Archive for the 'Feminist Music Geeks Take to the Streets' Category



26
Oct
10

Things I learned at the Reimagining Girlhood Conference

I was at lovely SUNY Cortland over the weekend, co-chairing a panel with Kristen about Girls Rock Camp. We met some awesome scholars/activists from fourteen different countries, shook hands with enthusiastic coordinator Caroline Kaltefleiter, heard some great papers and talks on a variety of subjects, made contacts with several GRC organizers (including our roommate, who runs Girls Rock Denver and is working on her PhD in Communication Studies at Michigan), did an interview with a PhD student at OSU, and have lists of things we need to read. Here are just a few things I learned.

1. There’s a world of difference between youth organizing and organizing youth. We should strive for the former. This is a difficult process, but listening is of the utmost importance. Thinking of girls as agents of change is another.

2. My former thesis adviser Mary Kearney was present, as was keynote speaker Sharon Mazzarella. Kearney participated in the plenary and presented new research on how to fix the dropout rate amongst female production students. She managed to ask at least one transformative question in each panel we both attended. She also made several smart comments in the plenary, calling out the normalization of students’ upper-class backgrounds in the academy and hoping that the field of girls studies never achieves total legitimacy in the academy so that groundbreaking work can continue to happen outside the top-tier schools and across disciplines. Mazzarella stressed the strength of girls’ studies emphasis on an interdisciplinary approach as well. I want to be these women when I grow up.

3. Marilee Salvator’s “Moo Goes the Cow” was featured at the “Girl” exhibit that coincided with the conference. It was a series of embroidery loops with silk-screened images of anatomical diagrams of genitalia, needlepoint, cartoons, and menstrual blood serving as a commentary of recalling repressed memories of child abuse. It blew my mind.

4. I made contact with someone who works at the Sallie Bingham Center for Women’s History and Culture at Duke University. Their holdings look amazing, particularly their zine collections.

5. Brock University’s Shauna Pomerantz and Rebecca Raby presented work they’ve done on nerdy girls, bridging representations with ethnographies. I’m interested in how this work will evolve, and hope they continue to challenge the racial dimension of female nerds, speak to girls who fit the profile of the nerd but don’t always make straight As, and address nerdy girls who engage in delinquent behavior.

6. The wave metaphor alienates many feminists and womanists of color, many of whom were excluded from its formations. White feminists should move away from using it. Also, speaking for myself, it’s always seemed like a problematic construct that doesn’t speak much to me as a feminist.

7. Regrettably, I could not attend Sunday’s film screening, which featured girl-made projects that came out of a workshop Kearney co-facilitated with Cortland’s Cynthia Sarver. I wish I had, though, as we should always include actual girls in girls’ studies conferences. We regret being unable to get girls to speak at our panel. We put out a call on the GRC listserv, but imagine that financial and parental concerns speak to their absence. As always, something to work on.

05
Sep
10

Why I requested and performed Grinderman’s “No Pussy Blues” at Karaoke Underground

Nick Cave (seated far left), with his fellow Grindermen; image courtesy of pitchfork.com

Last night, I fulfilled a small dream of mine three years in the making. I performed Grinderman’s “No Pussy Blues” in public. For those unfamiliar with the second single off the debut album of the Nick Cave and the Bad Seeds side project, listen in. If you like what you hear, maybe you’ll be compelled to check out Grinderman 2, which comes out in the states on September 14th and boasts a sweet cover.

Um, so some middle-aged dude has a tantrum about blues balls because some twentysomething won’t sleep with him? Zzzz. Whatever, Alyx.

This is a fair point, and something I instantly recognized when I first heard the song. However, I always have difficulty reconciling the song’s sentiment with Martyn Casey’s ominous bass riff. By the time Jim Sclavunos hammers triplets against Cave’s attempts to woo his muse by reading her Eliot and Yeats, I always face an impossible decision. Don’t call it a surrender, because it’s always plays out like a tussle.

