Feminismusbuch

Total Page:16

File Type:pdf, Size:1020Kb

Feminismusbuch give the a cigarette feminist 1 Ein Feminismusbuch. 2 @ Februar 2001 Herausgeber. Hinweis: Es 16 Gormannstr. kulturrevolution.design Gestaltung Dörte Gutschow (V Redaktion web: www.jungdemokratinnen.de email: [email protected] Fon: 0202-4938354, Fax: 0202-451123, 29c, Kielerstr. Landesverband Nordrhein-Westfalen JungdemokratInnen / Junge Linke HerausgeberInnen givegive thethe cigarettecigarette aa konnten leider nicht sämtliche Bildrechte vollständig geklärt werden. Bei Fragen wenden Sie sich bitte an die 42107 Wuppertal Feminismus : 10119 Berlin : www.k : 10119 FeminismusFeminismushandbuchhandbuch .i.S.d.P.), .i.S.d.P.), Sarah Dellmann, Lisa Zimmermann, Hella Eberhardt ulturrevolution.de Feminismus - das ist doch Frauensache!? Ein paar Gedanken über "bewegte Männer" und andere Ein Kurzüber- und Einblick in die Geschichte der deutschen Frauenbewegung Nicht mehr schlucken, Feuer spucken - Männliches Redeverhalten Und bist Du nicht willig... - Gewalt gegen Frauen und Mädchen Geschlechter in den Medien - Sozialisation durch die Warum müssen Kinder immer Jungen oder Mädchen sein? Riot Grrrls, Revolution und Frauen im Independent Rock II Die Schöne und das Biest "Gabi hat den Tarzan lii-ii-ieb..." - "Gabi hat den Tarzan Kämpferinnen für Volk Kämpferinnen für Volk I Für den Anfang Joanne Gottlieb, Gayle Wald S. 54 Joanne Gottlieb, Gayle Muttertag: Mutti ist die Beste! - Frauenbilder Und sie bewegt sich doch! Lisa Zimmermann S. 38 Lisa Zimmermann S. 30 Melanie Schreiber S. 48 Der Mythos Schönheit Smells Like Teen Spirit Smells Like Teen Dörte Gutschow S. 29 Dörte Gutschow S. 24 Tobias Ebbrecht S. 40 Tobias Hella Eberhardt S. 16 Johannes Bock S. 21 Lars Quadfasel S. 32 Tobias Ebbrecht S.8 Tobias JD/JL Bonn S.11 8. März Täter und Vaterland TKKG 3 III Not only a woman V Staat & Sex Lesben - arme diskriminierte Minderheit? Zur gesellschaftlichen Situation von Lesben Die drei Formen des Frauenhandels Jutta Oesterle-Schwerin S. 75 Annette Borchfeldt S. 115 Wie viel Frau ist eine "Behinderte"? Prostitution - Kein Beruf wie jeder andere?! Kassandra Ruhm S. 82 Hella Eberhardt S. 119 4 5 Liebe "Nicht-Behinderte", bitte beachten: ... Bevölkerungspolitik - Karriere eines Problems Kassandra Ruhm S. 84 Helen Schwenken S. 124 Kein Schutz vor sexistischer Verfolgung Pornografie Marei Pelzer S. 87 Sarah Dellmann S. 130 Marginalisiert, qualifiziert, engagiert Migrantinnen und Flüchtlingsfrauen in der BRD Helen Schwenken S. 89 VI give the feminist a theory Geteilte Selbstbefreiung? Feministische Politik im rassistischen Kontext Liebe und Macht Marei Pelzer S. 96 Charlotte Ullrich, Martin Winterhalder S. 135 kill the matrix with a groove - Die Dekonstruktion von Körper und Geschlecht bei Judith Butler IV Der Gang durch die Institutionen Daniel Loick S. 137 Sex und Gender - For lack of a more elegant term - Don´t marry - be happy! Charlotte Ullrich S. 142 Sarah Dellmann S.98 FEMINISTS LIKE US Frauen in der Schule Programm der Medienpolitischen Ambulanzen V3.0 S. 145 Sarah Dellmann S. 101 Frauen und Hochschule Die feministische Sexualitätsdebatte Charlotte Ullrich S. 105 Helen Schwenken S. 154 Gleichstellungspolitik? Sarah Dellmann S. 108 Lebensplanung von Frauen: Beruf oder