DOCSLIB.ORG

LIGHTBOX FILM CENTER at INTERNATIONAL HOUSE PHILADELPHIA to SCREEN LAURA PARNES’ ‘TOUR WITHOUT END.’ Wednesday, September 12 at 7Pm

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
LIGHTBOX FILM CENTER at INTERNATIONAL HOUSE PHILADELPHIA to SCREEN LAURA PARNES’ ‘TOUR WITHOUT END.’ Wednesday, September 12 at 7Pm LIGHTBOX FILM CENTER AT INTERNATIONAL HOUSE PHILADELPHIA TO SCREEN LAURA PARNES’ ‘TOUR WITHOUT END.’ Wednesday, September 12 at 7pm Press Contact: [email protected] Philadelphia, PA–Lightbox Film Center at International House Philadelphia is pleased to announce the screening of Laura Parnes’ Tour Without End on Wednesday, September 12 at 7pm. This screening is part of Lightbox Film Center’s monthly Subversive Elements series dedicated to experimental film and moving image art. Parnes, a Philadelphia native and notable Tyler School of Art alumni, will be in attendance. The film features members of Gang Gang Dance, Julie Ruin, MEN, Eartheater, MGMT, Light Asylum and more. An official selection of the 2018 Sarasota Film Festival, Tour Without End is an experimental narrative comedy/documentary hybrid film. Casting real-life musicians, artists, and actors as fictional bands on tour, the film evolves into a cross-generational commentary on contemporary culture and politics in the Trump era. Shot over the course of 4 years between 2014-2018, at over 15 DIY music spaces in and around NYC, Tour Without End functions as a time capsule made more apparent by the shuttering of many of the films’ locations due to NYC’s rapid gentrification. The film’s multitude of characters are legendary performers in the downtown NYC arts scene including Wooster Group founder Kate Valk, Jim Fletcher (The NYC Players), musicians Lizzi Bougatsos, (Gang Gang Dance), Kathleen Hanna (The Julie Ruin), Brontez Purnell (The Younger Lovers), Eileen Myles, Alexandra Drewchin (Eartheater), Nicole Eisenman, K8 Hardy, Johanna Fateman (Le Tigre) Shannon Funchess (Light Asylum), JD Samson (MEN), Gary Indiana, Kembra Pfahler, (Voluptuous Horror of Karen Black), Rachel Mason, Tom McGrath, Matthew Asti (MGMT), Becca Blackwell, Christen Clifford, Alessandra Genovese (Crush), Rogelio Ramos (Love Pig), Kenya Robinson (Cheeky LaShae) and Neon Music (Youth Quake). Shot in real environments and situations, the core group of players improvise based on semi-scripted scenes. Many of these performers are legendary in the downtown NYC arts scene and become archetypes playing archetypes. As the players move in and out of their real-life identities and roles as fictionalized characters, the film moves in and out of non-linear narrative, complicating the work as historical document. The film revels in the sometimes hilarious but always-complex band dynamics that the characters endure while touring, collaborating, and aging in a youth-driven music industry. The sometimes self-indulgent bubble the bands exist within is burst when, while on tour, they attend the protests surrounding the Republican convention. Drawing connections between past and present, the film draws from the current political climate and the rockumentary tradition of ‘This Is Spinal Tap’ and ‘Medium Cool’ to assert that no one exists outside of politics. Laura Parnes’ critically acclaimed films and installations address counter-cultural and youth-culture references where the music is integral to the work. Raised in Philadelphia, Parnes is a notable alumnus of the Tyler School of Art, Temple University, PA. Her work has been screened and exhibited widely in the US and internationally, including at the Whitney Museum of American Art, NY; MoMA PS1, NY; Miami Museum of Contemporary Art, FL; Brooklyn Museum; Deste Foundation for Contemporary Art, Athens; The International Film Festival Rotterdam, Rotterdam, Netherlands; and