I’m quite aware of Cave’s flagrant macho posturing in “No Pussy Blues,” as well as the singer’s entitled frustrations that his attempts to pose as a chivalrous romantic go unrewarded and get him further away from what he’s really after. I’m also onto how these ovations reveal chivalry’s dependencies on sexism. I think Cave is too. Now, I don’t think he’s raising a solidarity fist toward post-structuralist feminists with “No Pussy Blues.” But I do think the Australian post-punk loverman’s performance of aging impotent masculinity and the use of deception in sexual conquest is at once unsympathetic and hilarious. This is evident in Cave’s theatrical vocal delivery. You can also hear it in his messy spurts of feedback, simultaneously a manifestation of his unsatisfied desire as well as an indication that the guitarist lacks virtuosity toward his axe. How deliciously shameful to lose hold of the phallus twice.

I may get some detractors for this comment, but I think of Cave’s performance as camp in ways that recall Al Pacino’s performance in The Devil’s Advocate and Tom Cruise’s turn as misogynistic motivational speaker Frank T.J. Mackey in Magnolia. Much can be read into Cave’s appearance, particularly the tailored suits, his unfortunate haircut, and that ridiculous handlebar mustache, which perhaps rivals the goatee as the most performative and fetishized formation of facial hair, at least in drag king culture (note: Cave isn’t sporting it in recent promotional photos or in the music video for “Heathen Child,” but it so defines “No Pussy Blues” for me. Also, it might make recurring appearances like the mustache Kevin Kline sports for comedies). Cave’s always been interested in exploring heterosexual masculinity’s preoccupation with menace. These are interests he shares with primary influence Iggy Pop and their shared mentor Jim Morrison, the comparisons for which I’m swiping from Simon Reynolds. I also sense commonalities between Cave’s and Bill Callahan’s displays of old-style romantic chauvinism. But Cave’s arch seriousness and severe dandyism seem to mock these impulses as well.

Tom Cruise as Frank T.J. Mackey; image courtesy of seattleweekly.com

But this argument has only so much traction. So I thought the best thing for me to do — apart from the times I’ve sung it to myself — would be to request the song and then perform it before a crowd. Hence where Karaoke Underground comes in.

First, a brief explanation of what Karaoke Underground means to me. Every first Saturday and third Thursday of each month, my friends Hannah and Kaleb host the event. During their Saturday shows at the Nomad, my neighborhood bar, my partner’s amplification equipment is up on stage. Friends are usually present. It’s a good time. I go every first Saturday, except next month. But if Hannah and Kaleb weren’t fortunate enough to have their services requested for Matador’s 21st anniversary celebration in Las Vegas the first weekend in October, I’d grab as many fellow Flow Conference panelists as would accompany me.

As a singer and music geek who’s never been in a band, selections from their catalog allow me to try out some of my favorite songs before a cluster of friends, some regulars, and a lot of strangers. I understand if singing college radio playlist fodder isn’t your thing, but it’s pretty exhilarating to me. It’s also a challenge at times. Some songs, like Bonnie ”Prince” Billy’s shattering “I See a Darkness,” don’t lend themselves easily to karaoke performance. Others, like Dirty Projectors’ “Stillness Is a Move,” are deceptively simple. Occasionally, crowds are unimpressed and in a few instances I’ve had to guage what some of the men sitting close to the stage were responding to in my performance. Many of the songs in the KU catalogue are sung by dudes and thus require me to negotiate my register, which of course makes me think on how I demonstrate my gender. I request and perform a lot of songs by female artists, but I always like playing around with the guys’ songs too because of the difficulties and tensions they pose.

So “No Pussy Blues” seemed like a song I had to perform. And I had a great time doing it. I regret that it didn’t allow me to transcend gender or sex categories, even as I kept the pronouns pure. I originally anticipated that this song could be an interesting piece for a drag king’s repertoire, but felt personally limited to cisgender feminine modes of expression in my performance. I think I could potentially touch on, say, what Patti Smith gets at it when she performs “Gloria.” I haven’t yet. But I know I have enough estrogen and testosterone within me to obliterate heterosexual masculine camp, with or without a handlebar moustache.

31
Aug
10

Homoscope and Katastrophe

Last Sunday, I met up with my friend Curran at United States Art Authority to attend Homoscope, an international queer arts festival. The first portion of the event was a screening of a variety of short films. Two titles I could find on the YouTube  include Dino Dinco’s El Abuelo and the music video for The Hungry Hearts’ “In Your Face-The International Lesbian Anthem.” 

Other noteworthy offerings included: 

Lares Feliciano’s Push On, about two women who meet by chance on the side of the road.

Vince Mascoli’s Dear Dad, Love Maria, an animated meditation on a transitioning MTF confronting her father’s scorn.

