Jacquie Piasta

Nine Gallons #2: True Stories by Susie Cagle

tina — Mon, 11 Apr 2011 20:00:00 +0000

In Nine Gallons #2: True Stories by Susie Cagle, writer and artist Susie Cagle recounts her experiences with Food Not Bombs. For those unfamiliar, Food Not Bombs is a "franchise activist non-organization dedicated to fighting hunger with vegetarian meals comprised mainly from wasted food.” Food Not Bombs chapters are all over the world, though predominantly in major cities.

Though this publication is small, Cagle covers a lot of ground. You learn that it’s not easy being involved with the non-organization. One will face working for free (not everyone can afford to volunteer), unreliable volunteers, and uncertainty over where food and resources will come from. The public responds to your work in varied ways, ranging anywhere from positive support to fevered rudeness. There are also issues of class and racial privilege that come into play. As the writer perfectly states, "a largely white monopoly on Food Not Bombs as a cultural institution is an impediment to people of color self-organizing.”

Though the artist didn't touch on weather being an issue, the climate in which you live greatly affects when and where you can serve food. One year, the Food Not Bombs chapter I was involved in served spaghetti at a park on the fourth of July. With little warning, there was a rainstorm that showered us and our hard work. We couldn't afford a tent or cover of any kind, so the food was flooded and had to be thrown away.

Susie's writing is skilled, her illustrations are well-formed and charming, and her characters are both believable and easy to relate to. The only qualm I had with the zine was her illustration style. The artist draws people from a two-thirds angle and they are usually facing the same way. I am unsure whether she is limiting her angles and facial drawings due to necessity or artistic choice. Either way, this repetition distracts us from good stories that deserve our focus.

Overall, Nine Gallons #2 serves as an easy to read, honest, and articulate recount of working with Food Not Bombs.

Written by: Jacquie Piasta, April 11th 2011

Rad Dad #18: Sex & Love

tina — Sat, 09 Apr 2011 20:00:00 +0000

By Tom Moniz

Microcosm Publishing

After a promising introduction I was ready to absorb the essays that lay before me in Rad Dad #18: Sex & Love, a short zine concerning radical parenting with narratives exploring issues of sex and love. Needless to say, this zine made me feel a range of emotions: offended, entertained, informed, and bored. Some of these essays do not concern love or sex or are only very loosely related to the topics in an abstract way.

Rad Dad himself falls flat in his own personal essay. Using movie script queues, he rambles from one point to the next about memories and experiences that are loosely related or not connected at all. The author's entertaining writing style, passion, and experience are worthy of better organization and editing.

The third essay in the zine, entitled “Making Love,” was bad. I'm still reeling from reading a man's recount of a newly polyamorous relationship. When his wife comes home from an arranged date with another man, the jealous husband thought about sexually assaulting her and “not caring how she felt.” Though he didn't act on these thoughts ("I didn't want to look aggressive"), it was completely unexpected and terrible, especially when it was so graphically detailed. There was no warning; just an in-your-face, deal-with-this description of how he would rape someone. He also goes into detail about cheating on this same woman, years prior. The writer's colorful writing when recounting these gross experiences only cheapens them more. For a few days after reading this, I felt nauseated whenever I’d recall the author's words.

There's also an essay about child nudity and another about a person "breaking up" with the anarchist community. Many of the writers talk about their preference for polyamarous relationships. Some even insult monogamy, which I found unnecessary and misguided. There are a few essays by radical parents who talk about sex, love, and dating in relation to being a parent. I feel that these authors truly understood the zine's topics, while offering their own personal knowledge and experiences. This compilation would have benefitted from more essays like these.

My favorite part of this zine was the last section, “An Interview With Dr. White.” The interview was engaging and interesting and I wish it went on longer and was featured more prominently.

While I am against censoring voices, I feel this zine would have benefited from basic editing. A simple "trigger warning" before graphic material would be a great start. A few snips and cuts to a rambling essay would help the reader understand the authors' intentions and sticking closer to the zine’s topics would be a major improvement.

Written by: Jacquie Piasta, April 9th 2011

Any Way I Can

barbara — Thu, 17 Mar 2011 20:00:00 +0000

By Adam Rader

Unleashed Music

Adam Rader is a solo pop musician who reminds me of John Mayer and Dave Matthews. Though his vocals are similar to Mayer’s and Matthews', I consider Rader's singing to be much smoother.