Familie oder doppelte Vergesellschaftung? Sarah Dellmann S.111 sverzeichnis inhalt 6 Vorweg 7 Über ein Jahr hat es von den ersten Erkenntniss dar. Ideen bis zum Druck gedauert. Dazwi- schen lagen unzählige Diskussionen über Nicht alle Texte sind taufrisch, so dass das Konzept (das wir mehrere Male auf sie an manchen Stellen vielleicht nicht den Kopf gestellt haben) und die ganz aktuell erscheinen. Es handelt sich Artikel, die wir geändert, gekürzt und allerdings um einige wenige Passagen ergänzt, andere ganz rausgenommen und wir waren der Ansicht, dass es sich haben. Aber nun ist es endlich soweit: auf jeden Fall trotzdem lohnt, die Texte 160 Seiten umfasst diese Ausgabe. zu lesen. Die Idee für dieses Buch kam uns, als Wir danken allen Autorinnen und wir unsere Materialbestände sichteten. Autoren, die sich die Mühe gemacht Ursprünglich als Neuauflage des haben, einen Artikel (oder mehrere) zu vergriffenen Feminismus-Schnupper- schreiben. Außerdem danken wir den Buches geplant, ist nun doch nur ein Autorinnen und Verlagen, die uns ihre Artikel des alten Buches übernommen Texte für den Nachdruck in diesem Buch worden. zur Verfügung gestellt haben und freuen uns auf Lob, Kritik und Anregungen der Dieses Buch ist so konzipiert, dass er LeserInnen. sowohl für LeserInnen, die einen Einstieg in das Thema wollen als auch In diesem Sinne, für diejenigen ansprechend ist, die sich schon länger mit dem Thema beschäfti- Dörte Gutschow für die Redaktion gen und ihre Kenntnisse vertiefen wollen. Die vertretenen Positionen in den Artikeln spiegeln nicht immer die Meinung der HerausgeberInnen wieder, da diese an sich schon unterschiedlich sind. Vielmehr stellen sie vorläufige Diskussionsergebnisse und vorläufige Tobias Ebbrecht (1995) Mädchen werden schon früh zur Und sonst, im "normalen" Leben? Verantwortung gezogen, sollen die Kinder lernen, dass Entscheidungs- und Eltern entlasten, leisten schon früh einen Funktionsträger fast ausschließlich Warum müssen weitaus größeren Teil der Hausarbeit, als Männer sind. Sie lernen das in der gleichaltrige Jungen0. Schule, wo (sogar in ansonsten nur mit Kinder immer Aber trotzdem ist es mit der Freiheit der Frauen besetzten Grundschulen) der Jungen nicht so weit her. Das, was ihnen männliche Direx den Ton angibt. Sie als Freiheit zugebilligt wird, ist so zu lernen das in der Politik, wo sich die Jungen oder sein, wie sich eine patriarchale Gesell- Männer aller Parteien immer gerne in schaft die Männer vorstellt: Stark, den Vordergrund drängen. Sie lernen das mutig, klug und groß, alles Idealvorstel- in Unterhaltung und Kultur, wo Frauen 8 Mädchen sein? lungen, die propagiert und verkauft nichts als bessere Sexualobjekte sind. Sie 9 werden und irgendwann Jungen lernen es in der Werbung, wo mit ersticken müssen. Frauenkörpern Ware verkauft wird. Die Mütter sind doch sel- Aber es geht doch auch ber schuld? anders - Ein Kind sitzt im Sandkasten und spielt Vieles in der Sozialisation von kleinen mit kleinen Spielzeugautos, plötzlich Menschen geschieht unbewusst, das Managerinnen und springt es auf. Auf der Wiese spielen Stillen zum Beispiel0. Studien belegen, Mütter erziehen Kinder, zumindest in Karrierefrauen große Kinder Fußball, das kleine Kind dass Jungen im Durchschnitt länger patriarchalen