Concerts in Coventry: 24th June, 29th July

I’m involved in organising two exciting events at Coventry’s Tin Music and Arts over the coming month.

This coming Saturday sees the return of feminist club night Revolt, complete with bands, DJs, spoken word, zines and our Feminist Library. I’ll be opening the night with my band Dispute Settlement Mechanism.

For tickets and more info, click here.

Revolt #10
On Saturday 29th July we’ll be treated to a performance by CN Lester, who will be performing songs from their new album Come Home and reading from their great new book Trans Like Me.

For tickets and more info, click here.

CN Lester.png
Entry will also be available on the door on a donations basis (suggested donation £5, but no-one will be turned away for lack of funds).

 

I have seen the future of feminism, and it is beautiful

Yesterday’s social media furore over a dodgy letter to the Observer left me questioning my place within the women’s movement for the umpteenth time. However, within hours I was powerfully reminded that those who advocate an exclusive feminism are less influential and important than they might like to think.

Last night I joined a room of people committed to building a feminism that is compassionate, reflexive, inclusive of all women and sensitive to our different experiences.

Last night I found myself in a room of brown, black and white faces; gay, bi and straight; cis and trans; working class and middle class; disabled and abled. Last night I heard a teenage Muslim woman speak out about the importance of representing all faiths in activism after a question from a Jewish woman in the audience. Last night I heard from a white middle-class straight woman who has turned up to learn with an open mind. Last night I heard cis women talk about about trans rights, and felt that my identity and experience as a woman was simply not in question.

I had been invited to contribute to a panel discussion at the University of Bristol Students’ Union (UBU). Entitled How do we make the Women’s Movement intersectional?, the panel was was of UBU’s “Festival of Liberation“, which also includes events looking at the challenges faced by LGBT people, disabled people, and people of colour. I was honoured to share a panel with three truly awesome women: Susuana Antubam and Sammi Whitaker of the NUS Women’s Campaign, and Fahma Mohamed of Integrate Bristol.

Panellists at UBU's intersectional feminist event
Last night was promising and encouraging and heartwarming, and was not unusual in being so. I have seen similar scenes repeated across the country over the last few years at talks, workshops, protests and riot grrrl gigs.

This is the new feminism. A feminism that is discarding the model of monolithic female oppression and in its place building a movement around diversity and inclusion. A feminism that seeks to base both theory and action upon what different groups of women have to say about their lives and experiences, rather than imposing a top-down model of liberation drawn from academic theory. A feminism that sees cis and straight women take responsibility for supporting the work of their trans and queer sisters, white women take responsibility for supporting the work of their sisters of colour, abled women take responsibiity for supporting the work of their disabled sisters and so on.

Last night we talked about the importance of intersectionality as feminist praxis: of putting ideas into action. We talked about the importance of education: of sharing the knowledge and tools necessary for women’s liberation with people of all genders. We talked about the importance of representation: of working to ensure that women of all backgrounds feel welcome and able to attend feminist events through the use of accessible venues, ensuring diversity within organising teams and (where relevant) speakers/acts, and thinking about the language we use. We talked about the benefits of building groups around intersectional identities (such as black womanhood); groups that can then work alongside other bodies of people with a broader remit, feeding in ideas and holding them to account.

We talked about calling people out and challenging oppressive behaviour both within wider society and within the feminist movement. We also talked about being kind and prepared to forgive, and allowing people space to learn and grow. We talked about how everyone will make mistakes, because intersectional feminism is a constant experience of doing and being, rather than a closed process where you jump through a series of hoops and then become a Good Feminist who is capable of always passing judgement upon others.

We talked about our experiences of activism. Fahma talked about giving a piece of her mind to a nervous Michael Gove, resulting in a letter to every school in the country about FGM. Sammi talked about productive conversations with working class male friends, and building liberation into the very fabric of Anglia Ruskin’s fledgling Students’ Union. Susuana talked about her work on addressing lad culture as a gendered, racialised and classist phenomenon. I talked about my contributions to trans and non-binary inclusion within the NUS Women’s Campaign, and how we seek a diverse range of performers for Revolt, Coventry’s feminist punk night. We heard stories and ideas and questions from the audience, and I reflected on how we were not “experts” with a monopoly on solutions, but just one part of a wider movement.

These are just some of the things that we talked about.

So why have I been led to question my place within the women’s movement?

Because I see Julie Bindel referring to other feminists as “stupid little bellends” whilst misgendering trans women, arguing that bisexuals do not experience oppression, and stating that Muslim women who wear religious dress are necessarily oppressed. Because I see Rupert Read suggesting that trans women should not be allowed to use public toilets. Because I see Beatrix Campbell repeating and defending these ideas.