Two things surprised me about this "teaser" album. First, there are only two songs on it, and second, one of these songs is a cover of "In The Ghetto.” For some reason, this song will never be put out of its misery. It has been covered numerous times by various artists ever since Mac Davis originally spewed it forth in the 1960s. Once Elvis covered it, the song became immortal and forever doomed to keep popping up like a game of Whack-A-Mole. The last time I heard a cover of this song, it was being used on South Park, and that was only as a joke. The show's notoriously bigoted character Cartman was singing it while walking through his friend Kenny's repressed neighborhood. "In The Ghetto" is a tired, corny, offensive song that only belongs in a cartoon.

This brings us back to Adam Rader’s two-song EP. I'm surprised that a man who seemingly wants to convey John Mayer-esque sexuality would perform a song equivalent to a cold shower. Listening to his cover of "In The Ghetto" makes me cringe and laugh nervously. The song is musically solid and mellow, if you can manage to ignore the lyrics. However, ignoring the words is about as easy as sleeping with the lights on while your six-year-old nieces jump up and down on your bed, loudly demanding cookies and stuffed animals.

Rader's other song "Any Way I Can" is a light pop song. Again, John Mayer's face kept floating into my mind as I listened. I can easily see it being used on a television show or commercial, as well as an adult contemporary radio station. I look forward to seeing what Adam Rader puts forth in the future. Let's hope he picks better songs to cover next time.

Written by: Jacquie Piasta, March 17th 2011

Haldana

mandy — Tue, 08 Feb 2011 08:00:00 +0000

By Brittany Shoot

What does one do when far away from home? What if you never had a real home to begin with? Feelings of homesickness, uprooting one's life, and moving to a new location is considered one of the most stressful events a person can endure. Settling in another country where people speak a different language and abide by the parameters of a culture one is not accustomed to is just icing on an already challenging cake. In Haldana, Brittany Shoot shares with the reader the storm of feelings inside her during just this time of tumult.

After moving to Denmark, Shoot experienced isolation and disappointment. She witnessed racism, sexism, and downright absurdity; there are photos in the zine to prove this. The author also faced financial challenges, as well as issues with family and acquaintances. Competition for jobs is overwhelming; even a basic cleaning job received over 500 applicants. The stress of communicating with one's in-laws seems even hairier with an added language barrier, and the process of making friends with the locals seems doomed when they cannot imagine their beloved country making life stressful for an immigrant.

Reading Haldana was a learning experience for me. I had heard stories of fortunate Americans traveling through Europe, backpacking and carefree, going from one job to the next and acquiring experiences and stories to share later. However, Shoot's zine shows that this can be more of a myth than reality. Employment is not always so readily available to travelers, and attitudes can grow cold for those who do not speak a country's native language (outside of the designated tourist areas). Even though she has a master's degree and legally lives within the country, Shoot cannot find a steady job in Denmark.

I related to Shoot in many ways. We both moved from our home states to our partner's home areas (though I only moved a few states over), and weathered a rough transition. Her experience was much harder than mine. Along with the usual emotional roller coaster rides that come with replanting oneself, Shoot had to navigate language and cultural barriers. She talks about personal space, and how people often love to crowd into it, both smothering and draining the person at hand. It seems she and I both have difficulty creating and upholding boundaries from needy people.

My favorite part of Haldana was Brittany's writing style. It's rare to find an author with such a distinct voice. Usually, I find myself gritting my teeth after reading too much from a writer with a persistent style; however, Brittany's voice was skilled and I felt like dipping my feet into the pool of words, exploring and grabbing syllables, contemplating ideas and usage; this is similar to how Margaret Atwood's work makes me feel.

Written by: Jacquie Piasta, February 8th 2011

Where Do Birds Live?

tina — Mon, 31 Jan 2011 20:00:00 +0000

By Claudia McGehee

University of Iowa Press

There are few things in life better than large, hardcover, richly-illustrated children’s books. As a child, these were the books I most often pulled from the library shelves. Beautiful visuals invite the eye to stay for a while, while skilled writing engages and challenges the mind. Even today, I sheepishly browse the children’s sections of libraries and bookstores, in love with nearly everything in sight.