Gesellschaften. Also will auch Fußball spielen oder zumin- gestillt werden als Mädchen. Kein sollen sie es doch besser machen, ist doch ihre Schuld, wenn sie den Natürlich gibt es Ausnahmen, aber dest in der Pfütze planschen. Klarer Mensch lässt sich natürlich nachsagen, immer ist das, was als männlich gilt, die Fall: Ein Junge. Ein anderes Kind sitzt er/sie kümmere sich nicht ausreichend Vergewaltiger von morgen an ihrem Busen nähren... Norm. Mädchen sollen so erzogen mit einer Puppe auf einer Decke, die um seine/ihre Kinder, trotzdem ist es werden wie Jungen, sie sollen die Kleider ordentlich, die Haare schön Fakt, dass Jungen zumindest im Denkste! Allgemeine Denkweise in Sachen Sozialisation ist es, den Frauen gleichen Freiheiten haben, die gleiche frisiert, unauffällig, unkompliziert und Säuglingsalter konform und Mädchen Ausbildung und dann landet doch der brav. Klarer Fall: Ein Mädchen. konträr zu frühkindlichen Bedürfnissen die Sache zu überlassen, sie sollen durch Mehrarbeit das Ungleichgewicht wieder Kerl im Betrieb und die Frau hinterm erzogen werden. Mädchen werden so Herd. Mittlerweile gibt es Managerin- Ist das wirklich alles so klar, was wir da aufheben. Vergessen wird dabei, wo schon früh zu Verzicht genötigt. nen und erfolgreiche Frauen, die es tagtäglich sehen? Jungen spielen mit Diese Bedürfnisse sind vor allem in den überall kräftig mitsozialisiert wird. Die Medien, durchgängig vom Kinder- gelernt haben, sich in der Männerwelt Autos, Mädchen mit Puppen. Natürlich ersten Lebensmonaten taktile Reize, zurechtzufinden. Schön und gut, aber gibt es mittlerweile Ausnahmen. also Reize, die über die Haut als film, über Hörspielkassetten, Vorabend- serien, bis zu Spiel- und Pornofilmen doch ändert das noch Mädchen dürfen auch manchmal so sein Berührungen wahrgenommen werden. wenig an der Realität und wie Jungen. Was bleibt, ist eine männli- Jungen werden vor allem taktil stimu- vermitteln stereotype Geschlechterrol- len, die schon kaum noch realistisch doch kratzt diese che Norm. Dabei ist es erwiesen, dass liert, Mädchen akkustisch. Entwicklung nur an der Kinder, wenn sie auf die Welt kommen, anmuten. Ziel ist es auch weniger, die Gesellschaft "realistisch" widerzuspie- Oberfläche einer patriar- gar keine (ausgeprägte) Geschlechts- Die große Freiheit und der chalisch organisierten identität haben. Dass sie dann doch geln, sondern ihr ein überspitztes Platz in der Ecke Spiegelbild vorzuhalten, um die gängigen Gesellschaft, in der die schließlich und endlich eine bekommen Männer das Sagen haben, und nicht nur von außen, sondern auch Klischees und Rollenbilder aufrechtzu- Jungen genießen in ihrer Sozialisation erhalten und einzuprägen. weil sie Männer sind. von sich selbst aus in Mädchen und Natürlich bringt es schon Jungen unterschieden werden, ist eine weit größere Freiheit, als Mädchen. Dass sich Menschen von den dargestell- Nicht nur, dass ihre Bedürfnisse erfüllt ten Gewaltsituationen bedroht fühlen, einiges Durcheinander, zwangsläufige Folge der Erziehung, der dass plötzlich eine Chefin Sozialisation. werden, auch später dreht sich alles um dass
Recommended publications
  • “Grunge Killed Glam Metal” Narrative by Holly Johnson