When I read things like this, I am repelled by a feminism that is harsh, bitter and exclusionary.

When feminists gaslight me by claiming repeatedly that the individuals who wrote these articles are not transphobic I am saddened and confused.

When I hear about feminists disrupting conversations at events such as AFem in order to promote an agenda that excludes trans people and sex workers, I am disappointed and worried.

When I see exclusionary events like Radfem 2013 and Femifest 2014 promoted within feminist spaces and supported by organisations like Women’s Aid and Reclaim The Night London I am alarmed and concerned.

When I see feminist women and men – including both public figures as well as personal friends and acquaintances – sign a misleading letter that condemns attempts to debate and contest the above, I wonder how voices of those who work for an inclusive and diverse feminism can possibly stand against a “letter mob” representing the discursive might of the liberal Establishment.

The stakes are high. Too many of my friends have considered suicide. Too many of my friends have died. When I talk to my trans friends and fellow activists, I hear about fragile mental health, doctors and shopkeepers refusing to provide services, threats of violence and attacks in the street. All of these things are fuelled by the dehumanisation of trans people, the idea that we require intervention to save us from the misguided path of transition, the implication that we do not deserve to exist within public spaces. These discourses are perpetuated by feminists and defended by liberals in the name of “free speech”.

I don’t believe in historical inevitability and don’t buy into progression narratives. I had a debate about trans-exclusive feminisms with Jack Halberstam recently. Jack echoed my PhD supervisor in arguing that trans-exclusive feminisms are outdated and irrelevant, long-dismissed within the academic world. But the academic world is often divorced from the reality of the feminist movement on the ground. In this reality, exclusive feminisms continue to fester.

In spite of all of this, last night reminded me of the power and appeal of the new, intersectional feminism. It is this feminism that is popular amongst young people who are more interested in working together than apart, and veteran activists with the humility to share their ideas and wisdom with newcomers on an equal footing.

This feminism requires work and nurture, but – as I argued last night – this does not need to be an entirely arduous task. Working together across our differences and ensuring that more people feel welcome and included makes us stronger. Learning new things from others can be interesting and exciting. Having the strength to learn from our mistakes solidifies friendships and alliances. Discovering a more diverse range of feminist histories, activisms and performances can be fun and empowering.

The new feminism is beautiful. Let’s keep building.

Misogynists who know nothing about music shame Courtney Love for not being an entire band

Some sound guy who was hired (by who, it’s not entirely certain) to record a Hole show a few years back has put isolated vocal and guitar parts from Courtney Love playing “Celebrity Skin” up on Youtube.

This video is now being gleefully shared around by mainstream music websites and blogs that invariably describe Courtney’s performance as “terrible” or rhetorically ask if it is “the worst thing ever”.

The answer, to anyone who has the slightest clue about how live music happens, is “no, this really isn’t the worst thing ever”.

Why? Well, firstly, because Courtney actually sounds pretty good here if you like raw vocal parts. But let’s set that aside for a moment.

Live vocal feeds usually sound pretty terrible. There is a lot of processing that happens in a studio, and a reason why slick-sounding albums tend to take days, weeks or even months to record. It’s a very rare singer who can pull off perfect vocals live – particularly if they’re playing rock or punk, which tend to rely on energy rather than technical perfection.

We don’t tend to notice this when we see live bands – because if they’re a decent band, they will have that energy, and the singing will be good enough. This is one reason why you can see a phenomenal live performance at a gig, then watch an imperfect live recording on TV a couple of days later and wonder why it doesn’t seem anywhere near as good.

Similarly, guitar parts tend to undergo a lot of processing even in a live setting. Many professional bands don’t have pedals on-stage, and will rely on a sound technician to process any distortion or tone effects for them. Moreover, amps will be adjusted for the acoustics of a venue. Unless you apply serious production to a live recording, it will tend to sound a lot more tinny and empty than a studio recording.

Finally, it’s worth noting that Courtney isn’t even really playing much guitar in this video in part because she doesn’t need to. “Celebrity Skin” relies largely on one guitar part and the rhythm section (bass and drums) to provide the bulk of the song, with the second guitar throwing in a bit of additional “oomph” now and again. Of course the guitar parts in this video are minimal and imperfect – quite aside from the sound issues, Courtney is pretty much smashing the strings for occasional effect. This would sound a lot better if you were doing this in your room because you’d have the volume, distortion and acoustics that were clearly present in the room at this gig. But it’d sound even better if you had an entire band filling out the rest of the song for you.