Museo Nacional Centro De Arte Reina Sofia, Madrid; and NY and on PBS and Spanish Television. Recently she had solo exhibitions at LA><, LA, Participant Inc., Fitzroy Gallery; and solo screenings at the Museum of Modern Art, and The Kitchen, New York City. Parnes is a 2013 John Simon Guggenheim Memorial Fellow, a 2014 NYFA recipient, and a 2016 Creative Capital Awardee. Video Data Bank published a box set of her work, and Participant Press published a book of her scripts titled ‘Blood and Guts in Hollywood: Two Screenplays’ by Laura Parnes with an introduction by Chris Kraus. She has also directed music videos for The Julie Ruin and Le Tigre. Tickets are free for members and IHP residents, $10 for the general public, and $8 for students and seniors. ABOUT LIGHTBOX FILM CENTER Lightbox Film Center is Philadelphia’s premier exhibitor of film and moving image art. As the signature arts program of International House Philadelphia, an independent nonprofit organization, Lightbox presents an unparalleled slate of repertory, nonfiction, experimental and international cinema. Beyond the traditional movie theater experience, Lightbox delivers enriching film programs with artist talks, live music and other multidisciplinary programs year-round in a dedicated venue known as a gathering place for cinephiles. Lightbox Film Center advances underrepresented and unexpected modes and makers of moving image art. Building a community around a shared reverence for cinema, Lightbox celebrates the projected image as a framework for diverse ideas and perspectives. Lightbox programs inspire discourse, invite exploration and challenge the status quo. .
Load more

Recommended publications
  • The DIY Careers of Techno and Drum 'N' Bass Djs in Vienna
    Cross-Dressing to Backbeats: The Status of the Electroclash Producer and the Politics of Electronic Music Feature Article David Madden Concordia University (Canada) Abstract Addressing the international emergence of electroclash at the turn of the millenium, this article investigates the distinct character of the genre and its related production practices, both in and out of the studio. Electroclash combines the extended pulsing sections of techno, house and other dance musics with the trashier energy of rock and new wave. The genre signals an attempt to reinvigorate dance music with a sense of sexuality, personality and irony. Electroclash also emphasizes, rather than hides, the European, trashy elements of electronic dance music. The coming together of rock and electro is examined vis-à-vis the ongoing changing sociality of music production/ distribution and the changing role of the producer. Numerous women, whether as solo producers, or in the context of collaborative groups, significantly contributed to shaping the aesthetics and production practices of electroclash, an anomaly in the history of popular music and electronic music, where the role of the producer has typically been associated with men. These changes are discussed in relation to the way electroclash producers Peaches, Le Tigre, Chicks on Speed, and Miss Kittin and the Hacker often used a hybrid approach to production that involves the integration of new(er) technologies, such as laptops containing various audio production softwares with older, inexpensive keyboards, microphones, samplers and drum machines to achieve the ironic backbeat laden hybrid electro-rock sound. Keywords: electroclash; music producers; studio production; gender; electro; electronic dance music Dancecult: Journal of Electronic Dance Music Culture 4(2): 27–47 ISSN 1947-5403 ©2011 Dancecult http://dj.dancecult.net DOI: 10.12801/1947-5403.2012.04.02.02 28 Dancecult 4(2) David Madden is a PhD Candidate (A.B.D.) in Communications at Concordia University (Montreal, QC).