Jonesy’s Poised and in the Throes, a collage piece featuring male pin-ups and Jeanne Moreau’s “Each Man Kills the Things He Loves.”

Gina Carducci and Mattilda Bernstein Sycamore’s All That Sheltering Emptiness, which documents a New York City call boy’s experiences.

Christeene’s “Tears From My Pussy” music video, which was directed by PJ Raval and edited by my friend Masashi, who runs the San Francisco International Asian American Film Festival.

I stayed for some of the second half of the festival before carting myself off to bed in anticipation of another work week, which meant I regretably missed Chainbow. But I’m glad I stuck around for Katastrophe, a San Francisco-based rapper whose flow and charismatic personality reminded me a little of Themselves‘ MC Doseone. Many of Katastrophe’s songs address depression, confront transphobia, or focus on the mundane details of daily life, but take to these topics with humor.

From left: Katastrophe, with Original Plumbing editor-in-chief Amos Mac; image courtesy of villagevoice.com

In addition, Katastrophe also helps publish Original Plumbing, a quarterly devoted to trans men. I picked up issue #4 at the show and have been poring over profiles on a baker, a stunt man, drag performers, and a business professional. In short, Katastrophe’s efforts and worth both a look and a listen.

24
Aug
10

Why I’m excited that Grass Widow and STLS are releasing new music and playing together

Last night, Tobi Vail shared wonderful news with the Typical Girls listserv: Kill Rock Stars’ acts Grass Widow and STLS were releasing new music today and playing a few gigs together. You can even listen to Grass Widow’s new album, Past Time, through Spinner. STLS’s Drumcore doesn’t officially come out until September 7th, but I’m already excited.

Past Time (KRS, 2010); image courtesy of buyolympia.com

Drumcore (KRS, 2010); image courtesy of buyolympia.com

I’ve been following Grass Widow‘s mumbled surf rock since Carrie Brownstein highlighted them on NPR’s All Songs Considered SXSW preview. STLS’s new work also comes as good news. One half of this percussive duo is Lisa Schonberg, erstwhile member of the now-defunct Explode Into Colors, who I luckily got to see once before they disbanded. In sum, the two bands abide by two tenets I’ve since added to my list of biases in a recent post decrying the work of Ke$ha and Katy Perry, whose sophomore effort Teenage Dream also comes out today.

1. Eschew conventional rock outfit line-ups. Don’t clamor for a bassist or two guitarists if the music doesn’t call for it or if you can’t find instrumentalists willing to commit or with whom you gel. If your instrument is the accordion or you and a friend both want to play drums, let it happen.
2. Women picking up guitars and playing together will always excite me, especially if they’re interested in odd tunings or angular melodies.

Unfortunately, these acts will not be making it to Austin on their dates together. Hopefully they’ll change their minds and add a few dates. But if they’re coming to a venue near you — especially if you’re a blogger named Caitlin who is relocating to Portland — I do hope you check them out.

15
Aug
10

Things I learned at Girls Rock Camp Houston

GRCH showcase poster

Greetings, everyone. I wish I could have attended tonight’s Girls Rock Camp Houston showcase, but Act Your Age‘s Kristen and I were fortunate enough to teach our music history workshop to the campers last Friday. We also got to meet the organization’s director and volunteer base, as well as see some of the girls rock in rehearsal. Here’s what I took from the experience.

1. Always trust your co-facilitator. Even if she’s going through some potentially major changes in her life, trust that it doesn’t mean your friendship or professional relationship is over. A door may close, but it doesn’t mean a window won’t open. Give her space. Believe in her. Believe in what you’ve accomplished together. Remember that you’re both invested in the radical potential of female friendships.

2. I know how to change a tire and put on a spare, even though it never came up on the trip. I’m a 27-year-old feminist. C’mon.

3. I learned how to navigate parts of Houston I’ve never been to before. I had a great co-pilot of course, but I’m incredibly proud of this as I never drove around in Houston growing up because I didn’t have a car and it’s a difficult city to navigate.

4. Always take your hostess up on the offer to meet the director and some of the volunteers at the local bar (in this case, Grand Prize). Do this even when you’re tired and nervous and a little smelly from the road. Bonding time with GRC ladies is always important. Doing it over shots while debating the merits of feminism and Kim Gordon’s musicianship, chatting about body hair, and discussing M*A*S*H‘s depictions of race relations make you forget the stink of a long drive.

