February 9, 2013
Rick Moody is so hurt that you called him a misogynist for writing misogynist things about Taylor Swift, you guys!

judyxberman:

Related question: Why has Salon become the unofficial headquarters for middle-aged men who hate Taylor Swift? (I mean, I used to work there and I have some guesses, but…)

ETA: It is not often that I find a large block quote from Robert Christgau refreshing, and yet in this case, it is a godsend.

Judy is everything.

November 3, 2012
"The more I watch this show, the more I try to unravel the points of association between the male characters. Pretty Little Liars is at its core about four teenage girls who are best friends, no matter how much their other relationships get in the way. For us as viewers, all character interiority belongs to these girls, as does our attendant empathy. The men are in many ways marginal characters — appendages to the female networking at the heart of this mystery. The men rarely interact. Or, at least, we rarely see them interact. That’s what makes them so inhumane, so horrifying. Each time a liar tells her boyfriend a secret, it’s akin to seeing a girl strip a layer of clothing in any classic horror film. You want to reach through the screen and tell her to stop — that she’s showing too much skin."

Jane Hu, Alice Bolin, and I wrote about Pretty Little Liars for The Bygone Bureau. That great quote above is Jane’s. (via judyxberman)

Judy is the only cultural critic who is not embarrassing.

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Filed under: judy professionals experts 
October 25, 2012
"In August Pitchfork reported that Surfer Blood front man John Paul Pitts had been arrested for domestic battery, and no one implicated lame indie-rock in Pitts’s actions."

Part of the reason why we won’t post the alleged Lil Reese assault video (via chicago-reader)

Really important. The answer isn’t to go easier on rappers who commit violence against women, though — it’s to work against the racism that makes them the only group whose reputation is tied to this behavior. If we’re going to bring up Rihanna every time we mention Chris Brown, let’s keep reminding people about John Paul Pitts (here’s the Pitchfork story, which quotes a pretty terrifying police report) every time we cover Surfer Blood. (That being said, the real reason not to post the video is out of respect for the victim, who has a right to privacy — and whose suffering should never be our entertainment.)

YES

And can I just say, instead of sitting around at EMP debating whether Gaga is a feminist this is the shit everyone should be talking about.

(via judyxberman)

September 27, 2012
My life mission of getting people to stop calling Fiona Apple crazy continues.

judyxberman:

“Fleming’s letter isn’t just embarrassing for him; it reflects poorly on the entire Hudspeth County Sheriff’s Department and casts Apple’s accusations in a new light. If that’s the attitude the department is willing to take in a public statement, why would we doubt her claims about the way certain individuals treated her behind closed doors? Before we judge the tone of her ‘ramblings,’ let’s consider that she might still have been processing real trauma.”

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Filed under: judy judy is the best 
September 10, 2012
What it’s like to move to New York City when you’re young and not rich

judyxberman:

A few days ago, The New York Times published an article called “The Launching Pad,” about four new college graduates finding their first apartment in New York City. Each had a budget of $1000-2000, and “by coincidence, all four wound up in Manhattan, despite the fact that Brooklyn, and increasingly parts of Queens, attract great numbers of renters.” Although it’s clear that the methods used were hardly scientific, this is the kind of article that could give you the idea that you can’t move to New York if you’re not rich or don’t have a lucrative job lined up.

This is not the truth. I can’t speak to whether it’s a great idea to come here straight out of college, without prospects or savings. In fact, I can’t even say that it was the right choice for me, because, seven years later (and despite relative job security), my future still feels uncertain. That isn’t the point, though. The point is, you don’t need to have $1000 a month in rent money to live in New York as a 22-year-old, and it matters that young people realize this, or our already considerable “entitled asshole” population is going to take over the city. Very few people I know have arrived here with that kind of income. I don’t pay that much in rent now.

Here’s how I got to New York City: I graduated from college in Baltimore, where I lived in a house with five other people and paid less than $300 a month in rent. A few days later, half-exuberant but also half-paralyzed by the idea that our lives were very much on the record from now on, four of us packed everything we owned (pared down considerably in anticipation of how little space we’d have) into a Uhaul. It took forever to pack that truck, because we were trying to fit everyone’s bed, desk, dresser, etc. into a vehicle that was only supposed to fit the contents of a one-bedroom apartment. We left in the dark — me, my boyfriend, two other guys — waving to our friends who were still in town. A group of them sat on our stoop watching as we got ready to go. Hopefully my memory isn’t embellishing this, but I think I remember there were some tears. It wasn’t just about us leaving, it was about everyone’s lives changing at the exact same time.