In Where Do Birds Live?, Claudia McGehee works as both writer and illustrator to inform and enchant us about the habitats of American birds. This large, hardcover book has full, two-page spreads dedicated to each bird featured. The left pages include: illustrations of the bird itself, basic information about its traits, habitat, life challenges, and how humans can help keep the particular bird from becoming endangered. The right pages feature a full page illustration of the bird’s habitat and neighbors. I must add that every illustration in the book is a scratchboard piece; a difficult medium to work with, but gorgeously performed by Claudia McGehee.

The birds represented in the book are limited to those that live in the United States. Common varieties such as hummingbirds, bluebirds, gulls, and ravens are presented, as well as less commonly noted birds such as tanagers, flycatchers, roadrunners, and oystercatchers. I was inspired to do research on my own after reading this book; I wanted to listen to bobolink prairie birds sing and see photos of the Pacific rain forest. Now I’m considering visiting that area someday, if possible.

People of all ages would appreciate and benefit from this book. The writing is informative and accessible and the illustrations were a labor of love. The entire book is inviting and engaging, with interesting tidbits on bird behavior and helpful advice on how humans can conserve bird habitats for years to come.

Written by: Jacquie Piasta, January 31st 2011

Goddess Durga and Sacred Female Power

mandy — Wed, 26 Jan 2011 20:00:00 +0000

By Laura Amazzone

Hamilton Books

Author Laura Amazzone offers her own intimate experiences (including the most painful ones) and personal growth in a book that is richly dense with information and observation. Goddess Durga and Sacred Female Power encompasses spirituality, mythology, feminism, history, travel, and philosophy. Nearly every paragraph made me set the book down to consider or visualize ideas. In a very tight nutshell: Amazzone delves into the multicultural history and symbolism of this incarnation of the Goddess, offering a model of spirituality and feminism to a world that greatly needs it.

I must say here that I identify as an atheist and feminist. Because I personally cannot believe that the entire universe was created by a deity, unsurprisingly, some concepts and language in this book did not attract me; however, my mind is always open to be engaged. I eagerly boarded Amazzone’s train for female empowerment and higher consciousness.

Though I’m not religious, spirituality and mythology fascinate me. I have always wanted to learn more about goddesses and female deities, and the depth of traditions and storytelling surrounding the Goddess Durga is worth its weight in gold. I would love to see the ten-day Durga Puja and visit the goddess' temples. This book enlightened, inspired, and encouraged me to venture outside of what I had previously known.

Amazzone’s personal pain was parallel with my own. She generously shared her physical and emotional pain, and how she was able to heal through spiritual comfort. This is a journey many of us can relate to and benefit from sharing.

Goddess Durga and Sacred Female Power would be of great interest to academics, spiritualists, and those interested in personal growth. The rest of us may want to stick with Women Who Run with the Wolves for personal guidance.

Written by: Jacquie Piasta, January 26th 2011

Green for Life

mandy — Sun, 16 Jan 2011 20:00:00 +0000

By Victoria Boutenko

North Atlantic Books

Green for Life is both fascinating and troubling at once. In a nutshell, Victoria Boutenko persuades the reader that people should consume one quart of blended greens per day. She further demonstrates that humans should be eating the same diet as chimpanzees, because "modern people and chimpanzees share an estimated 99.4% of our DNA sequence." Many folks may pick up this book expecting a cookbook; however, Green for Life mostly consists of health information and testimonials. Although a few recipes are included, they are a minority of the book's content, and placed in the very back; these recipes are designed more for health than flavor, foodies be damned.

In each chapter of Green for Life, Boutenko discusses a different health topic: fiber, stomach acid, protein, alkalinity. Every subject concludes that consuming green smoothies is the best solution for overall human health. I felt reluctant to believe much of what I was reading, as there are not enough sources listed, a major flaw of this publication.

There was also the issue of not knowing precisely what really constitutes as "greens" throughout most of the book. Chapter fifteen finally gives a list, though it's only a list of what the author and her family have personally consumed, and therefore not comprehensive. I would have liked this information to have been included at the very beginning.

The testimonials from people who consume green smoothies are positive. So positive, in fact, that I was in disbelief. Could moles really fall off from drinking smoothies? Diseases be cured? Cataracts shrink? I hope this is all true, but it all seems too good to be.