5. Never underestimate moms. They may volunteer for the organization and, in your case, sit in on your workshop and provide feedback. They should be as much a part of this as the cranky third wave generation putting this together.

6. Holding the camp at a university has its advantages. Technology was not a problem, though a temporary blackout threatened to derail our plans.

7. Sometimes the girls can be a handful. This was actually our first workshop where we had problems keeping the girls focused and talking out of turn. Thus, don’t underestimate the value of having counselors interspersed within the aggregate and always request it if they don’t do it automatically, as younger girls may need another adult to monitor them. But don’t let minor disruptive behavior distract or discourage you. Take a deep breath, remain calm, and never ask to be taken seriously. Demand respect by embodying it, and hope that the girls are learning by your example. You rock.

8. Observe what other workshop facilitators do and how they conduct themselves around the girls. Pay particular attention to the ones who make their living as teachers, as you lack certification. Listen to what the girls say during those workshops as well. Always be receptive toward what you can learn.

9. Never let taste determine what you think a girl musician will do, as you will always be suprised. The girls may say declare unequivocal love for a variety of pop female vocalists, but that doesn’t mean there won’t be bands with two keyboardists and no guitarist that make spooky music that blows your mind. At each showcase I’ve been to in Austin, I’m reminded that the bands who perform have more ideas than about 95% of the local bands I’ve seen. This creativity amongst girls is without a geography. It exists everywhere.

Congrats, Girls Rock Houston. Thanks for letting us share your first session with you, good luck in the summers ahead, and feel free to call if you want us to rock out with you again.

30
Jul
10

Things I learned at GRCA Session #2

Be there or kindly be square; image courtesy of girlsrockcampaustin.org

The second session of GRCA 2010 comes to a close tomorrow with an amazing showcase. Likewise, Wednesday’s music history workshop commemorated the second year Kristen at Act Your Age and I have been involved with the organization. As is customary, I like to write down a few things I learn from each GRCA session. As honed as our workshop has become, it’s always open to modification. And each workshop is its own entity, based entirely on who the girls are. But there is one constant: I’m always challenged and surprised by what each group of girls brings to discussion.

1. Remember to include a section on metal, as many of these girls are fans. I’ve been given some great leads on who to include from blog commentary, friend recommendations, and a particularly informative lunch meeting with Erika Tandy. Thanks for helping out an admitted metal neophyte.

2. Sometimes a girl will come right out and tell you she doesn’t like any female artists. She may be a little smug about it like a pre-teen can be at times. When asked why she’s at GRCA, she may give this hilariously catty retort: “I’ve already gone over this — it’s summertime and I get bored and I need something to do.” Don’t let this throw you and don’t take it personally. Thank her for her honesty and hope that she participates anyway. Acknowledge her when she does.

3. Sometimes a girl will be related to a co-worker. Note the connection and make sure to incorporate her into the discussion while remaining impartial.

3A. You can be amused if she’s quite formal with you, as you were a pretty formal child yourself.

4. If a group of girls are talking amongst themselves, don’t let that bother you. Keep your ears open for a band or artist one of them mentions and bring it up. It’ll let them know you’re listening and also keep them on your toes. :)

5. Don’t worry about being cool. You’re probably an old lady to them. But even if they don’t think you’re cool for knowing about MGMT or that Ke$ha signs her name with a dollar sign, they might be amused if you drop song titles or mention that “a girl’s gotta get paid.”

6. Remember to include Lady Sovereign and Selena on next year’s mix CD, because there’s always at least one girl who is excited about each of them.

7. Bone up on your musical terminology and make sure to emphasize instrumentalists’ technique in some of the clips you provide.

8. Improvise and share with your co-facilitator. Technology may always be erratic, so don’t crutch on it. Clips may not always load. Take the lead from your co-facilitator and pop in a mix CD to illustrate your points. While you may not always have as wonderful an instructor to work with as Kristen, being aware of moments in which you can volley off one another are key.

8A. Make sure you extend this openness and trust to the counselors. They will save your ass every time. Hearts to Esme.

9. Don’t freak out if a girl disagrees with you or seems weirded out by something. You’ve been handed a teaching moment. Start a discussion. Ask some questions. Steer the conversation into something productive. And make sure you’re doing as much listening as talking.