    The Interplay of Authority, Masculinity, and Signification in the “Grunge Killed Glam Metal” Narrative by Holly Johnson A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master of Arts in Music and Culture Carleton University Ottawa, Ontario © 2014, Holly Johnson ii Abstract This thesis will deconstruct the "grunge killed '80s metal” narrative, to reveal the idealization by certain critics and musicians of that which is deemed to be authentic, honest, and natural subculture. The central theme is an analysis of the conflicting masculinities of glam metal and grunge music, and how these gender roles are developed and reproduced. I will also demonstrate how, although the idealized authentic subculture is positioned in opposition to the mainstream, it does not in actuality exist outside of the system of commercialism. The problematic nature of this idealization will be examined with regard to the layers of complexity involved in popular rock music genre evolution, involving the inevitable progression from a subculture to the mainstream that occurred with both glam metal and grunge. I will illustrate the ways in which the process of signification functions within rock music to construct masculinities and within subcultures to negotiate authenticity. iii Acknowledgements I would like to thank firstly my academic advisor Dr. William Echard for his continued patience with me during the thesis writing process and for his invaluable guidance. I also would like to send a big thank you to Dr. James Deaville, the head of Music and Culture program, who has given me much assistance along the way.
    [Show full text]
  • KREVISS Cargo Records Thanks WW DISCORDER and All Our Retail Accounts Across the Greater Vancouver Area
    FLAMING LIPS DOWN BY LWN GIRL TROUBLE BOMB ATOMIC 61 KREVISS Cargo Records thanks WW DISCORDER and all our retail accounts across the greater Vancouver area. 1992 was a good year but you wouldn't dare start 1993 without having heard: JESUS LIZARD g| SEBADOH Liar Smash Your Head IJESUS LIZARD CS/CD On The Punk Rock CS/CD On Sebadoh's songwriter Lou Barlow:"... (his) songwriting sticks to your gullet like Delve into some raw cookie dough, uncharted musical and if he ever territory. overcomes his fascination with the The holiday season sound of his own being the perfect nonsense, his time for this baby Sebadoh could be from Jesus Lizard! the next greatest band on this Hallelujah! planet". -- Spin ROCKET FROM THE CRYPT Circa: Now! CS/CD/LP San Diego's saviour of Rock'n'Roll. Forthe ones who Riff-driven monster prefer the Grinch tunes that are to Santa Claus. catchier than the common cold and The most brutal, loud enough to turn unsympathetic and your speakers into a sickeningly repulsive smoldering heap of band ever. wood and wires. A must! Wl Other titles from these fine labels fjWMMgtlllli (roue/a-GO/ are available through JANUARY 1993 "I have a responsibility to young people. They're OFFICE USE ONLY the ones who helped me get where I am today!" ISSUE #120 - Erik Estrada, former CHiPs star, now celebrity monster truck commentator and Anthony Robbins supporter. IRREGULARS REGULARS A RETROSPECT ON 1992 AIRHEAD 4 BOMB vs. THE FLAMING LIPS COWSHEAD 5 SHINDIG 9 GIRL TROUBLE SUBTEXT 11 You Don't Go To Hilltop, You VIDEOPHILTER 21 7" T\ REAL LIVE ACTION 25 MOFO'S PSYCHOSONIC PIX 26 UNDER REVIEW 26 SPINLIST.
