Issue 63 by debbie stoller

TILDA SWINTON • PERFECT PICNICS • RIOT GRRRL REVISITED

FOR WOMEN WITH SOMETHING TO GET OFF THEIR CHESTS

FEATURES [JUNE/JULY ’10]

64 CLOCKWISE FROM TOP LEFT: MICHAEL LAVINE; DANIELLE ST. LAURENT; JEANEEN LUND. ON DESCHANEL: JUMPER AND BELT: KAREN WALKER; PUMPS: ALEXANDRE HERCHCOVITCH; CUFF: BING BANG; NECKLACE: LOVE ROCKS NY. ON WARD: SUIT: SHIPLEY & HALMOS; SHIRT: BESPOKEN.

44 44 MOST WANTED She & Him’s M. Ward and Zooey

68 QUIET RIOT Remembering the magic and mayhem

Deschanel are really swell. By Kelly McClure

of riot grrrl with the women who made it happen. By Marisa Meltzer

52 WOMEN WHO ROCK Inspiring conversations with four mighty musicians. Starring: Cherie Currie, Joan 72 Jett, Jill Scott, and Wanda Jackson. By Emily Rems, Sabrina Ford, and Colleen Kane

60 LIFE’S A PICNIC Our step-by-step guide to hosting the greatest outdoor food fest of all time! By Lisa Butterworth

64 TRANSFORMER Tilda Swinton creates yet another unforgettable cinema woman. By Phoebe Magee

THE REVOLUTION CONTINUES Our riot grrrl recap rolls on with insights from Kathleen Hanna, one of the movement’s most powerful voices. By Mikki Halpin

74 BEAUTIFUL NOISE Sweet summer styles modeled by the season’s hottest music makers. Featuring: Joanna Newsom, Karen Elson, CocoRosie, Kelis, Florence and the Machine, Laura Burhenn of the Mynabirds, Sharon Jones, Bethany Cosentino of Best Coast, Alexis Krauss of Sleigh Bells, Melissa Auf der Maur, and the Dum Dum Girls. Photographed by Glynis Selina Arban, styling by Priscilla Polley

ON THE COVER: SHE & HIM PHOTOGRAPHED BY DANIELLE ST. LAURENT IN N.Y.C. FOR BUST AT SUN STUDIO. ON DESCHANEL: BLOUSE AND SHORTS: LYELL; BELT: MARC BY MARC JACOBS. ON WARD: SUIT: SHIPLEY & HALMOS; BUTTON-DOWN: RIVIERA CLUB; TIE: BESPOKEN; BELT: ALEXANDRE HERCHCOVITCH. STYLING: FRANCES TULK-HART; HAIR: ROLANDO BEAUCHAMP FOR BUMBLE AND BUMBLE; MAKEUP: CHRISTOPHER ARDOFF. COLLAGE: EMMA FLETCHER; COVER LETTERING: ELIZABETH CAREY SMITH, RETOUCHING; JUSTIN FARKAS.

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CONTENTS

REGULARS 6 8

Editor’s Letter Dear BUST

11 Broadcast The Supercute! girls rock our world; constructionistas get the right ﬁt at Woman Up; bowling champ Kelly Kulick; and more. 12 She-bonics Tina Fey, Jessica Simpson, Ellen DeGeneres, and Julia Louis-Dreyfus lay some wisdom on us. By Whitney Dwire 16 Pop Quiz Mariah Carey hits all the right notes. By Emily Rems 18 Hot Dates Fun events to try in June and July. By Libby Zay

23 Real Life Make a cami and panties from an old tee; shake your derrière with Wii ﬁtness software; putting the L Letterpress to the test; and more. 27 Old School Grandma Peterson’s doggie treats. By Sheila Julson 29 Buy or DIY Design an iPod dock that rocks. By Callie Watts and Lori Forty Weaver 33 Looks A street-fashion photog’s rad togs; clothes for gals who like to bike; looks inspired by Riff Randell that are too hot to handle; and more. 34 BUST Test Kitchen Our interns prepare to be seen with some towelettes, bronzer, and shave cream. 35 Page O’ Shit Try these summer travel buys before taking to the skies. By Stephanie J

Columns 14 Pop Tart Hooked on Facebook. By Wendy McClure 15 Museum of Femoribilia Remembering a world where women wore pregnancy girdles. By Lynn Peril 20 News From a Broad Doing ﬁne thanks to Title IX. By Kara Buller 28 Nickel and Dined Serving up a super quinoa salad supper. By Isa Chandra Moskowitz 32 Mother Superior Mama takes time to play while putting the dolls away. By Ayun Halliday 42 Around the World in 80 Girls Hit the trails of Cardiff, Wales. By Los Campesinos! 111 X Games Sweet Treats. By Deb Amlen The BUST Guide 87 Music Reviews; plus news ﬂash! We love Kate Nash! 93 Movies Mother and Child know The Kids Are All Right thanks to Joan Rivers. 95 Books Reviews; plus Virginie Despentes on her audacious King Kong Theory. 106 BUSTshop 112 The Last Laugh Tammy’s bathing-suit try-on-athon. By Esther Pearl Watson

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FROM TOP: ROGER HAGADONE; SARAH ANNE WARD; ELIZABETH WEINBERG

101 Sex Files Steamy vid picks from the Feminist Porn Awards; and more. 102 Questions for the Queen Between-the-sheets expertise from our new sex advice columnist, Dr. Carol Queen. 104 One-Handed Read A Sexy Yarn. By Letty James

EDITOR’S LETTER

we’ve got the beat!

