’m listening. He’s thoroughly uncomfortable with gay male sexuality, but he also excoriates anyone who would deny their right to consensual sex.

The fallout of doing Howard has been both educational and frightening. People writing to my “fan club” who identify themselves as politically correct are ‘horrified’ and ‘furious’ that I find any common ground with him. The hate mail contingent seems to mistake theater for reality—and their own bigotry for enlightenment—threatening us both with “dire consequences”.

I’m at a loss as to why they find the friendship so dangerous. Howard’s “Lesbo Dial-A-Date” is one of the hottest shows on radio; during it he treats us exactly like he treats his heterosexual female guests—snidely, with double entendres flailing.

Yet my mail assumes that because many of the guests on Dial-A-Date are women with big hair and harsh rural accents (yes, I consider a heavy Brooklyn accent rural), who strip/spank/tease with gleeful abandon, he’s “victimizing the lower economic strata, who can least defend themselves”.

Excuse me? Do they mean that if you have a sixth grade education, you’re less capable of deciding what to do with your body than if you have a Ph.D? Is someone who makes less money also less capable of choosing their own path? I find that attitude incredibly patronizing, and demeaning to all women.

Political correctness is a form of censorship. I learned about censorship in 1966, when as a 15-year-old singer/songwriter I saw my record “Society’s Child” banned across the United States. Disk jockeys were fired for playing it; a radio station in Georgia was burned to the ground for the same reason. Now that it’s being called a “standard” in the books, everyone forgets that when it was released it was attacked by the politically left-wing as well as the rabid right.

I learned about the dark side of political correctness at the same time. The right-wing hated me for encouraging miscegenation, and my left-wing friends jumped on me because the white girl in the song gave in to peer pressure and stops dating her black boyfriend.

When “At Seventeen”, which I recorded in 1976, received five Grammy nominations—incidentally the most any solo female had received to that date, but who’s counting?—I was accused of selling out to the commercial interests. People said I was “mainstreaming my message” by using strings on the record, “disguising my message with pretty words and music”.

Still later I was attacked for going to South Africa during the apartheid years, though I took an integrated band and played to integrated audiences and (unlike Linda Ronstadt and various black Americans who will go unmentioned here, but couldn’t order dinner there) avoided Sun City. The same English committee that prevented Johnny Clegg, probably the best known white South African artist in the world, from performing at a tribute to Nelson Mandela because he’d performed in his residence country of South Africa, also banned me from playing in England.

And when I came out loudly last year in the media, someone wrote “I find your lesbianism suspect now—where were you in the 80’s when we were fighting for our rights?”

As a matter of fact, I spent a good part of the 80’s trying to get a record deal, because no record company would take a chance on a gay 40-year-old female who’d already had two careers. My partner and I mortgaged our home so I could make the album Breaking Silence. Howard Stern and singer/songwriter John Mellencamp, both dismissed in a recent article I read as “misogynistic breeders”, were the only performers to back me with air-time and money before my record broke and got its Grammy nomination.

 
Janis Ian’s letter continues after the jump…
 
“Society’s Child” on The Smothers Brothers Comedy Hour in 1967.

 

Posted by Amber Frost | Discussion
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