    [Show full text]
  • Communication Dialectics in a Musical Community: the Anti- Socialization of Newcomers
    University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1995 Communication dialectics in a musical community: The anti- socialization of newcomers Karen Louise Rohrbauck-Stout The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Rohrbauck-Stout, Karen Louise, "Communication dialectics in a musical community: The anti-socialization of newcomers" (1995). Graduate Student Theses, Dissertations, & Professional Papers. 5411. https://scholarworks.umt.edu/etd/5411 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. Maureen and Mike MANSFIELD LIBRARY The University of ^ M O N T A N A Permission is granted by the author to reproduce this material in its entirety, provided that this material is used for scholarly purposes and is properly cited in published works and reports. * * Please check "Yes" or "No" and provide signature * * Yes, I grant permission No, I do not grant permission Author's Signature Date Any copying for commercial purposes or financial gain may be undertaken only with the author's explicit consent. COMMUNICATION DIALECTICS IN A MUSICAL COMMUNITY: THE ANTI-SOCIALIZATION OF NEWCOMERS. by Karen Louise Rohrbauck-Stout B .A. the University of Puget Sound, 1992 presented in partial fulfillment of the requirements for the degree of Master of Arts The University of Montana 1995 Approved by: Dean, Graduate School Date UMI Number: EP40875 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted.
    [Show full text]
  • Allison Wolfe Interviewed by John Davis Los Angeles, California June 15, 2017 0:00:00 to 0:38:33
    Allison Wolfe Interviewed by John Davis Los Angeles, California June 15, 2017 0:00:00 to 0:38:33 ________________________________________________________________________ 0:00:00 Davis: Today is June 15th, 2017. My name is John Davis. I’m the performing arts metadata archivist at the University of Maryland, speaking to Allison Wolfe. Wolfe: Are you sure it’s the 15th? Davis: Isn’t it? Yes, confirmed. Wolfe: What!? Davis: June 15th… Wolfe: OK. Davis: 2017. Wolfe: Here I am… Davis: Your plans for the rest of the day might have changed. Wolfe: [laugh] Davis: I’m doing research on fanzines, particularly D.C. fanzines. When I think of you and your connection to fanzines, I think of Girl Germs, which as far as I understand, you worked on before you moved to D.C. Is that correct? Wolfe: Yeah. I think the way I started doing fanzines was when I was living in Oregon—in Eugene, Oregon—that’s where I went to undergrad, at least for the first two years. So I went off there like 1989-’90. And I was there also the year ’90-’91. Something like that. For two years. And I met Molly Neuman in the dorms. She was my neighbor. And we later formed the band Bratmobile. But before we really had a band going, we actually started doing a fanzine. And even though I think we named the band Bratmobile as one of our earliest things, it just was a band in theory for a long time first. But we wanted to start being expressive about our opinions and having more of a voice for girls in music, or women in music, for ourselves, but also just for things that we were into.
    [Show full text]
  • Riot Dyke: Music, Identity, and Community in Lesbian Film
    i Riot Dyke: Music, Identity, and Community in Lesbian Film by Alana Kornelsen A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master of Arts in Music and Culture Carleton University Ottawa, ON © 2016 Alana Kornelsen ii Abstract This thesis examines the use of diegetic pre-composed music in three American lesbian feature films. Numerous trends can be noted in the selection of music in lesbian film broadly— music is often selected to draw on insider knowledge of the target audience of these films, creating cachet. This cachet comes with accompanying “affiliating identifications” (Kassabian 2001) that allow music to be used in the films’ construction of characters’ identities. This is evident in the treatment of music in many lesbian films: characters frequently listen to, discuss, and perform music. This thesis focuses specifically on riot grrrl music and the closely linked genre of queercore (which together Halberstam ([2003] 2008) refers to as “riot dyke”) in three films that focus on the lives of young women: The Incredibly True Adventure of Two Girls in Love (dir. Maria Maggenti, 1995), All Over Me (dir. Alex Sichel, 1997), and Itty Bitty Titty Committee (dir. Jamie Babbit, 2007). By examining how diegetic riot dyke music is used in these three films to build characters’ identities and contribute to the films’ narratives I argue that in these films, riot dyke music is presented as being central to certain queer identities and communities, and that this music (as well as the community that often accompanies it) is portrayed as instigating or providing opportunities for characters’ personal growth and affirming characters’ identities in adverse environments.