    [Show full text]
  • Shogun's Local Legacy Kathleen Hanna True Widow
    Vol. 24 • Issue 297 • September 2013 • slugmag.com • Always Free Shogun’s Local Legacy Kathleen Hanna True Widow slugmag.com 1 2 SaltLakeUnderGround slugmag.com 3 SaltLakeUnderGround • Vol. 24 • Issue #297 • September 2013 • slugmag.com facebook.com/SLUG.Mag @SLUGMag @SLUGMag youtube.com/user/SLUGMagazine Publisher: Eighteen Percent Gray Marketing Manager: Editor: Angela H. Brown Karamea Puriri Managing Editor: Esther Meroño Marketing Team: Ischa B., Sabrina Costello, Editorial Assistant: Alexander Ortega Kristina Sandi, Brooklyn Ottens, Angella Luci- Office Coordinator:Gavin Sheehan sano, Nicole Roccanova, Raffi Shahinian, Vic- Digital Content Coordinator: Cody Kirkland toria Loveless, Zac Freeman, Cassie Anderson, Copy Editing Team: Esther Meroño, Alexan- Cassie Loveless, Shley Kinser, Matt Brunk, Robin der Ortega, Mary E. Duncan, Cody Kirkland, Sessions, Carl Acheson, Chandler Hunt Johnathan Ford, Alex Cragun, Rachel Miller, Ka- Social Media Coordinator: Catie Weimer tie Bald, Liz Phillips, Allison Shephard, Laikwan Waigwa-Stone, Shawn Soward Distribution Manager: Eric Granato Distro: Eric Granato, Tommy Dolph, Tony Cover Designer: Joshua Joye Bassett, Nancy Burkhart, Adam Okeefe, Ryan Lead Designer: Joshua Joye Worwood, John Ford, Matt Pothier, Phil Cannon, Design Team: Eleanor Scholz, BJ Viehl, Lenny Tim Kronenberg, Justin Nelson-Carruth, Xkot Riccardi, Chad Pinckney, Mason Rodrickc Toxsik, Nancy Perkins Ad Designers: Kent Farrington, Sumerset Bivens, Christian Broadbent, Kelli Tompkins, Eric Senior Staff Writers: Mike Brown, Mariah Sapp, Brad Barker, Paden Bischoff, Maggie Mann-Mellus, James Orme, Lance Saunders, Zukowski, Thy Doan, KJ Jackett, Nicholas Dowd, Bryer Wharton, Peter Fryer, James Bennett, Ricky Nick Ketterer Vigil, Gavin Hoffman, Esther Meroño, Rebecca Website Design: Kate Colgan Vernon, Jimmy Martin, Ben Trentelman, Princess Office Interns: Carl Acheson, Robin Sessions, Kennedy, Sean Zimmerman-Wall, Cody Hudson, Alex Cragun, Chandler Hunt Shawn Mayer, Dean O.
    [Show full text]
  • For the Love of It?: Zine Writing and the Study Of
    FOR THE LOVE OF IT?: ZINE WRITING AND THE STUDY OF CONTEMPORARY AMATEUR WORK A Dissertation by EMILY SARA HOEFLINGER Submitted to the Office of Graduate and Professional Studies of Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Chair of Committee, Mary Ann O’Farrell Committee Members, Sally Robinson Giovanna Del Negro Joan Wolf Head of Department, Maura Ives May 2016 Major Subject: English Copyright 2016 Emily Sara Hoeflinger ABSTRACT In this project, I am examining zines in relation to the question of contemporary amateurism. With the onset of Web 2.0 came a space for new forms of amateur work, but this new work hasn’t been addressed as “amateur,” which has revealed a problem between what theorists know the amateur to be and what has been embraced by mainstream culture. This oversimplification of the definition of amateurism seems to threaten the integrity of amateur work in general. I analyze the concepts “transparency” and “distance” and show that both highlight the need for preserving the amateur. I confront the notion of “for the love it” by interrogating the boundaries that zine writers have established and the misperception that zine work somehow remains on the fringe of capitalist culture. Moreover, I identify the Pro Am (professional amateur) as the most significant contemporary amateur figure because it directly challenges not only what it means to be professional, but also what it means to be amateur. By examining perzines and glossies, I argue that while “for the love of it” has been downplayed or even ignored, internal rewards are still an important factor in what makes an act amateur and that external rewards don’t always have to be monetary.
