I’ll try to keep this short; it’s late and there’s not much time left. Please forgive me if you’ve heard parts of this story before.
For me, it started with an old box of science fiction. I tore through Samuel R. Delany, Joanna Russ, Gene Wolfe, and others, reliving stories old by the time I cracked the pages. I didn’t care.
To my mind, the New Wave had it: the future was something to play in. This status quo was the most transient of things, its passing viewed with a sense of infinite possibility. If there were other cultures out in space, forward in time, why not here? Why not now?
I lived in one of those amazing, barely-clinging corners of the country too many ignore when they talk about culture of any variety. No metropoli there, just a scattering of people trying their desperate best. By the time I busted open the box full of old books, I had already faced a fair amount of poverty, hardship, and even death.
But here, as the years wore on and I read my way through an uneasy adolescence, was something else: here was hope, in the most dangerous fashion. Somewhere out there, people changed their personalities, moved in unison, turned boundaries into blurs transitory as old blood on a highway.
By that point I did not care about ridicule, and laughed when someone threatened me, but this I was terrified of, sure that the half-described scenes — goths, ravers, activists, and more — faced possibility with a courage I felt I’d never know.
A final, fantastic Geekqualitycross-posting written by Moxie Munroe. Thanks again to everyone over at our cherished sister blog for their thoughtful contributions and ongoing inspiration. We love you! Keep up the empowering, nourishing work. ~Mer
It’s a widely accepted idea that music, like fashion, social movements, and menstruation, runs in cycles. Sometimes this theory runs less true than others, but right now I think it’s pretty applicable. Because right now, in the year of our Lord 2012, three things are making a huge media comeback: feminism, babydoll dresses, and female [presenting] emcees. This is important on several different levels, one being that the rise of the female emcee in 2012, and the performance styles they’ve adopted, gives us the chance to have some real conversations about race, class, and presentation in the role of third wave feminism.
You might say, “But Moxie, this is a blog for geeks by geeks! What does this have to do with my geek culture?” And I might answer, “Well, you beautiful newborn baby, geek culture is fringe culture, just like this is fringe culture. Music geeks are geeks too, and music geeks encompass a wider berth than just Flaming Lips fans, so get over it – hip-hop geeks need some shine too, and the issues we’re dealing with here are the same issues we deal with when we talk about representation of women of color in media in general, including comics, so double get over it, zip your lips and listen up, sporty.” And you might say, “Moxie, that’s mean!” And I might say “I don’t care!” So let’s continue.
Third wave feminism, is Now feminism; it’s pop feminism; some people might identify it as “girl power” Spice Girls feminism. It’s important, because this particular wave allows us to focus on things like sexual progressiveness and agency as it exists within the feminist sphere. A lot of the criticisms surrounding third wave feminism (and feminism in general) focus on the perceived and actual exclusion of race, class, and gender presentation in discourse. Several of the up and coming femcees in 2012 serve to challenge many of the practical aspects of both the standard patriarchy and the perceived paradigm of the feminist ideal. I’d say a lot of this is because most femcees exist in a racial/sexual no-man’s land, where subversiveness is almost necessary to survival.
The first wave of femcees seems to have come around sometime in the 80s and early 90s with folks like Queen Latifah, MC Lyte, Salt N Pepa, and TLC; with tracks like “Ladies First” and “None Of Your Business” lending a particularly feminist voice to the hip-hop game. As hot as these songs (and artists) were, none of them became banner anthems of the feminist movement, falling behind artists like Bikini Kill and other darlings of the Riot Grrl movement. Recently though, vintage fem-penned hip-hop has been getting more play in feminist circles, due in large part to this generation’s penchant for nostalgia, and also the rise of social media’s role in social movements, allowing more voices of color to come to the forefront of the conversation. Social media has aided in the diversity of the music scene as well, allowing more underground artists to be heard by a wide range of demographics.