Green for Life does little to consider those with lower incomes and limited access to healthy resources. "This miraculous drink is available to every person in every country," Boutenko offensively states. Not everyone on Earth has access to quality blending machinery or healthy food. And this lifestyle change is a drain on time and money; few people can afford a Vitamix blender (or other equally high-powered blender) and daily supplies of organic produce. It is explained that a weaker blender and conventionally-grown produce would not yield the best results. Bummer.

Though a good beginner's guide that is ripe for discussion, Green for Life requires further sources, study, and more consideration for those who have fewer means.

Written by: Jacquie Piasta, January 16th 2011

Red Velvet Car

caitlin — Sun, 05 Dec 2010 00:00:00 +0000

By Heart

Legacy Records

I've often wondered what happened to Heart. Did they break up? Did they retire from the music business? Sometimes I saw them pop up in the news, but they would dart out of sight as quickly as they had come. I was both happy and surprised to hear them speak up during the last presidential election. However, there was no new music until now.

In a sea of male rock ballad performers, Heart always stood out in plain sight. Known for their straightforward lyrics and soaring vocals, the sisters' songs have always been memorable. Even those of us mostly unfamiliar with their material know bits from "Barracuda," "Crazy On You," and "Magic Man." Thankfully, Heart didn't quit making music. Red Velvet Car is Ann and Nancy's first album after six long years. It is a solid rock album, with a dark grittiness that is understandable and welcome. After withstanding decades of the music industry and life's challenges, I would only hope that experienced musicians would come out with their teeth bared. From the album's photos and liner notes, the sisters glare confidently outward, plush red vehicles that are more than capable of running us down.

The songs do not have the memorable, poppy catchiness of their past work. However, they make up for it with sincerity and soul. "Safronia's Mark" grabs the heart and doesn't let go ("How can she fly/ with a broken wing?"). The title track "Red Velvet Car" soars and swipes ("I'm comin' for you! I'm comin' for you!"). The earthy choice of sounds and instruments on the album is very different for them. Songs such as "Death Valley" intentionally spin into cowgirl territory.

All in all, don't come into this album looking for the grace and whimsy of Dreamboat Annie. Instead, open your mind to an antique limousine with its engine on fire.

Written by: Jacquie Piasta, December 4th 2010

Best Lesbian Romance 2010

payal — Tue, 16 Nov 2010 00:00:00 +0000

Edited by Radclyffe

Cleis Press

This is a light, sweet collection of short stories featuring women in love with women. I'm thoroughly impressed by the diversity of the stories' characters. Each story is very different from the next. I read about the lives of queer teenagers, figure skater dykes, gay cattle ranchers, and butches racing their cars.

There were women of different ages, races, and personalities. There was even a story with vampires and shapeshifters. Some characters were traveling. Others were looking back on their lives, or starting new ones.

I felt thoroughly entertained and sometimes moved by these stories. My only issue was the lack of development in some narratives. I wasn't sure if some authors originally included more writing to begin with, or if details were edited out later by Best Lesbian Romance 2010 editor Radclyffe in order to save space. In any case, I would have liked to feel more attached to some of the characters. For example, what happened to the lesbian couple who attended the social dance together? The ending only hints to a big scene taking place and isolation to follow.

The authors' writing styles vary. Some are humorous, while others are straightforward. Many of them follow their emotions as they willingly receive what comes to them. While one author would make me laugh, another would easily make me sentimental. For example, my heart skipped a beat when a woman's car tipped over during a suspenseful race.

If variety is the spice of life, then this book is certainly spicy. Speaking of spice of a different nature; there isn't much to be had here. Details of bedroom intimacy are limited and polite. However, this is a romance collection, not an erotica collection. Those seeking heavier scenes should look elsewhere. If you're looking for heartwarming and fun stories about lesbian love, however, you won't be disappointed!

Written by: Jacquie Piasta, November 15th 2010

Pirate Talk or Mermalade

alicia — Sun, 03 Oct 2010 16:00:00 +0000

By Terese Svoboda

Dzanc Books

I liked most things about this book. My childlike love for pirates and mermaids created my bias for the title. Using an unique concept, Pirate Talk or Mermalade is a novel written entirely in dialogue. An interesting plot is boasted: "two brothers meet a mermaid, fall into pirating, and end up in the Arctic." The quotes used in the beginning of the book are beautiful. Lastly, Terese Svoboda's writing is engaging and skilled.