Surely, the guitar could have been played a lot better here, but it’s clear from the audience response that no-one actually in the venue cares. Why? Because there’s an entire band filling out the sound, which means that one punk musician’s performance doesn’t have to be perfect. Besides, she’s still pretty tight with the rest of the group.

So why is this even a big deal? I’m sure there are those who will claim that this video is just being shared because it sounds shit, but there are plenty of musicians who would sound shit if you shared isolated guitar + vocal parts around the Internet.

Courtney Love is no angel by any stretch of the imagination, but I feel it’s no coincidence that she is being targeted. She’s one of the very few women to ever maintain a relatively high profile as a rock star for the duration of her career, and that has made her the target for the kind of judgementalism, conspiracy theories and ill-informed criticism that just doesn’t stick with well-known male performers.

And that’s misogyny.

edit 15/11/14

This post wasn’t particularly well thought-through – I wrote it in a brief fit of annoyance and threw at at the Internet, not really expecting it to stick. I stand absolutely by what I said – it’s just that if I was expecting to deal with the snobby pedant parade in its full uptight glory I probably would have spent some time making the argument really watertight. Oh well.

Still, since I’m currently getting yet another spike of several thousand hits, I figured I’d address a couple of things that people seem to be massively missing the point on.

Firstly, the guitar. Of course it’s out of tune and sounds shite. I’m a musician, and I’m not deaf. The implicit question in this blog was intended to be – do you think this never happens to other musicians? Love, like anyone else at her level, will not be tuning her own guitar – it’ll be done by a guitar tech on tour with her. And mistakes will be made. If you’re in the middle of a song and attempt to play a nice, big power chord only to find out that it sounds awful, you’re gonna barely play it. Alternatively, if you’re in the middle of a song and can’t hear yourself properly through the monitors and suspect something might be wrong, you’re also barely gonna play it. Were these the reasons Love played in the way she did? Or was it something else? There are many ways this could have played out. Honestly, I don’t actually really care, and I’m baffled at why everyone else does. Which leads me on to…

Yes, of course the coverage of this is misogynistic. There’s some more discussion of the double-standard in rock music at play in this discussion here. This isn’t about whether or not the performance was objectively good or objectively awful – it’s about how this one incident fits into a wider pattern in which female musicians are, as standard, treated differently to male musicians and subject to different expectations. Incidentally, the men who comment on my blog calling me a “bitch” for writing this or declaring that I “HATE MEN” are not gonna convince me that they’re somehow sensitive to the nuances of sexism.

Anyways, I’m off to do some research and listen to Against Me! because I have a life outside the Internet. Toodles.

Comments on this post are now closed, as I have better things to do with my time than approve dozens of comments with exactly the same content.

DSM-II

On Monday we released the second Dispute Settlement Mechanism EP, DSM-II. You can listen to it below. I perform on lead vocals, and also play clean bass guitar on our cover of Seven Nation Army.

NHS Vulva may be of particular interest to readers of this blog. It deals with issues of medical malpractice, transphobia in the legal system, and cultures of transition.

Laura Jane Grace subverts MTV with style

Having previously written a little bit about Against Me! frontwoman Laura Jane Grace’s recent appearance on MTV’s House of Style, I finally got around to watching it.

And, you know what, I really am impressed.

Grace makes the most of every moment of air time: she seems determined to convey a whole series of positive messages. It seems like the editing team who put together the short were pretty respectful of this. The whole programme is also largely free of the usual transphobic tropes, which is an achievement in and of itself.

I’m not normally a fan of this kind of thing. I don’t care how celebrities dress. I don’t care how they “choose” their “style”. I associate such programmes with shallow consumerism and damagingly limited ideas about how people should and shouldn’t express themselves.

But the messages that come from Grace are powerful, important and – to my mind – broadly feminist. Be true to your tastes and interests (“You can see like the texture of it? That’s real dirt”). Dress in a way that makes you feel good. Passing doesn’t need to be an end in and of itself. If you’re a young trans people, it’s okay – other trans people exist, in public!

Grace is self-consciously making herself into a role model. That’s not always a good thing, but the message here isn’t “be like me”, it’s “be yourself”. Sod the naysayers: this is punk as fuck.

Video embedded for readers who (like me) aren’t based in the US, and hence can’t watch this on the MTV website.

There’s more to (public) life than being trans

A news feed informed me the other day that Against Me! frontwoman Laura Jane Grace had appeared on MTV’s House of Style to talk about her, uh, style. On one level, I suppose this is pretty typical of the vapid programming you’d expect from MTV – celebrity turns up, talks about her wardrobe, nobody learns anything of value but some mild entertainment supposedly takes place.