10. Some girls may get hung up on Etta James’s fat knuckles. This will bother you, as sizeism has already taken hold. Let Kristen riff on how body types may differ across genres and that skinny ladies aren’t an ideal we should aspire to if that’s not who we are. Mentally clap for her as she drops an important message while keeping the girls on task.

11. It’s always okay to stop a workshop so you can clap in time to Cyndi Lauper’s “Girls Just Wanna Have Fun.” It’s also a good idea to end a workshop with a dance party.

12. Make sure you pay attention to every girl in the room and give each one a chance to contribute. Be especially cognizant of the girl who sits immediately behind you. That girl may seem disengaged or shy at first, but she is full of good ideas and smart opinions. She might tell you that her mother styled her hair like Salt-N-Pepa and that she grew up listening to The Supremes. She may also give you a hug after the workshop, which will make your day.

I’m also looking forward to what Kristen and I will learn when we take this workshop on the road. We’ll be helping out with Girls Rock Camp Houston on August 13th. As an ex-pat Houstonian, I have personal investment in GRC staking its claim there. While I love GRCA and am proud to be a part of it, Austin is already such a music-friendly city. While Houston has a considerable artistic community, the sprawl tends to swallow it up. Speaking as someone who grew up in a rural suburb equidistant between Houston and Galveston, it was pretty difficult to go to shows and get involved with a scene that was about 45 minutes away from you and scattered about a very large city that’s not always hospitable to girls. So I’m hopeful that GRCH will forge a much-needed communal space for grrrl musicians.

The next chapter; image courtesy of houstonpress.com

03
Jul
10

Things I learned from giving a college lecture on race and girlhood with Kristen at Act Your Age

White girls Ellen Page and Zooey Deschanel; image courtesy of blogs.citypages.com

 

Yesterday, I gave a lecture with Kristen at Act Your Age, a friend and colleague since we got to know one another as masters students in the media studies program at UT. We actually didn’t become friends until our second semester with the program, as I was pretty shy during the first semester and was working full-time. But I knew I liked her from the moment we met at a department mixer when she said that she hoped grad school wouldn’t be like that scene in Ghost World where one of protagonist Enid’s classmates shows off her “found object” tampon in the teacup art piece. I’d estimate that our friendship really developed during the thesis process, as we shared an adviser and second reader. Of course, working at the same 9-to-5 keeps us close, as does working with Girls Rock Camp Austin

I may never have admitted this to her before, but I heavily relied on her as motivation when we started collaborating. The first time we worked together on a project was for a Flow column we wrote about 30 Rock‘s Liz Lemon and her negotiations with power. Earlier that summer, I was asked by a friend who worked at Latinitas to give a talk about how girl pop stars are represented in music videos. I accepted the offer, which I later bailed on when I had a bout of depression and felt like I couldn’t possibly put together a valuable educational resource. I’ve always been ashamed that I let my friend down and had such little faith in my abilities at the time. So I figured if I worked with Kristen, maybe we could maximize each other’s potential. I’d like to think we have. 

I should note that we also work well separately, though I ask for her feedback on my projects and am  available as a springboard for her. That said, I really like to work with her, less so now because I feel like I need her as motivation, but because 1) we like to model that women can successfully come together and share responsibilities on projects and 2) we like proving that “important” work doesn’t have to be done in isolation. Also, I just like her. 

So we’ve worked together for a while, both on GRCA stuff and on other academic pursuits. We wrote a column together, moderated a roundtable discussion for the 2008 Flow conference, and put together a panel for SUNY Cortland’s Reimagining Girlhood conference this fall. Thus, when our friend Curran invited us to give a guest lecture for his race and media course at UT (a class that transformed me when I took it as an undergrad), we of course accepted. 

This was a bit out of both of our comfort zones. Kristen never gave a college lecture before. I delivered one for my thesis adviser’s undergrad class on gender and rock culture when she was presenting at SCMS. But that was a very different set of circumstances, for even though I organized the screening materials, I lectured on a reading she assigned. Kristen and I created this lecture entirely on our own, picking the topic, readings, and presentation materials.  