But let’s get back to the future. Today’s crop of female emcees seems to be as influenced by the socially conscious hip-hop of the 80s and 90s as it is the more raw sexually charged female hip-hop of the early 00s, when artists like Lil’ Kim and Foxy Brown ruled the school. The explicit lyrics of that form of the genre tended to turn off a lot of feminists who dismissed it as both heteronormative and degrading.
Wren Britton of PUREVILE just posted this (and several more scorching hot, queer-as-fuck music videos) on his website, saying: “Just some pretty amazing gay positive hip hop…FINALLY…I mean with so many in this genre still on the DL its really amazing to see some new kids standing up and saying ‘YES HUNTY’…..Keep that shit up !!!!!”
Oh, hells yass.
The video for Mykki Blanco‘s “Wavvy” is particularly off the hook. Really, what’s not to love about a juicy, no-holds-barred, 19th Century salon style orgy? Some of our east coast readers may recognize some familiar faces and names from the downtown NYC bohemian gallery scene: Susan Surface, No Bra, Christelle de Castro, Jeanette Hayes, Ruth Gruca…
“What the fuck I gotta prove to a room full of dudes who ain’t listenin to my words cause they starin at my shoes?”
“I recorded with them after we left here last time, and in a couple of days I’m going to Berlin to record some more… They’re totally sweet people!,” she said about a month ago.
Funchess also told No Conclusion that the track features lyrics written by visual artist Emily Roysdon. “Karin [Dreijer Andersson] and I sang the lyrics and created the melodies along with Emily as well, and Olof [Dreijer] and Karin produced the music.”
WHOAH. Check out this sneak preview photograph of Aja Lathan as The Queen of Diamonds from a shoot for the San Francisco-based Five & Diamond collective by Allan Amato. Lathan is adorned with a breathtaking array of pieces crafted by various indie and alternative designers associated with the 5&D store/gallery:
Aja Lathan as The Queen of Diamonds for Five & Diamond / Photography by Allan Amato / Art Direction by Jessica Atreides / Styling by Ricardo Felix / Makeup by Medina Maitreya / “Pharoah” Headdress by Monica Wallway / Gold Neck Coil by Tawapa / Crystal Necklace by DUST / “Ruff” Ruched Scarf by Radio Cloth / Studded Bra / Axis Waist Cincher by Steam Trunk / Burlesque Skirt by Miss Be / Leather Gloves by Sparrow / Rings by Jungle Tribe / Shot at Purebred Pro Studios
“The Five and Diamond Design collective is a collaborative project created to promote local artists and designers while providing a resource to San Franciscans and beyond for unique, artistically designed apparel, jewelry and accessories.”
This shoot was obviously a massive group effort. (Bravo!) Keep an eye on 5&D’s twitter for more information about this shoot and other lovely stuff.
Excited about driving to the playa to destroy yet another pair of Demonia platforms? This video may be for you.
In the newly-released, self-directed video for her song “Genesis”, Grimes dons a Daenerys Targaryen-meets-Sailor Moon getup, rides through the desert, wields a fiery sword, and cuddles with an albino python. However, it’s rapper Brooke Candy, looking very cybergoth 2002, who steals the show. All that’s missing from this video is The Vengabus.
Well, it happened. The Pussy Riot verdict has been announced. The girls have each been sentenced to two years in prison for performing their one-minute “punk prayer” in the Christ The Savior Cathedral to protest Russia’s fusion of church and state. ”Even though we are behind bars, we are freer than those people,” said Pussy Riot band member Nadezhda Tolokonnikova from her glass cage on the last day of the trial. “We can say what we want, while they can only say what political censorship allows.”