What I disliked, and actually ruined the book for me, however, was its poor choice of layout. Allow me to explain. This book is written completely in "pirate talk" between two characters. This would work well if it was written like a theatrical script, listing the names next to the lines of dialogue. However, no names are ever used in this book. The next person's line is only indented as a cue for the audience. Pirate Talk or Mermalade also lacked narration of any kind. This would have been helpful while navigating its heavy speech.

It was difficult for me to read sprawling dialogue for so many pages. I was usually too concerned with figuring out who was saying what instead of paying attention to the advancement of the story. Once I figured out who was speaking, the chapter would end, sending me back to a confusing start. I felt my mind growing weary and my eyes going crossed with each page. On the back cover, it is mentioned the author specifically wrote this book for Talk Like A Pirate Day.

It seems that Pirate Talk or Mermalade is meant to be a novelty. But the book's whimsical streak turned out to be its greatest weakness. This is a shame. Everything else about the book creates the foundation for a terrific novel. With some minor editing, it could become an interesting, engaging story that is also accessible to read. In fact, I wouldn't be surprised if these brothers became something akin to Harry Potter.

Written by: Jacquie Piasta, October 3rd 2010

Thousand-Cricket Song

annette — Fri, 24 Sep 2010 10:00:00 +0000

By Catherine Strisik

Plain View Press

Thousand-Cricket Song is a compelling collection of poetry. My copy is smudged with fingerprints, creases, and other signs of wear from the use I've given it in only one month. I often read one poem at a time, and found myself needing time to consider new ideas or read up on history. The subject matter is heavy; poet Catherine Strisik spent time in Cambodia. She wrote her poetry based on her observations there.

Usually, her writing style is simple, straight-forward, and speaks for itself. These are the poems I love the most. At other times, she gets a bit too enthusiastic for details, offering long, sometimes muddled, prose. I say this with some restriction, though. It's difficult to blame someone for needing to paint a perfect picture from memory.

There's so much good in this book, that I need to restrict myself from naming too many titles. "The Woman At Pol Pot's Grave" is possibly the best of the best. "The New Holy Medicine" is so perfect that I want to hear it spoken over a musical background. Her poems concerning genocide, suicide, miscarriage, prostitution, and rape make me want to heal the entire human race. I was often surprised by and unprepared for these details. Words hit us hardest when they are based on truth.

Though Catherine covers the trauma and tragedy of Cambodia's history, she also embraces its beauty and relationships. Women, children, residents, and friends are sometimes weaved into parties and temples. Her poem "Seeing Hands," written about her intimate experience with a blind masseuse, is now counted with some of my most favorite poems of all time. Most importantly, she openly admits to being a complete outsider and awkward observer in "In The Nail Salon, Siem Reap." The author is obviously humbled in the company of genocide survivors.

Pick up a copy of this collection if you want to learn, grieve, and be blown away.

Written by: Jacquie Piasta, September 24th 2010

Fairytales and Lullabies

brittany — Mon, 13 Sep 2010 18:00:00 +0000

By Sol Skugga

Cauldron Soundwerx Productions

Sol Skugga is someone I need to keep my eye on. Her third album, Fairytales and Lullabies, is a well-mixed collection of electronica, ambiance, and folk. Skugga wrote, mixed, and produced her own tracks. Clearly a collector of sound, her long list of instruments include vocals, piano, acoustic and electric guitars, "electronic drums in all shapes," ambient sounds, synthesizers, samplings of Nordic nature, and rhythm instrumentation. She effortlessly merges the traditional with the experimental, topping it off with magical elements. Be still, my beating heart.

The first two tracks on the album are delectable electronic songs. The third track "Burn Her" is a complete surprise; classical and Medieval sounding folk with rock elements was the last thing I was expecting to hear. Though it's completely unexpected, it is equally wonderful. "Letter To Myself" really made me want to waltz with David Bowie in a hallucinated ballroom while wearing a beautiful dress. "I Had My Share" is a folksy rock tune. I was happy that the album ended on a classical flavored note with possibly Skugga's best vocals of the entire lot.

It's cliche to say that every interesting female artist to have ever existed sounds like Tori Amos and/or Kate Bush; however, Skugga's vocals did remind me of them both. "I Wanna Know" reminded me of listening to Tori Amos' "Hey Jupiter" when I was sixteen. I also felt a Madonna vibe going on, especially in "Share Tonight" and "Sweet Lullaby", when her wavering vocals were backed by predominantly electronic sound (Confessions on a Dance Floor came to mind). In any case, Skugga’s vocals are both new and familiar, often taking a front seat in her songs.