Read More

important

(via heidicomestolife)

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Filed under: important relevant judy 
September 6, 2012
Sadly, all the vibrancy in this film is generated by a crude pornography of violence. At the center of this spectacle is the continuous physical and emotional violation of the body and being of a small six year old black girl called Hushpuppy (played by the ten year old actress Quzenhane Wallis). While she is portrayed as continuously resisting and refusing to be a victim, she is victimized. Subject to both romanticization as a modern primitive and eroticization, her plight is presented as comically farcical. Some audiences laugh as Hushpuppy, when enraged at the antics of her disappearing alcoholic oftentimes abusive wild man dad Wink, burns her shanty house. Initially, she hides from the fire in an overturned cardboard box until Wink rescues her by fiercely yelling mean spirited words that both frighten her and lead her to run for her life; in that moment she is more terrified of her raging dad than she is of the fire. Hushpuppy has a resilient spirit. She is indeed a miniature version of the ‘strong black female matriarch,’ racist and sexist representations have depicted from slavery on into the present day. Like the unrealistic racist/sexist stereotypical images of grown black women in the recent blockbuster film The Help who confront all manner of exploitation and oppression only to triumph in this ridiculous macabre fantasy of modern primitivism, Hushpuppy is a survivor. From the onset of the film, she is depicted as a wild child, so at home in the natural wild of the Gulf of Mexico bayou world where black and white po’ folks create their own community affectionately called the Bathtub. This is the territory they claim as a renegade place of belonging. It is a total homemade world of make do, use whatever you got to survive. Nature is the most compelling force in the world of the Bathtub. In this world there is no us-against-them mentality when it comes to human and nature. Instead there is an intimate merger so complete celebration of their collective feral animal nature binds everyone in a sacred contract; they are to resist domestication and civilization at all costs. As Diane Ackerman states in her short essay “Natural Wonder;” “Nature is both personal and panoramic, including a profound sense of our animal essence…All of our being juices, flesh, and spirit is nature. Nature surrounds, permeates, effervesces in, and includes us. At the end of our days, it deranges and disassembles us… There, once living beings, we return to our non-living elements, but we still and forever remain a part of nature.” As explanation this declaration provides the metaphysical backdrop for the role nature plays in Beasts of the Southern Wild. The natural setting that serves as poignant poetic backdrop is real and imaginary in the film. Hushpuppy finds solace in natural wildness, listening to the heartbeat of animals, envisioning her connection to a primordial world, what anthropologist Carl Sauer calls “the world before the coming of the white man.” Hushpuppy has visions of a natural world humans are destroying. And even though the other black and white members of the Bathtub community do not share her visions they share the commitment to remain in the wild even as the waters rise. It is the survivalist narrative that seems to most enchant viewers of this film, allowing them to overlook violence, eroticization of children, and all manner of dirt and filth. Just as television audiences remain glued to their seats watching the reality shows that focus on humans struggling against harsh unnatural circumstances and each other to survive, audiences of Beasts of the Southern Wild enjoy this same rush. As in these everyday television survivalist narratives, humans in the film are both at one with nature even as they are potential victims of a harsh natural world that respects no categories of race, class, or gender. Of course the message that only the strong survive has been and remains an age old argument for politics of domination, that determine that some folks will live and others will die, that the strong will necessarily rule over the weak. For many folks who see this film it is the mythic focus that enchants. And yet it is precisely this mythic focus that deflects attention away from egregious sub-textual narratives present in the film. Writing about the role of myth n popular media that makes use of race in his book White Lies: Race and the Myths of Whiteness critic Maurice Berger contends: “Despite the visual sophistication and supposed vigilance of a media-oriented culture …Western commentators, critics, and academics seem no to realize how duplicitous words and images can be. They simply do not understand how myths work, how myths hold us hostage to their smooth elegant fictions. The subject of race, perhaps more than any other subject in contemporary life feeds on myth…. Myth is the book, seamless narrative that tells us the contradictions and incongruities of race and racism are too confusing or too dangerous to articulate. Myths provide the elegant deceptions that reinforce our unconscious prejudices. Myths are the white lies that tell us everything is all right, even when it is not.” Deploying myth and fantasy we are shown a world in Beasts of the Southern Wild where black and white poor folks live together in utopian harmony. No race talk, no racial discourse disturbs the peace.

—bell hooks on Beasts of the Southern Wild

Thanks Judy for sending me this link—I’ve been struggling with that movie.

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Filed under: movies Judy 
June 22, 2012
Rachael took a perfect photo of the flowers I made for solstice—we had an abundance of herbs and blooms, and wine and friends and love. We burnt our fears and ate almond cake (for Robin and J’s one year wedding anniversary!), joined hands in honor of midsummer, and talked about medieval art, fish songs, hearing, sentient genitals, our health, our goals, our art, Guns N Roses, zines, activism, and everything that matters. For those who couldn’t make it, you were part of the circle, always will be.

Rachael took a perfect photo of the flowers I made for solstice—we had an abundance of herbs and blooms, and wine and friends and love. We burnt our fears and ate almond cake (for Robin and J’s one year wedding anniversary!), joined hands in honor of midsummer, and talked about medieval art, fish songs, hearing, sentient genitals, our health, our goals, our art, Guns N Roses, zines, activism, and everything that matters. For those who couldn’t make it, you were part of the circle, always will be.

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