    [Show full text]
  • 18 Transgender CON by Chris Angel Murphy 18 Alcoholism, the Thinking Disease by G-O Digillio TENTS 32 Living out by Sally Sheklow
    1 TWO MOTHERS – Germany – Director, Anne Zohra Berrached REACHING FOR THE MOON – Brazil - Director, Bruno Barreto Enjoy a great line-up of LGBT films, including our annual celebration of diversity in cinema, the GAY!La screenings - for HIM and for HER - and party! Palm Springs International Film Festival features eleven unforgettable days of screenings, tributes and special events in the gorgeous desert setting of Palm Springs. With more than 185 films from over 70 different countries, it’s a singular celebration of the best of international and American cinema. Box Office Opens December 26, 2013 Special hotel rates available at psfilmfest.org/participate/travel/ Reel-Deal Six Packs & Special Event tickets NOW on sale online at: psfilmfest.org or call (760) 778-8979 title SPONSOR major SPONSORS is a proud sponsor of the Palm Springs International Film Festival Lesbian News Magazine | December 2013 | www.LesbianNews.com Subscribe To Lesbian News NOW With every 1 year subscription receive this LN perk. Subscribe to Lesbian News on your iPad & iPhone and access the magazine as well as LN digital extras each month. Advertise in LN 1.800.458.9888 3 December 2013 Features 14 Theorhetorically Speaking By Nikki McCauley 18 Transgender CON By Chris Angel Murphy 18 Alcoholism, The Thinking Disease By G-O Digillio TENTS 32 Living Out By Sally Sheklow 33 Positive Reflections Inside LN By Dian Katz, MS 42 Words That Make Sense 11 POETRY By Toni Hart 13 MUSIC 19 LIFE COACH’S CORNER 19 QUEERLY QUESTIONING Lifestyles 20 MOVIES EYE C 22 LOLs 10 Politically
    [Show full text]
  • REFORMULATING the RIOT GRRRL MOVEMENT: GRRRL RIOT the REFORMULATING : Riot Grrrl, Lyrics, Space, Sisterhood, Kathleen Hanna
    REFORMULATING THE RIOT GRRRL MOVEMENT: SPACE AND SISTERHOOD IN KATHLEEN HANNA’S LYRICS Soraya Alonso Alconada Universidad del País Vasco (UPV/EHU) [email protected] Abstract Music has become a crucial domain to discuss issues such as gender, identities and equality. With this study I aim at carrying out a feminist critical discourse analysis of the lyrics by American singer and songwriter Kathleen Hanna (1968-), a pioneer within the underground punk culture and head figure of the Riot Grrrl movement. Covering relevant issues related to women’s conditions, Hanna’s lyrics put gender issues at the forefront and become a sig- nificant means to claim feminism in the underground. In this study I pay attention to the instances in which Hanna’s lyrics in Bikini Kill and Le Tigre exhibit a reading of sisterhood and space and by doing so, I will discuss women’s invisibility in underground music and broaden the social and cultural understanding of this music. Keywords: Riot Grrrl, lyrics, space, sisterhood, Kathleen Hanna. REFORMULANDO EL MOVIMIENTO RIOT GRRRL: ESPACIO Y SORORIDAD EN LAS LETRAS DE KATHLEEN HANNA Resumen 99 La música se ha convertido en un espacio en el que debatir temas como el género, la iden- tidad o la igualdad. Con este trabajo pretendo llevar a cabo un análisis crítico del discurso con perspectiva feminista de las letras de canciones de Kathleen Hanna (1968-), cantante y compositora americana, pionera del movimiento punk y figura principal del movimiento Riot Grrrl. Cubriendo temas relevantes relacionados con la condición de las mujeres, las letras de Hanna sitúan temas relacionados con el género en primera línea y se convierten en un medio significativo para reclamar el feminismo en la música underground.