We selected the intersection of race and girlhood as our topic, paying particular attention to the exnomination of whiteness and the cultural construction of hipster girls and appropriations of girlhood in contemporary American film. Our case studies were Juno and (500) Days of Summer

 

 

Curran (wearing a Shonen Knife shirt because he’s awesome) generously introduced us to his class, plugging our blogs and referring to us as experts. As humbling as it is to be called an expert by a friend whose academic work you admire tremendously, I recognized that we do know a lot about our topic. Kristen wrote about two of the films we discussed in the last chapter of her thesis. I wrote about a few of the films for conference papers. We’ve talked about many of these texts on our blogs and have seen most of them. 

The lecture represented both of us well. Kristen studies mediated representations and sociological surveys of girlhood. I look at convergent music culture from a feminist perspective. Add to the fact that we’re both white women who were both white girls and heavily problematize white privilege and class in our work, and this lecture was basically as close to a scholastic mash-up as you can get. Add our PowerPoint to the mix and you can even listen to it like Girl Talk or The Hood Internet or play it like X-Men Vs. Street Fighter. Plus we call shit on patriarchy and white privilege. Here’s what I learned. 

1. I like building PowerPoint presentations. As Kristen created the one we use for GRC, I wanted to give it a shot and it’s a really effective tool when used properly. 

1A. Of course, it was not news to me that I would stay up until 2 a.m. futzing with layout design. I know myself. 

2. It’s exciting and weird when people write down what you have to say. 

2A. As a result, I’m always going to have to remember to slow down when I talk. 

3. It’s great to watch a colleague be in total control of herself when presenting information. Kristen’s a clear, succinct conveyor of ideas. She’s also patient and calm and clearly has a lot of personal investment in the process, which will make her a great professor.  

4. No bullshit, but I’m great at it too. It feels natural to me. I have much to learn, but I’ll be a great professor. 

5. It’s fun to volley. I kinda knew this from GRC workshops, but sometimes I worry that she carries my weight when I blank or get flustered. This time, I feel like the back-and-forth was breezy and perfect. 

5A. I need to be kinder to myself and recognize that we both share the work and bring out the best in each other. I definitely did that yesterday. 

6. It’s delightful to apply complicated theories from the readings to the lecture topic, especially when the students nod along and seem to get it. It lets you know that you picked the right material and make sense explaining it. 

7. Revisiting essays when selecting readings is fun, as well as a good yardstick for what you’ve learned during the interval between now and the last time you read the piece. 

8. Clips and images really help illustrate points and trigger related ideas. 

9. We forgot to talk about Ghost World! Oh well. Next time. We didn’t talk about TV at all, but have so many texts to discuss. 

 

 

10. This was a quiet group, but I think a lot of the students were into the topic and got something out of the lecture. They may have, in fact, actually learned something. To be witness and have a part in that process is the best part of all.

17
Jun
10

Things I learned at Girls Rock Camp Austin: Session #1

Yesterday, Kristen at Act Your Age and I did our music history workshop for Girls Rock Camp Austin. This is our second year to do it, and we’re proud to be facilitating the workshop for Girls Rock Camp Houston later this summer. This time, we slightly updated the version of the workshop we did for the Girls Now! conference last fall and organized it by genre. Happily, the girls respond well to images, clips, and mix CDs. I always like to recount what I learned (as you can read here and here), so here we go.

1. Be willing to improvise. Kristen and I had some interactive projects planned, but the technology required for such activities wasn’t available, so we had to adapt accordingly. This involved taking deep breaths and telling each other that the workshops were going to be fine and that we’re awesome.

2. Never underestimate the power of pooling together resources. Right before our first workshop, nothing was set up. But thanks to some awesome ladies pitching in and thinking on their feet, we got everything put together and put on two great workshops.

3. Some girls wonder if the female musicians we highlighted are alive. A few girls kept asking if each person was dead. Thus, it was a pleasure to tell them that folks like Wanda Jackson are very much alive.

Wanda Jackson at SXSW 2010 -- I was in attendance for this show; image courtesy of wandajackson.com

4. Some girls are obsessed with wigs. I’m okay with this.

We didn't get to talk about The B-52s, but they looove wigs -- Kate Pierson and Cindy Wilson wear them all the time and the band actually wrote a song called "Wig"; image courtesy of wikimedia.org

5. Allow room for girls to come back to a question you posed earlier when they have an answer. For example, our icebreaker for the older girls we taught was about the first album they remember really liking. One girl didn’t have an answer until we started talking about En Vogue. Her eyes lit up and remembered that she loved “Free Your Mind.” This is a very exciting moment.

