Courtney Ham

Sisterhood Interrupted: From Radical Women to Girls Gone Wild

admin — Mon, 17 Sep 2007 11:45:00 +0000

As if we needed more proof of the very existence of feminism—and how it has been interpreted through the mainstream culture—Deborah Seigel has handed us a history lesson wrapped in a hot pink love letter. In her nonfiction book, Sisterhood Interrupted, Seigel imparts that not only has feminism had its mis-steps, it's fallen clear away from its foundation. But maybe that foundation needs a shake.

Don't misunderstand me: Seigel's words aren't an attack on the "f-word." Rather, she's building that tenuous bridge between the young and seemingly unmotivated, feminists and their burnt-out mothers. As a twenty-six-year-old, self-identified woman in America, I can look around and see where the American feminist movement has failed my generation more than I can see it's successes, at times. And that's where Seigel makes her best historical point. I, with all my privilege, have the power of choice based on the historical outcomes of the movement. And I have feminists—past and present—to thank for that choice.

Sisterhood Interrupted is a quick and exciting read; Seigel exposes knowledge on where (and why) the movement split, between the more highly profiled Betty Freidan and Gloria Steinem, as well as the justification for retiring some words, like, "sisterhood." "But now I realize that sisterhood is phony. Even when there's consensus, there isn't," says Amy Richards, co-author of ManifestA, in a conversation with Seigel. "I think younger women have a better sense that it is a big façade." This 'façade' is not a backlash, or an attempt to dis-empower feminism, it's just a reality of the movement. We're not sisters based on gender alone or simply based on feminist history. I believe opening the discussion to a few things that have been deemed ‘sacred’ isn't such a terrible thing at all.

Written by: Courtney Ham, September 17th 2007

Because I’m Awesome

admin — Fri, 13 Jul 2007 23:09:00 +0000

By The Dollyrots

Blackheart Records

Confession time: I’m a child of the '80s, but I never listened to Madonna, Prince or even the Talking Heads. I like to think I came of age with Gwen Stefani, Tori Amos and, well, Ani Difranco. Even when I was younger, lyrics took precedence over sound, substance or production, and I think these are the reasons why the first riff of The Dollyrots new album, Because I’m Awesome, was instantly appealing.

With quick guitars, a girl singer and short, snappy songs, I was immediately hooked. The Dollyrots call themselves a punk band, but I hear similarities to Liz Phair, Sleater-Kinney and, of course, Joan Jett, especially when these three artists were at the pinnacle of their success. There is a formula here, but there is nothing watered down about The Dollyrots. These are very radio-friendly songs about dangerous crushes, best friends, heartache and leaving town (specifically L.A.).

Speaking of L.A., The Dollyrots hail from the City of Angels. This is their second album, and it’s distributed by Blackheart Records, the label owned by Joan Jett. I don’t hear anything new here, but I’m okay with that. Working within the pop punk genre, The Dollyrots have mastered the call-and-response chorus, and I love singing along hoping their next album will channel Liz Phair. Don’t miss the title track!

Written by: Courtney Ham, July 13th 2007

Summary

admin — Fri, 06 Jul 2007 01:55:00 +0000

By BARR

5 Rue Christine

I can’t listen to this record without thinking the word "self-indulgent." Imagine you are in a room with a piano, a bass guitar, a microphone and your thoughts. Nothing is written down. In fact, the lyrics and instruments stream out in paragraphs. You talk about your life, friends, family, text message conversations. You sometimes sing, but the rest is basically spoken word.

This about sums up Barr's (Brendan Fowler and Corey Dieckman) new release, Summary. What’s important about this album is the lyrics. Fowler pushes the boundaries of what you can include in a song, but still keeps the songs relatively short. However, Barr pushes this stream-of-consciousness over a bland background of noise. While I appreciate the stripped down sound, it’s hard to pay attention to a mind-bending lyric if I only hear the same note being played over and over again. Maybe I just don’t understand the appeal, but this was a hard album to finish once. The best part? The second song is “The Song is The Single," and the lyrics tell all: “The song is the single and the single sucks/it never sounded good/it always sounded bad.” I can appreciate their honesty.

Written by: Courtney Ham, July 5th 2007

Ladycop

admin — Sat, 16 Jun 2007 12:36:00 +0000

By Ladycop

According to their Myspace page, Ladycop is known for their live show; the trouble is I haven’t seen it. Based in Brooklyn, their self-released and self-titled EP, showcases a band that isn’t easily captured second-hand. With layers upon layers of sound, rattling guitars, and mystic vocals, I’m aching to hear more from this indie rock four-some, preferably at a small, dark club in their hometown. I just want more!

Similar to The Arcade Fire, Ladycop are serious musicians. Their music is as dark and complex as it is driving, but remains fresh - as if I’d stumbled upon a secret that I had heard before, but never really noticed. This isn’t your mother’s Pink Floyd, but their influence is unmistakable with their trademark long, stringing guitar notes (acoustic and electric) and seamless ends and beginnings. I highly recommend this EP. Ladycop tours this summer.

Written by: Courtney Ham, June 16th 2007

Fight Like A Girl: How To Be A Fearless Feminist

admin — Fri, 06 Apr 2007 22:53:00 +0000

By Megan Seely

New York University Press

As a young student activist, I often struggled with the idea that somehow we, as organizers, were supposed to “know” what we were doing and further that we were doing it better than those who came before us. In Megan Seely’s powerful book, Fight Like a Girl, Seely dispels the notion that there are secrets to successful organizing by creating a step by step, compelling manual that challenges even the cynical.

As the youngest ever elected president of the California National Organization for Women (CA-NOW), serving from 2001-2005, Seely opens her book with her first memory of injustice, the United Farm Workers movement. Her moment of rage at the grocery store with a store manager, unconcerned with where the grapes came from or their significance to workers rights, is easy to relate too; we share her struggle. Seely is a young woman, a third wave feminist, and her struggle is the personal entangled with the political. The writing is candid and fresh. But, this is not a memoir of personal stories, moments and notes on one woman’s personal revolution, thankfully. There is a clear balance between important political lessons and personal revelations. Seely understands the stakes and instead of telling us “how,” she demonstrates through personal stories, calls to action, and step-by-step instructions for fearless feminist living.

Written by: Courtney Ham, April 6th 2007

The Brightness

admin — Mon, 19 Mar 2007 21:26:00 +0000

By Anaïs Mitchell

Righteous Babe Records

As the newest addition to Righteous Babe Records, Anais Mitchell, has written an album full of tender metaphors, without the bitter tone of heartbreak. The Brightness will probably sit in the folk section of your favorite record store, but this album isn’t as simple as a singer and an acoustic guitar. Mitchell pulls in a piano, lap steel, cello, viola, banjo and other instruments to fill the record with layers upon layers of sound. There is no cynicism here, no post-post modern sarcasm about the life love leaves behind. This 25-year-old songwriter and Vermont native has given us a delicate, layered mythos of reality, complex and lovely.

Her voice, reminiscent of Joanna Newsom, speaks of New Orleans love before the flooding of the city, and when she states, “Nothing comes of the songs people sing, however, sorry they are” in “Hades and Persephone,” you believe her. But the album is moody, and it seems she can’t always decide whether her words are more important than the accompanying music. At times they seem one in the same. However, these aren’t just songs; they are stories. Luckily, there is no scorn here. The Brightness seems more like a moonlit walk than a romp in the sun. Mitchell's romantic, delicate songs are perfect for the days (and nights) we choose to sit still in the midst of our busy lives and listen.

Written by: Courtney Ham, March 19th 2007