On Fairytales and Lullabies, Sol Skugga has proven herself as a multi-talented, electronic musician, and modern day bard.

Written by: Jacquie Piasta, September 13th 2010

make/shift: feminisms in motion (Issue 7)

admin — Sun, 22 Aug 2010 16:00:00 +0000

Edited by Jessica Hoffmann, Daria Yudacufski

make/shift is a satisfying thing. Describing itself as "feminisms in motion," it is a much-needed breath of fresh air for both our minds and our movement. Deep, political roots give way to a body of thought-provoking content and are topped with flexible branches of ideas, encouraging discourse and change. The magazine itself has full-color front and back covers. The entire inside is in black and white. It's heavy on text, and I like it that way. The layout is easy to read; no "continued on page seven" nonsense here. Pictures are scant, but clear and artful. There are advertisements, and as expected for a feminist magazine, they're not of the demeaning garden-variety like the ones we see in other magazines.

make/shift boasts quality content; empowering, thought-provoking, and provocative. I saw boatloads of grassroots activism and resources, along with essays, interviews, news stories, poetry, and reviews. The advice column is answered by Nomy Lamm, which is pretty sweet. Reading this magazine brought up a lot of thoughts and feelings I haven't experienced in years. I felt both educated and encouraged, as if they were saying, "You're capable of making a difference. Then, tell us about what you did!"

Most magazines make me feel like I need to change my body and my life in order to be happier and more accepted. Instead of stress and insecurity, I welcomed the empowerment. "Why Misogynists Make Great Informants" definitely struck a chord in me. It made me recall my earliest days of activism, the people I met and the situations I encountered. I was disappointed to experience sexism and homophobia in activist groups. After fervently waiting for so long to move away and meet "my own kind," such experiences made me feel as if nothing on Earth was definitive.

Nomy Lamm's advice to an assault survivor's question both educated and moved me. I was very happy to see a column about self-publishing poetry, and plan to send my writing to a few of the DIY publishers listed. (Cross your fingers for me, yes?) In a nutshell, every article made me see things a little differently or taught me something new. All magazines should aspire to have high-quality content like make/shift.

Written by: Jacquie Piasta, August 22nd 2010

Manhater

admin — Wed, 11 Aug 2010 00:01:00 +0000

Directed by Anthony Doublin

Canyon Falls Productions

I recall visiting a horror movie convention soon after Kill Bill had come out. Nearly every film production table had at least one "sexy lady getting revenge" movie poster predominantly on display. Attractive female murderers are the perfect shortcut to fulfilling violence and sex in films. Over the years, the number of "lady revenge" movies has dwindled.

However, there are a few stragglers being produced, like Manhater. Manhater is described as "horror... with a good, unique story," but to consider it a horror film is questionable. Instead, I consider it a supernatural film with a Dr. Jekyll/Mr. Hyde plot, punctuated with gore and nudity.

The story is neither good nor unique. The plot is, well, this: An abuse survivor takes a magic potion from a witch, and the potion makes a demon appear. The demon kills all the men that hurt the woman, but the witch is actually involved with the woman's rapist. The rapist wants to control the demon and has a glowing necklace that he holds while talking gibberish at the demon. Yes, you read correctly.

First, kudos to the crew and performers who stuck it out until the end! I wonder if they were paid; hopefully, they were at least fed lunch. Some of the performers went by aliases in the credits. Were they embarrassed to be in this film? Also, the film score earned "Best Original Soundtrack at Idyllwild," though I hardly noticed it.

This film’s creators don't seem to have valued good production in any form. The camera work varies anywhere from poor to acceptable quality. I noticed camera shakes, awkward movements, and questionable shots. The lighting is sometimes off or completely absent. There are a few outdoor scenes in pitch-black darkness. The audio doesn't always sync up with its source. Lips are moving without sound at times, like in poorly dubbed kung-fu films. The editing is unclean. Many cuts did not mesh well with others or were abruptly cut off.

The makeup is better meant for a theatrical stage, not a film screen. Big, false eyelashes are distracting and corny on movie performers. Also, at one point, a woman has paintbrush stripes on her cheeks for blush. The acting talent ranges from non-existent to lukewarm. These performers would have shone more if they were given character roles with more than one dimension. The characters are unrealistic, unlikable, or both.