    [Show full text]
  • The Sounds of Queer Justice
    The Queer Sounds of Justice: Contemporary Queer Musicking and Transformative Justice in The United States S.M. Gray Submitted in Partial Fulfillment of the Prerequisite for Honors in Peace and Justice Studies Program April 2012 © 2012, S.M. Gray Table of Contents Acknowledgements _____________________________________ i Introduction: Terminology, Process, and Construction of Narrative ___________________________________________ 1 1. Girlyman’s “Young James Dean”: A Tribute to the Pioneers of the Women’s Music movement__________________ 24 2. Positionality and Activism within Musicking: The Women’s Music movement of 1988__________________________35 3. From Ani DiFranco to Coyote Grace: A Queer and Feminist Blender of Politics, Gender, Genre, Sex, and Desire_______49 4. The Muses of Mustached ElectroLovers: Homos and Queer Punks, Angry Grrrl Feminists, and Lesbionic Dykes____________65 5. Contemporary Queer and Trans(Feminist) Musicking: Technology, Embodiment, Temporality, and Intersectionality__________91 Conclusion: Queer Musicking and A Broader Transformative Justice Framework______________________________117 Bibliography__________________________________________137 Acknowledgements I am so excited to finally be sharing my year-long endeavors with colleagues, friends, and family. It has been a long journey, and I am so grateful to all of you who have helped me along the way. Thank you so much to all of the musicians who have been so supportive through this process: the members of Girlyman, Coyote Grace, Katastrophe, Athens Boys Choir, Grygiel, The Shondes, Lovers, Des Ark, MC Micah, Kera Washington and Zili Musik, and Schmekel. I have been so inspired and supported by all of you through my research, and have learned so much from all of you. Thank you for sharing your sounds and stories with the world. I want to extend a huge thank you to Larry Rosenwald for his calming demeanor, quiet support, outgoing intellectualism, and laidback deadlines.
    [Show full text]
  • Grunge Riot Grrrl and the Forgetting of Women
    1 This article is downloaded from http://researchoutput.csu.edu.au It is the paper published as: Author: Strong, C.L. Title: Grunge, Riot Grrrl and the forgetting of women on popular culture Journal Title: Journal of Popular Culture ISSN: 0022-3840 Year: 2011 Volume: 44 Issue: 2 Pages: 398-416 Abstract: Nil URL: http://dx.doi.org/10.1111/j.1540-5931.2011.00839.x http://primo.unilinc.edu.au/primo_library/libweb/action/dlDisplay.do?vid=CSU&docId=aleph002052257 Author Address: [email protected] CRO Number: 26666 Grunge, Riot Grrrl and the forgetting of women in popular culture 2 Grunge, Riot Grrrl and the forgetting of women in popular culture Dr Catherine Strong Charles Sturt University During the early 1990s, the musical genre of ‘grunge’ (with its associated cultural trappings such as clothing and certain attitudinal/ political elements) first came to prominence on a large scale when Nirvana’s album Nevermind unexpectedly became a huge hit. Prior to this, the grunge ‘scene’ had been centred on Seattle and the Sub Pop record label. Often described as a cross between punk and heavy metal (Mazullo 719), musically grunge had a ‘dark’, guitar-based sound based around a traditional rock line up (guitar, bass and drums). An unusual feature of the grunge scene was the relatively high proportion of female performers and bands, and this, combined with explicit anti-sexism stances taken by prominent male grunge musicians such as Kurt Cobain, and its close proximity to the feminist Riot Grrrl movement, served to position it as a more gender-neutral scene than many others in ‘rock’.
