Tag Archives: video

Jane Austen’s Fight Club

25 Aug
[youtube http://youtu.be/InNnf4dI9AE]

Jane Austen’s Fight Club – the greatest literary mash-up ever? You decide.

The concept video was written and directed by Emily Janice Card (the brunette lady with the pixie cut). I did a little research and it turns out that not only is she an award-winning audiobook narrator in her other life — she’s also the daughter of everyone’s favourite acclaimed yet controversial sci fi writer, Orson Scott Card!

My Favourite Slam Poetry

19 Aug

I posted a while back about how much I love spoken word poetry, so I thought I’d share some of my favourite slam poets with you guys. I owe a lot to one particular feminist network on Facebook for introducing me to these — thanks ladies!

Most of these come with a trigger warning, so be aware of that.

Kai Davis is just phenomenal. When I watch this video I still get shivers every time. I just want to hug her and stroke her hair but at the same time I’m really scared of her and how twisted this poem sounds.

Kavindu “Kavi” Ade performing IT. Again, this piece is really moving.

Andrea Gibson performs ‘How It Ends’ in this one and it is just the cutest love poem ever. I mean can you just imagine if someone wrote this for you?

Emilie Zoey Baker’s poem ‘Fannyism’ made me a feminist when I was seventeen. This isn’t a great rendition though. You really have to go to her myspace music player and listen to it old school style, it’s a lot better.

[vimeo http://vimeo.com/21221916]

Kim Selling performs ‘Fat Bottomed Girls’ and everyone is blown away forever. Goodbye I am gone.

Kai Davis again and her friend made this little offering which they call ‘Dear Dirty Hipsters’ and it is an open letter to me and maybe you and it’s also really funny and we should stop being so terrible.

Is there something you think I need to see? Link me up in the comments!

10 Manic Pixie Dream Girls From Film Adaptations of Novels

5 Jul
This post was inspired in part by Laurie Penny’s amazing article from the New Statesman earlier this week, and the equally thought-provoking response from Hazel of Freaky Trigger.

The MPDG is, by very definition, the girl of your dreams. She first became a trope thanks to Nathan Rabin’s review of Elizabethtown, in which he defined a Manic Pixie Dream Girl as “that bubbly, shallow cinematic creature that exists solely in the fevered imaginations of sensitive writer-directors to teach broodingly soulful young men to embrace life and its infinite mysteries and adventures” – but she has existed in one form or another long before he ever coined the phrase.

We saw her in the fifties, when she manifested herself as Grace Kelly in To Catch a Thief, and Marilyn Monroe in Some Like It Hot. In the sixties she was Jean Seberg in Breathless. As the decades roll on, see also: Maggie Gyllenhaal in Stranger than Fiction, Natalie Portman in Garden State, and every character Zooey Deschenal has ever played – ever. Kate Winslet’s character Clementine in Eternal Sunshine of the Spotless Mind acknowledges the archetype and kind of rejects the label (“Too many guys think I’m a concept, or I complete them, or I’m gonna make them alive. But I’m just a fucked-up girl who’s lookin’ for my own peace of mind; don’t assign me yours“) – but ultimately, she’s MPDG incarnate.

If you want a better definition of what exactly a Manic Pixie Dream Girl’s role is, this Feminist Frequency video sums it up pretty succinctly:

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Your Musicology is My Mythology. Featuring: Chumbawamba.

15 Jul

Like most seven-year-olds in ’97, I first heard of anarcho-punk band Chumbawamba through their chart-topping single ‘Tumthumping‘. Last week, in a break from the recent trend of nineties bands reforming, Chumbawamba announced on their website their intention to call it a day (or, as The Quietus/every site ever so drolly reports: “They get knocked down, they don’t get back up again”).

However, what I’m quickly learning is that these guys are decidedly not a nineties band. Chumbawamba’s legacy spans three decades, after all. First forming in 1982, influenced by fellow anarcho-punk peers Crass, the band journeyed through genres experimenting with post-punk, mainstream pop, electro-pop, acoustic and a capella sounds, to their ultimate reinvention as a “soft, heavily melodic folk sound“. Chumbawamba have constantly evolved, experimented and entertained.

If John Prescott has the nerve to turn up at events like the BRIT Awards in a vain attempt to make Labour seem cool and trendy, then he deserves all we can throw at him - Danbert Nobacon

Chumbawamba dumped a bucket of water over Labour politician John Prescott at the ’98 Brit Awards.

(Speaking of the nineties though, man do they hate boy bands.

In fact, their fifteenth studio album, which gives Fiona Apple a run for her money in terms of absolute lack of brevity, is called The Boy Bands Have Won, and All the Copyists and the Tribute Bands and the TV Talent Show Producers Have Won, If We Allow Our Culture to Be Shaped by Mimicry, Whether from Lack of Ideas or From Exaggerated Respect. You Should Never Try to Freeze Culture. What You Can Do Is Recycle That Culture. Take Your Older Brother’s Hand-Me-Down Jacket and Re-Style It, Re-Fashion It to the Point Where It Becomes Your Own. But Don’t Just Regurgitate Creative History, or Hold Art and Music and Literature as Fixed, Untouchable and Kept Under Glass. The People Who Try to ‘Guard’ Any Particular Form of Music Are, Like the Copyists and Manufactured Bands, Doing It the Worst Disservice, Because the Only Thing That You Can Do to Music That Will Damage It Is Not Change It, Not Make It Your Own. Because Then It Dies, Then It’s Over, Then It’s Done, and the Boy Bands Have Won. It definitely deserved a listen.)

I like to think that ‘Tubthumping’, that little gem of an earworm, was their way of infiltrating the music industry and sharing their politics with a wider audience. It’s like how people discovered The Dresden Dolls through ‘Coin-Operated Boy‘, or think ‘Love Will Tear Us Apart‘ encapsulates the Joy Division experience. ‘Tubthumping’ was an anomaly that didn’t really capture the band’s sound, but allowed them to find a broader and more willingly receptive audience.

It wasn’t until I befriended the ever-effervescent Tommy Monroe and he played me ‘Homophobia‘ that I understood how mind-blowing Chumbawamba really were. The band have always been candid about their politics, and their stances towards class struggle, feminism and anti-fascism. They’ve covered the Bee Gees, funded numerous anarchist projects, and chucked water over John Prescott. Amazing.

If you always thought Chumbawamba were one-hit wonders, perhaps it’s time to reevaluate. Here is ‘Bad Dog’ from their 1994 album Anarchy (fanny warning re: the album art):