    [Show full text]
  • Generation X and the Invention of a Third Feminist Wave
    GENERATION X AND THE INVENTION OF A THIRD FEMINIST WAVE by ELIZABETH ANN BLY Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Advisor: Dr. Renée Sentilles Department of History CASE WESTERN RESERVE UNIVERSITY January, 2010 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of _____________________________________________________ candidate for the ______________________degree *. (signed)_______________________________________________ (chair of the committee) ________________________________________________ ________________________________________________ ________________________________________________ ________________________________________________ ________________________________________________ (date) _______________________ *We also certify that written approval has been obtained for any proprietary material contained therein. Copyright © 2009 by Elizabeth Ann Bly All rights reserved iii For Gabe, Kristin, and Xoe And in memory of Judith Northwood (1964-2009) iv TABLE OF CONTENTS LIST OF ILLUSTRATIONS viii ACKNOWLEDGEMENTS ix ABSTRACT xiii INTRODUCTION 1 White Grrrls 7 ―We Don‘t Need Another Wave‖ 11 Generation X, Feminism, and Contemporary History 19 ―The Order of Things‖ 25 CHAPTER ONE: “Generation X and the 1970s Pop Cultural Discourse on „Women‟s Lib‟” 32 ―Women‘s Lib‖: The Media‘s ―Charred Bra‖ Revolution 35 A Day in the Life: ―Women‘s Lib‖ as Spectacle 38 ―And Then There‘s Maude‖: ―Women‘s Lib‖ and Adult TV 46 Women‘s Lib
    [Show full text]
  • Why I Love NYC: Le Tigre
    Choose your city Don't miss a thing: sign up to get the latest from Time Out. Subscribe to Time Out New York Magazine Tickets & Offers Things To Do Restaurants Bars Movies Theater Art Music Shopping & Style Blog Nightlife Attractions Events & Festivals Museums Kids Comedy Dance LGBT Sex & Dating Books City Guide Neighborhoods Hotels Promotions What When Where Things to do or see in New York All dates All areas Why I love NYC: Le Tigre The New York rockers and feminist icons share their favorite spots throughout the Hotel Belleclaire city. By Karen Iris Tucker Mon Mar 28 2011 From $197 See now The Watson Hotel From $198 See now Hotel Belleclaire The Watson Hotel From $197 From $198 Paramount Times The Lucerne Hotel Square whyiloveNYC01letigre From $278 From $217 Though its members were bred elsewhere, feminist electropunk trio Le Tigre is firmly rooted in New York City: Frontwoman Kathleen Hanna resides downtown, guitarist Johanna Fateman lives in Harlem, and keyboardist JD Samson represents Brooklyn. The band even featured an ode to the city's subway system, "My My Metrocard," on its 1999 self­titled debut album. The group has been on hiatus since 2006, but fans clamoring for a fix can relive Hanna & Co.'s frenetic live performances with the upcoming release of Who Took the Bomp? Le Tigre on Tour, directed by Kerthy Fix (Strange Powers: Stephin Merritt and the Magnetic Fields). The documentary, which is out on DVD on June 7, follows the band's 2004 tour, Millennium Broadway Hudson New York, New York Times Square and celebrates the trio's ability to lyrically pulverize homophobic bigots, Rudy Giuliani and misogynistic jerks—all while Central Park playing fun, danceable beats.