    [Show full text]
  • Race and Riot Grrrl: a Retrospective
    Race and Riot Grrrl: A Retrospective What is Riot Grrrl? - Riot Grrrl is an international underground feminist movement (mainly youth oriented) that initially emerged from the West Coast American alternative and punk music scenes. - It began in Olympia, Washington and was most active between 1989 and 1997. - The movement produced bands like Heavens to Betsy, Bratmobile and Bikini Kill. Bikini Kill’s lead singer, Kathleen Hanna, is typically thought of as being the founder and voice of the movement though she would later claim she only played a small part. - Riot Grrrl was heavily influenced by the Queercore scene (another offshoot of punk whose lyrics explored themes of prejudice against the LGBT community). Riot Grrrl was characterized by its similarly aggressive style and overtly political/controversial lyrics. - Riot Grrrls were performers as well as activists and publishers. They held regular meetings and national conferences similar to the feminist discussion and support groups of the 1960s and 1970s that allowed women to meet and discuss music as well as their experiences of sexism, body image and identity. - The movement also used zines (or small D.I.Y. magazines) as its primary method of communication. Thousands of young women began to produce personal and political zines with explicitly feminist themes, which allowed Riot Grrrl to spread its message without the use of mainstream media. The Punk Singer (2013, Sini Anderson) Influential Riot Grrrl Bands 7 Year Bitch Babes in Toyland Bikini Kill Bratmobile Heavens to Betsy Huggy Bear L7 Sleater-Kinney Bikini Kill - Rebel Girl The “Other” History of Riot Grrrl “With riot grrrl now becoming the subject of so much retrospection, I argue that how the critiques of women of color are narrated is important to how we remember feminisms and how we produce feminist futures.
    [Show full text]
  • Revolution Crrri and Lady Style, Now!
    Peace Review !6:4, December (2004), 445-452 Revolution CrrrI and Lady Style, Now! EIke zobi In contrast to the po.st-fcmini.st mytli, often anccdotaJly repeated by the popular media that the feminist movement is "dead" and that young women do not identify vvith feminism., there is a continuing trend toward feminist opinions and feminist self-identification. Tn fact, in the past decade a vibrant international subcultural feminist youth network linked by cultural production has emerged out of the Riot Grrrl movement in the United States. Participants in the Riot Grrrl mo\'cment, sometimes referred to as the "third wave" of feminism, have been dedicated to resist male punk hegemony and to build a supportive environment for young women to talk about issues such as anorexia, rape., and the sexism and racism of e\cr\'day life, and to ereate their own art and music. Since the early 1990s, these ideas disseminated internaiionally in the name of a "Revolution Grrrl and Lady Style, Now!," largely in the form of grrrl zines (self-published and self-distrihutcd magazintrs made mostly by and for yoimg women and cjueer youLli) and Ladylests (feminist art. musie, and acti\"ism-ori- ented festivals). In these instances, some have reclaimed tlie terms "grrrl" and "lady" lo indicate an identification with feminism. f|ueerness, and an alternative youth community. Usijig feminist cultural production to resist the dominant social and politieal system, grrrl zines and Ladyfests prove that feminist (sub)cultural produ( tion by young women is alive and thrixing and that feminism condnues to be relevant to tlie lives of the younger generation today.
    [Show full text]
  • Ladyslipper Catalog Table of Contents
    I ____. Ladyslipper Catalog Table of Contents Free Gifts 2 Country The New Spring Crop: New Titles 3 Alternative Rock 5g Celtic * British Isles 12 Rock * Pop 6i Women's Spirituality * New Age 16 R&B * Rap * Dance 64 Recovery 27 Gospel 64 Native American 28 Blues ' 04 Drumming * Percussion 30 Jazz • '. 65 African-American * African-Canadian 31 Classical 67 Women's Music * Feminist Music 33 Spoken .... 68 Comedy 43 Babyslipper Catalog 70 Jewish 44 Mehn's Music 72 Latin American 45 Videos 75 Reggae * Caribbean 47 Songbooks * Sheet Music 80 European 47 Books 81 Arabic * Middle Eastern 49 Jewelry, Cards, T-Shirts, Grab-Bags, Posters 82 African 49 Ordering Information 84 Asian * Pacific 50 Order Blank 85 Folk * Traditional 51 Artist Index 86 Free Gifts We appreciate your support, and would like to say thank you by offering free bonus items with your order! (This offer is for Retail Customers only.) FMNKK ARMSTRONG AWmeuusic PIAYS SO GHMO Order 5 items: Get one Surprise Recording free! Our choice of title and format; order item #FR1000. Order 10 items: choose any 2 of the following free! Order 15 items: choose any 3 of the following free! Order 20 items: choose any 4 of the following free! Order 25 items: choose any 5 of the following free! Order 30 items: choose any 6 of the following free! Please use stock numbers below. #FR1000: Surprise Recording - From Our Grab Bag (our choice) #FR1100: blackgirls: Happy (cassette - p. 52) Credits #FR1300: Frankie Armstrong: ..Music Plays So Grand (cassette - p. 14) #FR1500: Heather Bishop: A Taste of the Blues (LP - p.