Except this is a big deal in one sense, because Grace is trans, and transitioning. By appearing on this kind of programme talking about her favourite clothes and showing off her collection of obscure punk records, she normalises transness.

There’s part of me that feels a bit uncomfortable about this – social inclusion is a worthy goal, but should it really come at the expense of a dull assimilation into corporate cultural mediocrity?

Still, I went looking for the video. I didn’t manage to find it because MTV really aren’t keen on British people watching American video content (and I can’t be bothered with proxies, at least not over this). However, I did come across a bunch of punks arguing about Grace’s participation in the programme. Some of them were unimpressed, arguing that the singer was engaging in shameless self-publicity. Others pointed out that Grace has stated before that she’s being public about her transition entirely so she can help young trans people who are struggling with their feelings. I sympathise with that latter position pretty strongly.

And so Laura Jane Grace is all over the media, talking to MTV (in a variety of contexts), Rolling Stone, newspapers, webcasts and suchlike about being trans. Like other prominent LGBT people who have come out in a high-profile way, she’s taking advantage of celebrity culture to talk about something real and important for a change.

So I feel okay with Grace being on MTV, and I feel okay with these appearances currently centring on her transness. But there’s still a danger of her becoming a one-dimensional public figure, and the rest of us have to take responsibility for this.

If you look at pretty much any Against Me! video on Youtube or read any piece about the band’s current musical plans you’ll find comment threads filled with people talking about Grace’s transition and/or arguing about her pronouns. No-one, even Grace’s supporters in this context, seem bothered with the idea that there might be anything to talk about other than her gender identity (obviously the rest of the band don’t get a look-in!)

You could blame Grace’s current media presence for this. But it’s not like she doesn’t have plenty else to say. She’s written songs about economic inequality, war, love, solidarity, terminal illness, drug abuse and the death of good friends. None of them have magically disappeared just because she’s since come out.

I realise that arguments over gender in comment threads are a somewhat inevitable consequence of the ongoing cultural contestation of transness. I’m also probably contributing somewhat to the issue by writing about it on a trans-oriented blog. Still, when I’m singing along to I Was A Teenage Anarchist I tend to think about what that might mean about youth, personal growth and political affiliation – stuff that’s important regardless of how the songwriter might define her gender. I hope others are able to keep sight of this.

Scottish Transgender Alliance seek trans and intersex artists

Cross-posted because art is cool.

Please forward to Trans* and Intersex Artists and their Allies

Are you interested in potentially submitting work (e.g. short films, visual art or pieces of writing), or performing in trans*, queer and LGBTI+ multimedia arts events in Scotland?

Scottish Transgender Alliance (http://www.scottishtrans.org) and Zorras (http://www.blissfultimes.ca/cachin.htm) are working together to create a new online resource to help event organisers link up with trans* and intersex artists and their allies.

You can be resident anywhere, as long as you are interested in receiving enquiries and invites from people and organisations who are creating trans*, queer and LGBTI+ events in Scotland (and potentially also other countries across Europe).

If you wish your information to be considered for inclusion this resource, please provide the following information in the body of an email to zorras [at] blissfultimes.ca with the subject line TRANS ONLINE RESOURCE:

1. Please tell us what kind of artist you are (list as many titles as you like). Examples: visual artist, musician, performer, dancer, writer, composer, choreographer, filmmaker, painter, photographer, punk band, other. You can also be more specific if you like (e.g. drummer/singer).

2. Where are you based?

3. Please submit a maximum 200-word artist’s bio.

4. Please submit up to 200 words highlighting any ways in which your work explores or relates to trans*, intersex, feminist, queer or intersectional equality and diversity themes.

5. Please submit a recording, photo sample, published article, or video link that best represents your work. Do not send files for this; only send links.

6. Please submit up to two additional website links (e.g. website, Facebook page).

7. Please submit a 300dpi photo that’s no larger than 8cm wide or tall. Please tell us the photographer’s name.

8. Please list the contact info you would like to make available to the public. (e.g. your phone number, email address).

NB Not all submissions are guaranteed inclusion in the online resource, depending on the relevance of your work to trans and intersex issues.

* Here we are using the term trans* in its widest and most diverse sense. We intend it to also include all those who identify as any of the following: transsexual, transgender, transvestite, cross-dresser, bi-gender, third-gender, gender variant, non-binary, genderqueer, gender nonconforming, two-spirit, androgyne and/or non-gendered.