Protests are happening around the world today. Above, a protest video by Peaches that was released three days ago. The video features performers who support Pussy Riot from around the world, including Kate Nash, The Knife, Lykke Li, Miike Snow, Peter Bjorn and John, Light Asylum, Deichkind, The Hives, Dave Catching(EODM), Screamclub, J.D. Samson, Marshall Crenshaw, Wayne Kramer, Bonaparte, Margaret Cho, Dave Hill, Nick Zinner, Jake Shears, Bun E Carlos, Narcissister, Sheila Chipperfield, Bronson Hankins, John Renaud, Fya Hopelezz, Margaret Saadi Kramer, Miss Guy, Sir Honey Davenport, Saskia Hann, Empress Stah, and Vice Cooler.
Below, a free poster by Molly Crabapple. Download the hi-res here. Print, post, mashup, and share. (Or buy a limited-edition 17″ x 22″ print to support their legal fund from Molly.) FREE PUSSY RIOT!
Gerda Wegener, Cuckoo, 1920. Note the fallen black mask on the floor: it repeats in many of Gerda’s erotic paintings.
This is the true story of turn-of-the-century lesbian romance, erotic Deco illustrations rife with harlequins and crinolines, the world’s first male-to-female sex reassignment surgery, and the 1950s pulp novel that brought it all to light.
The story begins one hundred years ago. In 1912, artist couple Gerda and Einar Wegener arrived in Paris, hoping for greater prosperity and freedom than their conservative hometown of Copengahen would allow. They checked into the Hôtel d’Alsace, where – they were shocked to learn – they had been placed into the very same room where Oscar Wilde had once died twelve years earlier. The couple spent the next few days reading Wilde’s works out loud to each other. The forbidden sexuality, transformation, beauty and tragedy in Wilde’s work was reflected in the couple’s following years together.
Gerda, left. Lili, right.
In Paris, Gerda quickly became well-known for her sensual, free-spirited illustrations. Her work often featured a mysterious beauty with a stylish short bob, full lips, and beguiling brown eyes. In 1913, the public was shocked to learn the identity of the mystery model: Gerda’s husband, Einar. Einar was transitioning to living life openly as woman named Lili Elbe.
[Editors' note: We first met the delightful Numidas Prasarn last year at the Coilhouse Ball in NYC. Numi is a Brooklyn-based artist and producer who has cut her teeth on a multitude of mediums and roles in the fashion and photography worlds. She's obsessed with fashion theory, and with creating avenues for people to gain aesthetic control of their lives/find their voices. You can find her on Twitter @OhThatNumi, and at her portfolio site, numiempire.com.]
There has been a fair amount of rage surrounding sexism and the science/engineering/tech/VG industries in recent months, and for good reason. Controversies such as the harassment connected to Anita Sarkeesian’s Kickstarter campaign, the Boston API Jam , the Dell Moderator debacle, and even this NY Times Article with its baffling “Men invented the Internet” opener (read Xeni Jardin’s great reply on the subject), coincidentally about a sexual harassment suit in a Silicon Valley firm, make it hard to ignore. And while the backlash that follows these controversies brings out scores of positive support and appropriate outrage, the stories of othering and exclusion remain. The truth is, finding a positive female role model in these industries is difficult for outsiders (and sadly, some insiders), largely because their contributions are downplayed, or even silenced.
So how do we make sure the next generation gets fair play? This film is aiming to give some people hope:
Click image to be taken to full-screen player at the official DLG website.
Drive Like a Girl is a short documentary following the Fe Maidens (sometimes called the Fe26 Iron Maidens)– an all-girl robotics team from the Bronx High School of Science. Regional champions in the robotics competition held by FIRST (For Inspiration and Recognition of Science and Technology), the Iron Maidens had six weeks to build and program two robots and compete in a male-dominated tournament.
On one hand it’s refreshing to see these young girls unabashedly go for it, suppored by an organization that encourages them to explore. Their excitement is infectious. On the other hand, it’s heartbreaking watching these high-schoolers confront the same issues they are bound face as they continue down their paths. It starts early, and it starts small.
Or… perhaps it’s a little more sad knowing that the professional world is sometimes exactly like high school.