    [Show full text]
  • Download Artist Bios
    REFLECTING ABSTRACTION April 14 - May 14, 2011 Participants SADIE BENNING Sadie Benning was born in Madison, Wisconsin in 1973. She received her M.F.A. from Bard College in 1997. Her videos have been exhibited internationally in museums, galleries, universities and film festivals since 1990 with select solo exhibitions at the Museum of Modern Art, The Whitney Museum of American Art, The Film Society of Lincoln Center, Centre Georges Pompidou, and Hallwalls Contemporary Arts Center among other venues. Her work is in many permanent collections, including those of the Museum of Modern art, The Fogg Art Musuem, and the Walker Art Center, and has been included in the following exhibitions: Annual Report: 7th Gwangju Biennale (2008); White Columns Annual (2007); Whitney Biennial (2000 and 1993); Building Identities, Tate Modern (2004); Remembrance and the Moving Image, Australian Centre for the Moving Image (2003); Video Viewpoints, Museum of Modern Art (2002); American Century, Whitney Museum of Modern Art (2000); Love’s Body, Tokyo Museum of Photography (1999); Scream and Scream Again: Film in Art, Museum of Modern Art Oxford (1996-7), and Venice Biennale (1993). Benning’s recent work has increasingly incorporated video installation, sound, sculpture, and drawing. Solo exhibitions include Wexner Center for the Arts (Sadie Benning: Suspended Animation, 2007), Orchard Gallery (Form of…a Waterfall, 2008), Dia: Chealsea (Play Pause, 2008) and The Power Plant (Play Pause, 2008). She is a former member and cofounder, with Kathleen Hanna and Johanna Fateman, of the music group Le Tigre. She has received grants and fellowships from Guggenheim Foundation, Andrea Frank Foundation, National Endowment of the Arts, and Rockefeller Foundation.
    [Show full text]
  • Read the Following Text and Answer the Questions. the Riot
    Read the following text and answer the questions. The riot grrrl returns Dan Hancox – October 3, 2013 – The National Among the various waves of western feminism and rebellious youth subcultures since the 1960s, riot grrrl stands out as one of the most provocative, but also one of the most thoughtful and deliberative. Its roots were in the punk and new wave music and attitude of the late 1970s and 1980s, but it was not until the early 1990s that the term emerged from the punk scenes of Washington DC and the north-western region of the United 5 States, drawing on a growing youth feminist movement and the DIY youth culture embodied in homemade, cut-and-paste fanzines. References to “revolution girl style now” and “riot girls” mutated into the punk growl not of docile girls but “grrrls”. It was quickly and substantially misunderstood by the very culture they were rebelling against: as bands like Bikini Kill and Bratmobile began to attract attention beyond the punk underground, so did the American 10 media’s excitement about this “new big thing”, in the aftermath of grunge. This excitement quickly manifested itself in a tendency to generalise, fetishise and trivialise the things the riot grrrls were singing about, and conveying through their broader aesthetics: in fanzines, onstage, or otherwise. “There were,” Sharon Cheslow said in the 11-part Riot Grrrl Retrospective documentary, “a lot of very important ideas that I think the mainstream media couldn’t handle, so it was easier to focus on the fact that these were girls who 15 were wearing barrettes in their hair or writing ‘slut’ on their stomach.” Covering issues like misogyny, abuse and patriarchy were considered too contentious or complex for the American mainstream, and instead, the movement was patronised in a way which confirmed much of their original anger.
    [Show full text]
  • School of Art 2021–2022
    School of Art 2021–2022 BULLETIN OF YALE UNIVERSITY Series 117 Number 4 June 30, 2021 BULLETIN OF YALE UNIVERSITY Series 117 Number 4 June 30, 2021 (USPS 078-500) is published seventeen times a year (one time in May and October; three times in June and September; four times in July; five times in August) by Yale University, 2 Whitney Avenue, New Haven CT 06510. Periodicals postage paid at New Haven, Connecticut. Postmaster: Send address changes to Bulletin of Yale University, PO Box 208227, New Haven CT 06520-8227 Managing Editor: Kimberly M. Go≠-Crews Editor: Lesley K. Baier PO Box 208230, New Haven CT 06520-8230 The closing date for material in this bulletin was June 10, 2021. The University reserves the right to amend or supplement the information published in this bulletin at any time, including but not limited to withdrawing or modifying the courses of instruction or changing the instructors. ©2021 by Yale University. All rights reserved. The material in this bulletin may not be reproduced, in whole or in part, in any form, whether in print or electronic media, without written permission from Yale University. Content Questions regarding the editorial content of this publication may be referred to Taryn Wolf, Assistant Dean for Academic A≠airs, Yale School of Art. Inquiries All inquiries regarding admission to graduate programs in art should be addressed to the O∞ce of Academic Administration, Yale School of Art, 1156 Chapel Street, PO Box 208339, New Haven CT 06520-8339; telephone, 203.432.2600; email, art.admissions@ yale.edu. Website http://art.yale.edu The School of Art Bulletin is primarily a digital publication, available in HTML and pdf at https://bulletin.yale.edu.
