By Marian Phillips During the 1980s, the first wave of emo music was born. An offshoot from Washington, D.C. hardcore bands, the musical genre introduced the world to traditional punk stylistic elements mixed with emotional vulnerability and poetic lyrics. Most notably, emo’s roots can be traced to Rites of Spring, making them the fathers of emo. In the beginning of the 1990s, the Midwest became … Continue reading “Articulating the Feeling is Hard”: Women and the Emo Revival
By Hannah McCandless Hannah is a first year graduate student in the Women’s History program at Sarah Lawrence College. Sitting in Mrs. Carter’s seventh grade Language Arts class during the fall of 2007, I slid down in my chair, legs spread out, relaxed – no care in the world. I always sat like that, not thinking about how much space I took up and loving … Continue reading A Period Memory
by Kaitlyn Kohr Whether you know her as a saint, a prostitute, the apostle to the apostles, or even as a Christ’s possible lover, it is impossible to deny that Mary Magdalene is one of the most powerful women in the Christian tradition and perhaps most well-known after the Madonna. Her reputation as both a saint and a sinner have made her a symbol of … Continue reading Mary Magdalene: a link between sensuality and spirituality
by Amanda Seybold
David Simon’s The Wire, which aired for five seasons on HBO from 2002 to 2008, is possibly one of the most probative and insightful shows that has ever graced the small screen. While some would describe it as a show about police in Baltimore who investigate and apprehend drug dealers, the show actually presents thoughtful and in depth examinations of many aspects of urban life, which would otherwise be ignored by middle-class America. Despite being outside the regular scope of the show, The Wire, perhaps intentionally, perhaps unintentionally, uses the juxtaposition of two female detectives, Detective Kima Greggs and Detective Beadie Russell, to illustrate a discourse on gender norms, racial implications, sexuality and motherhood.
At the end of her text No Turning Back: The History of Feminism and the Future of Women, Estelle Freedman takes a moment to reflect on the changes that have occurred in both the public and private sectors with regards to women’s issues. She notes “[w]omen and men are demanding new social policies that allow them to choose both caring and breadwinning rather than choose between them.” It is apparent from The Wire’s depiction of both Russell and Greggs, however, that the show is a bit behind the developments that Freedman lauds in her text. Ultimately the show’s story arc stays with Greggs while Russell is relegated to a secondary position after just one season. Greggs’ character seems to illustrate Simon’s argument that in order for a woman to succeed in the high energy and exciting world of crime fighting in Baltimore, she must essentially align herself more closely with traits we have come to regard as part of the male gender, rather than with the female. Continue reading “David Simon’s The Wire: A Study of Women”
by Alexandria Linn
In the fantastic world of relationship self-help, a new dating guide emerged to once again help the lonely American woman land her “dream” guy. Using senseless and sarcastic humor, the markets itself as a guide for women who need to know if their potential suitors are “gay” (according to the author’s understanding of homosexual qualities). For those particular women who want to know how to distinguish between men of the homosexual persuasion, and those who embody all of the violent and neglectful tendencies of the “masculine” male, Ed Baker and Chris Busick have answered the call.
In their book entitled Is He Gay? (for obvious reasons) the two self-help authors follow the story of a young, white and single female as she comes dangerously close to falling in love with a gay man. Despite the author’s attempt to scream commentary to her from the sidelines of the pages, she begins to fall for the homosexual male. Her relationship is sustained by her denial, though she eventually recognizes that the man she’s dating is attracted to other men and not to her. In the end, the woman leaves the relationship with only small disappointments (fortunately, no deep wounds) and resolves that she still loves him “as a friend”.
The good news is that other straight women can steer clear of making the same mistake. By heeding the authors’ advice, one can avoid the queer pitfalls that may occur in the single girl’s dating arena. For those who are not familiar with all the heteronormative ideals of homosexuality, Is He Gay? points out all of the stereotypical tropes associated with “gayness.” The authors, do however attempt to acknowledge their gross generalizations, with a disclaimer at the end of the book that reassures the reader that their mocking was done so “all in good fun,” of course. Continue reading “Is He Gay?”
by Sonia Saraiya
In this exhibit, Sonia Saraiya explores the concept of virginity and what it means in our society when looked at through a feminist lens. This article was originally published at nist.tv.
Everyone seems to know what virginity is – but, oddly, few people can entirely define the term. Though virginity is moored in murky, hard-to-define concepts like “purity,” “sex,” and “first,” most people have a concrete idea of what it is – and either consider themselves virgins or remember the time they “lost their virginity.” In suburban America, teenagers are nervously asking, “If I did ____ with my boyfriend, am I still a virgin?” and in other cultures, kissing on the lips is just as much of a transgression as having sex for the first time – never mind trying to define “sex” or even “first time” in any satisfying, comprehensive way.