Also, there is a Token Black Female Best Friend in this film. You know, in predominantly white films, we sometimes see a black female best friend who has no real personality other than to act as a cheerleader for the (usually bitter) white female protagonist (as in the film Julie and Julia). The story gets more ridiculous by the second, the plot holes are vast, and the dialogue is vapid. The special effects, while respectable on such a low budget, are pretty dorky.

Most problematic, this film begins with a rape scene. It's obviously fake, but still graphic, and insensitive to both performers and viewers alike. If a movie absolutely requires such a scene, then it needs to do it with understanding and discretion. Later in the movie, the survivor talks to the abuser; not just once, but often, and in a mildly annoyed tone more appropriate towards someone who owes her money, not someone who has brutally assaulted her. She even accepts an invitation to join him alone in his house.

The writer of this film clearly does not understand the seriousness of sexual assault, instead confusing it with edgy sex. The fact that he botched this topic, as well as the film’s overt objectification of women and senseless gore, proves that Manhater is just another cheap combo platter of sex and violence to be devoured by stupid people.

Written by: Jacquie Piasta, August 10th 2010

Pink Noises: Women on Electronic Music and Sound

admin — Mon, 07 Jun 2010 16:01:00 +0000

By Tara Rodgers

Duke University Press

I was about fifteen years old when PinkNoises.com started up. I was very involved in riot grrrl music, so perhaps it's no surprise that I liked a website specifically dedicated to women in electronic music. The writer of this content—as well as the rest of the Pink Noises website—was Tara Rodgers. After years of performing and researching, she came out with a book by the same name.

Much like her website, Pink Noises encourages the creativity and capabilities of women in electronic music. Tara interviewed twenty-four different female artists; a diverse collection of electronic musicians, sound artists, composers, DJs, remixers, and performance artists. The end result is a book heavily, wonderfully saturated with facts, ideas, and experiences.

The DIY section was my particular favorite because it was the first time I had seen a music tutorial specifically written for amateur female artists. This section was full of information and resources, while being simple and direct. Creativity and experimentation were emphasized. Not only was I capable of creating my own music, but was also encouraged to.

On the flip side, I wish this book came with a CD featuring one song from each artist interviewed. However, there are lists of female artists and websites at the end of the book. Also, I felt my eyes glazing over some of the interviews. Though I admired women who were rich with technical knowledge and musical theory, I need to revisit their ideas when I have more musical experience. There is a helpful glossary of terms in the back of the book for those of us still learning.

Other interviews struck chords in me that had never been validated before. For instance, noticing that I shared a similar, basic upbringing of music as they did; we loved music growing up, took a few years of an instrument in school, joined a band, quit the band. Many of these women experienced sexism and unreliability of other performers while in rock bands. I kept seeing interviewees mention that electronic music is a great way to be creative without having to suffer misogyny or flakiness of others.

Creativity without bad attitudes? Sounds like a dream come true! Well, it is for the most part. Unfortunately, we still have the sexism of the electronic music industry to deal with. For example, most people probably envision a man wearing headphones and a hooded sweatshirt when they hear the phrase "electronic musician." This is a shame; Pink Noises clearly demonstrates women of all stripes as electronic musicians, many of whom have been creating for decades.

While some of the interviewed musicians reported positive community and good resources, others felt the blow of not having their work taken seriously or being excluded from electronic music magazines, events, and other outlets. It's no wonder that many female electronic musicians take up androgynous names or wear masks while performing. Both of these factors help demonstrate the artist's personal identity to their audience. However, I feel as though some female artists may also be conjuring Joan of Arc in order to be taken seriously.

In the book's introduction, Rodgers touches base on the history of electronic music. She notes that electronic music's beginnings stem from war. She writes that "amplification and recording technologies emerged directly from wartime expenditures or were funded for their potential military applications." The earliest electronic music piece, "The Art of Noises" (1913), is a "bold celebration" of "machines, modern industry, and war." Even the terminology of electronic music refers to war; "executes" a programming "command," DJs "battle," computer "crash."

Considering an industry with early war associations and plagued with sexism today, it's no wonder that there are so few women involved. Pink Noises succeeds in immortalizing a talented, diverse collection of female artists, as well as encouraging women to get involved in creating for themselves.

Written by: Jacquie Piasta, June 7th 2010