    [Show full text]
  • Die Radikalen Möglichkeiten Der Lust
    # 2018/45 dschungel https://jungle.world/artikel/2018/45/die-radikalen-moeglichkeiten-der-lust Riot-Grrrl Kathleen Hanna wird 50 Die radikalen Möglichkeiten der Lust Von Vojin Saša Vukadinović Bikini Kill, Le Tigre, The Julie Ruin und vieles mehr: Zum 50. Geburtstag von Kathleen Hanna. Kathleen Hanna hat es stets abgelehnt, als Sprecherin der Riot-Grrrl-Bewegung tituliert zu werden. Diese revolutionierte zu Beginn der neunziger Jahre zunächst den Punk, um später solch einen Einfluss auf die nachfolgende Generation von Mädchen, Frauen und auch Männern auszuüben, dass sie zu Recht als entscheidenden Wegmarke der jüngeren Geschichte des Feminismus gilt. Gleichwohl wird kein Porträt der ehemaligen Sängerin der Band Bikini Kill eine personalisierende Bestandsaufnahme ebenjener Bewegung aussparen können, weil es Hannas persönlicher Einsatz, ihre beharrlichen Anstrengungen und ihre künstlerischen Leistungen waren, die mit zum kollektiven Erfolg beitrugen, der den Namen »Riot Grrrl« trägt. Was 1991 unter dieser Bezeichnung seinen Anfang nahm, begann zunächst als Aufstand gegen die unverhohlene Misogynie und den handfesten Sexismus, der in Punk- und Hardcore-Kreisen üblich war. Frauen, die sich in den Moshpit wagten, wurden oftmals begrapscht. Die verrohten Fraktionen besangen schamlos die Entwertung des weiblichen Geschlechts, womit vordergründig Eltern, Gesellschaft oder Staat provoziert werden sollten. Obwohl diese taktische Brüskierung regelmäßig frauenverachtend wurde, konnte sie jahrelang weitgehend unwidersprochen als trotzige Geste durchgehen.
    [Show full text]
  • The Riot Grrrl Collection 1St Edition Free Download
    FREE THE RIOT GRRRL COLLECTION 1ST EDITION PDF Lisa Darms | 9781558618220 | | | | | The Riot Grrrl Collection by Lisa Darms, Paperback | Barnes & Noble® Goodreads helps you keep track of books you want to read. Want to Read saving…. Want to Read Currently Reading Read. Other editions. Enlarge cover. Error rating book. Refresh and try again. Open Preview See a Problem? Details if other :. Thanks for telling us about the problem. Return to Book Page. Johanna Fateman Introduction. Kathleen Hanna Contributor. For the past two decades, young women and men have found their way to feminism through Riot Grrrl. Against the backdrop of the culture wars and before the rise of the Internet or desktop publishing, the zine and music culture of the Riot Grrrl movement empowered young women across the country to speak out against sexism and oppression, creating a powerful new force of li For the past two decades, young women and men have found their way to feminism through Riot Grrrl. Against the backdrop of the culture wars and before the rise of the Internet or desktop publishing, the zine and music culture of the Riot Grrrl movement empowered young women across the country to speak out against sexism and oppression, The Riot Grrrl Collection 1st edition a powerful new force of liberation and unity within and outside of the women's movement. While feminist bands like Bikini Kill and Bratmobile fought for their place in a male-dominated punk scene, their members and fans developed an extensive DIY network of activism and support. Johanna Fateman is a writer, musician, record producer, and member of the post-punk band Le Tigre.
    [Show full text]