    [Show full text]
  • Issue #14, June/July 2003
    Issue #14, June/July 2003 Fuckin’ Awesome, Stupid Ass www.razorcake.com and PO Box 42129, Los Angeles, CA 90042 Table of Contents ***** The Rhythm Chicken .................... The Dinghole Reports ................... pg. 4 Art ....................................... ‘Lil Beez’s Fun Page ........................... pg. 7 Maddy ..................................... Shiftless When Idle. ................................. pg. 8 Ayn Imperato ........................................ 94103 ............................ pg. 10 Money ............................................... Lazy Mick ............................................ pg. 12 Rev. Nørb ........................................... Love, Nørb ............................ pg. 16 Nardwuar The Human Serviette ............. Who Are You? ........................ pg. 24 Gary Hornberger .......................... Squeeze My Horn .......................... pg. 30 Designated Dale ............................... I’m Against It ..........................pg. 32 Felizon Vidad ............................... Shark Bait .......................... pg. 36 Sean Carswell ...................... A Monkey to Ride the Dog ...................... pg. 40 Ben Weasel ................................ That Iron String ......................... pg. 44 ***** The Orphans ..................... Interview by Namella J. Kim ..................... pg. 46 Broken Bottles ......... Interview by Todd Taylor and Sean Carswell ......... pg. 50 Broken Bottles Tiger-Beat Style Centerfold .. by Dan Monick........... pg. 52 Avail
    [Show full text]
  • Women, Politics, and Popular Culture
    University of Kentucky UKnowledge Women's Studies Gender and Sexuality Studies 4-16-2009 You've Come A Long Way, Baby: Women, Politics, and Popular Culture Lilly J. Goren Carroll University Click here to let us know how access to this document benefits ou.y Thanks to the University of Kentucky Libraries and the University Press of Kentucky, this book is freely available to current faculty, students, and staff at the University of Kentucky. Find other University of Kentucky Books at uknowledge.uky.edu/upk. For more information, please contact UKnowledge at [email protected]. Recommended Citation Goren, Lilly J., "You've Come A Long Way, Baby: Women, Politics, and Popular Culture" (2009). Women's Studies. 14. https://uknowledge.uky.edu/upk_womens_studies/14 You’ve Come a Long Way, Baby YOU’VE COME A LONG WAY, BAby WOMEN, POLITICS, AND POPULAR CULTURE Edited by Lilly J. Goren THE UNIVERSITY PRESS OF KENTUCKY Copyright © 2009 by The University Press of Kentucky Scholarly publisher for the Commonwealth, serving Bellarmine University, Berea College, Centre College of Kentucky, Eastern Kentucky University, The Filson Historical Society, Georgetown College, Kentucky Historical Society, Kentucky State University, Morehead State University, Murray State University, Northern Kentucky University, Transylvania University, University of Kentucky, University of Louisville, and Western Kentucky University. All rights reserved. Editorial and Sales Offices: The University Press of Kentucky 663 South Limestone Street, Lexington, Kentucky 40508-4008 www.kentuckypress.com 13 12 11 10 09 5 4 3 2 1 Library of Congress Cataloging-in-Publication Data You’ve come a long way, baby : women, politics, and popular culture / edited by Lilly Goren.
    [Show full text]