Virginity is historically a women’s issue – because the ideal of virginity is heavily, though somewhat subtly, gendered. In common English parlance, a “virgin” is anyone who has not had sex. But the contemporary social pressure, globally, on women’s virginity (as a way of retaining their purity) belies the word’s etymology. “Virgin” comes from the Latin “virgo,” which means “sexually inexperienced woman” and could be interchanged with “maiden.” Though both the ancient Romans and current English-speakers use the term virgin somewhat loosely to encompass more than women, the emphasis remains. Of the few women who managed to make a name for themselves in history, a large number of those are virgins: The Virgin Mary and Queen Elizabeth I, for example. Male monks and priests are “celibate”; pagan priestesses to Vesta, meanwhile, were the Vestal Virgins. The ancient Greeks (and later the Romans) categorized their goddesses based on whether or not they were virgins; there were exactly three major virgin goddesses, and three non-virgins. Though virginity is used for both men and women, it is a primarily feminized concept centered on the penetration of a vagina by a penis.
As with many social issues, the argument over women’s issues takes women’s bodies as the territory, often speaking for women at large. Maintaining virginity and losing virginity are both framed as feminist issues, both cited as the best way to maintain self-respect. And the constant background noise behind this conflict is the contradictory message of popular mainstream media – a shaky middle ground between conservatism and progressivism. Continue reading “Virgin America”
by Victoria Sollecito
[It’s] this gypsy world of people who are just so appreciative of each other’s individuality! where some people are super-gay and have girlfriends or boyfriends for twenty years, and others swing both ways—or are straight and have a wife but they’re okay with gay men giving them foot massages and don’t freak out. And you’re singing about that: no day but today, and there’s only us and there’s only this, and don’t regret… You can see young couples, old-guy couples, clutching each other, openly sobbing…And you’re singing at them, to them, sobbing too. It’s very cathartic. And it certainly put to rest my weird personal concerns, because there’s a much bigger picture.
– Openly gay actor Neil Patrick Harris on his time in the cast of RENT
RENT began as a rock re-imagining of a classic opera created by a precocious up-and-coming musical theatre composer in the early days of his career. What it has become, in the sixteen years since it was first produced, is nothing less than legendary.  Set almost exclusively in the East Village neighborhood known as Alphabet City, Jonathan Larson’s RENT follows a group of friends through a single year, from one Christmas Eve to the next, and charts the trajectory of their lives individually and together. Art, love and mortality are at the heart of the show, and creator Jonathan Larson’s script and score explore what those themes meant for Gen X New Yorkers, treating questions of sexuality, drug use, poverty, artistic integrity, isolation, community and, most notably, life and death in the face of the HIV/AIDS epidemic.
Despite its controversial subject matter, RENT was an almost instant critical and commercial hit. The genesis of its story was in a harsh and dangerous New York; the first production of the show was mounted in 1994, the same year former U.S. Attorney Rudolph Giuliani became mayor. The show’s development and eventual premiere on Broadway unfolded as the new mayor began cracking down, cleaning up and forever changing the landscape of New York City. In 1996, following the sudden death of its creator, the intentionally incendiary show about the struggles of living and dying in New York, became a Tony, Obie, Drama Desk and Pulitzer prize winning musical for a new generation. RENT maintained a dedicated, loyal and extremely enthusiastic fan following well into the new millennium, extending its run several times before finally closing in the fall of 2008. Continue reading “Raising the RENT: Reflections on Community, Sexuality and Musical Theatre”
by Cynthia Ann Schemmer
This past April I drove to Amesville, Ohio to stay at SuBAMUH (Susan B. Anthony Memorial Unrest Home) to conduct oral history interviews with three permanent residents. SuBAMUH is a women’s intentional community located in rural farmland just twelve miles outside of Athens. Established in 1979, the land serves as a home, safe and sober space, campground, and educational center for women. Currently, there are only five permanent residents on the land, but a constant flow of women-identified campers pass through every year. Men over the age of 10 are not permitted on the land.
I have recently become interested in how we, as women, react to the destructive situations we find ourselves in, whether they be physical or emotional, as feminists, lesbians, queers, or heterosexuals. These reactions may be outward or inner, private or in response to society as a whole, but they are completely acceptable in their own respects; we are not mad and we should not be convinced otherwise. We react how we must, in order to resist psychic or physical death and maybe, in fact, we are just not mad enough. Continue reading “Sister, Fear Has No Place Here.”