This album blew at least one camper's mind; image courtesy of wikimedia.org

6. Some girls know who the 5678s are, which is awesome.

7. Allow room to include the counselors sitting in. In addition to the personal insights they can offer, they may also be able to explain why Dolly Parton plays her guitar in open tuning.

8. There’s always at least one girl who knows almost every artist you’re talking about. She may get a little embarrassed that she’s monopolizing conversation. Let her know you appreciate her enthusiasm and encourage her to keep talking.

9. With little effort, girls can make astute connections between artists like Lady Gaga, Elton John, Janet Jackson, and David Bowie.

10. They also seem to respond if you tell them that some musicians change instruments, as Sonic Youth’s Kim Gordon did when she switched from bass to guitar.

Kim Gordon shredding with the boys; image courtesy of forums.epiphone.com

11. We should combine genres a bit more in terms of racial diversity. The first half of the workshop had greater emphasis on genres associated with women of color (blues, pop, jazz) than the second half (punk, riot grrrl). We could offset this by pairing seemingly dissimilar genres, like hip hop and country music.

12. It’s okay if the girls don’t like an artist or group or aren’t sure about what to do with them. They may find Mika Miko abrasive or aren’t sure what Lady Sovereign is saying. But by opening the door, they may walk through it.

15
Apr
10

Teaching moments: “Beat It” solos and “Tightrope” dance steps

This time next week, I’ll be presenting a conference paper at Console-ing Passions. Thus, between it and my stint at Bitch, I’m a little stretched at the moment. I do have a personal goal to rewatch Times Square this weekend and put together a post. Ever the student, I thought it would be fun to spotlight two ladies who are teaching me how to do some cool things. Maybe they can help you too, especially if you’re looking to whale on Eddie Van Halen’s guitar solos in Michael Jackson’s “Beat It” or learn the moves to Janelle Monáe’s “Tightrope.”

Here’s Kelly Rosenthal walking us through how to shred on “Beat It.”

And here’s Ladia Yates teaching us how to tip on the tightrope.

01
Apr
10

Opening Acts: Screaming Females open for Ted Leo

If you want to get me interested in your band, calling yourselves “Screaming Females” is a pretty good start. If you can back it with talent, I’m yours.

I caught the New Jersey trio in question last night when they opened for Ted Leo and the Pharmacists, who save rock music every time they play. But I was anticipating Screaming Females, who I hadn’t seen before. They’ve been together for a few years and garnered attention from publications like The Tripwire. And there’s only one word to describe their tight, boisterous set at Emo’s: badass. Though clearly influenced by punk, there’s definitely a bit of classic rock to their sound, particularly in the dexterous guitar solos leader Marissa Paternoster shrugs off her G&L Stratocaster. To my ears, however, the influences seem intercepted by 90s alternative bands like Smashing Pumpkins and Weezer, who worshiped at the feet of Black Sabbath and Cheap Trick. This makes sense, as the members are in their early 20s.

And man oh man, was I ever blown away by Paternoster. Dressed like the prim sister of AC/DC’s Angus Young in an ankle-length black skirt and matching collared sweater, Paternoster took to the stage with cool detachment. A curtain of mod bangs shielded her eyes and she occasionally mumbled “banter” between songs. This could be the result of shyness, but it certainly didn’t read that way to the audience. If anything, it heightened the contrast between the sounds she brings to their songs. Thwarting the expectations of her diminutive stature, Paternoster wields a mighty ax, giving short newbie players like myself no excuse not to get those scales down. Furthermore, her voice is a deep, rich bellow. That she can seamlessly transition her singing voice into the unholy screams the band’s moniker suggest is no small feat, particularly when she oscillates between the two in a turn of phrase. And given the dark nature of many of the band’s songs, which often conjure brutal and unsettling images. “I’m not your cutie,” she seems to say to her audience. Juxtaposing her girlish look and the possessed quality of her performance style with her sexual orientation seems to indicate a desire to at once thwart expectations and leave them unexplained. “I’m totally melting your face, hosers. Enough said.”

But I don’t want to draw attention away from drummer Jarrett Dougherty and bassist King Mike, as they are just as valuable to the band’s volcanic sound. Also, I think there need to be more mixed gender bands forming, as well as bands whose members identify with multiple sexual orientations. And if they rock this hard, even better.





 

May 2012
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