ISSUE 63, JUNE/JULY 2010

FOR WOMEN WITH SOMETHING TO GET OFF THEIR CHESTS

EDITOR-IN-CHIEF Debbie Stoller WHILE PUTTING THIS music issue together, I was struck by how easy it was to come up with so many amazing female musicians to fill its pages. Whether young or old (or older and being revived by the young); whether they make rock or soul or folk or pop; whether they play instruments, sing, or both; whether they have mainstream success or fill the iPods of punk-music fans; all of the women in this issue, along with many others, are making music that is being heard, loud and clear. With the recent release of The Runaways film and indie airwaves filled with female voices, women in music seem to—finally—be having their day in the sun. This is quite a difference from how things were when Joan Jett and Cherie Currie were starting out, back in 1975. As the first all-female rock group to achieve success, they faced numerous trials and tribulations, and they discuss some of these challenges, and how they overcame them, with us here (page 52). It’s also very different from the early ’90s, when women across the country banded together in a movement they called riot grrrl just to make their beloved punk-rock scene safe for girls, and the impact they made continues to reverberate today. (In fact, the riot grrrl movement was a large part of why we started BUST.) If you’ve never heard of riot grrrl, you’ll want to read our story on the movement to get schooled, and if you have heard of it, you’ll want to read the article to find out what happened to its originators (page 68). And to go even more old-school on you, we’ve got an interview with rockabilly legend Wanda Jackson, whose career began in 1954 and is still going strong (page 58). Those women were pioneers who lead the way for today’s female musicians, who have since staked out a space for themselves in every corner of the music world. The contemporary ladies we feature in this issue come from a variety of music genres, including folk, rock, R&B, pop, country, and soul. Our cover duo, actress and singer/songwriter Zooey Deschanel and her partner in rhyme M. Ward, dish on the doings of their band, She & Him, and prove to be even more adorable in person than they are in their films and videos (page 44). Inside, R&B superstar Jill Scott discusses the impact that getting divorced, getting engaged, and becoming a single mom all in the span of only three years had on her new album (page 56), and soul-bearing indie popstress Kate Nash talks about the changes she experienced following her quick rise to fame (page 90). Music is fun to listen to, of course, but it also has an influence that extends way beyond your ears. Like so many of you, we here at BUST look to rock shows as much as we do fashion shows for our style inspiration. In this issue’s fashion story we were able to beautifully merge the two, with our favorite musicians rocking the cutest clothes (page 74). For even more rock-inspired looks, check out our piece on how to take your old concert T-shirts and turn them into an adorbs cami/panties set (page 23), or learn how to bite Riff Randell’s style (page 40). Speaking of style, Tilda Swinton’s got it in spades, and our interview with the enigmatic actress will whet your appetite for her next female-centric flick (page 64). You’ll probably also wish you could jump right into our picnic story. Not only does it include fantastically clever (yet easy) recipes and ideas for the best picnic yet, but it also has a playlist of the best summertime jamz to take along with you (page 60). We’ve packed all this, plus what I think is one of the most ingenious crafts we’ve ever printed—how to transform a pretty birdcage into a player for your iPod (page 29)—into a music issue unlike any other. So pump up the volume! xoxoxo

Debbie 6 / BUST // JUNE/JULY

CREATIVE DIRECTOR Laurie Henzel MANAGING EDITOR Emily Rems SENIOR EDITOR Lisa Butterworth SENIOR DESIGNER Erin Wengrovius CUSTOMER SERVICE + CRAFTY LADY Callie Watts BOOKS EDITOR Priya Jain ASSOCIATE MUSIC EDITOR Kelly McClure CONTRIBUTING EDITOR Molly Simms PUBLISHERS Laurie Henzel & Debbie Stoller DIRECTOR OF ADVERTISING + MARKETING Emily Andrews, 212.675.1707 x112, ads@bust.com SALES AND MARKETING MANAGER Susan Juvet, 212.675.1707 x104, susan@bust.com BOOKKEEPER Amy Moore, accounting@bust.com EDITORIAL INTERNS Jules Abraham, Leala Arnold, Laura Catalano, Krista Ciminera, Brooke Connolly, Sheila Dichoso, Susan Engberg, Claire Hamilton, Katie Oldaker, Stephanie Valente WEB INTERN Lisa Kirchner VIDEO INTERN Vanessa Rees MARKETING INTERN Sophie Turcotte FOR SUBSCRIPTIONS Please email subscriptions@bust.com or call 866.220.6010 FOR BOOBTIQUE ORDERS Please email orders@bust.com

MEMBER OF THE MAGAZINE PUBLISHERS OF AMERICA

WWW.BUST.COM ©2010 BUST, Inc. No part of this publication may be reproduced, stored in any retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the permission of the publisher. The articles and advertising appearing within this publication reﬂect the opinions and attitudes of their respective authors and not necessarily those of the publisher or editors. Canada Post: Publications Mail Agreement #40612608 Canada returns to be sent to Bleuchip International, P.O. Box 25542, London, ON N6C 6B2

DEAR BUST

YOU LIKE US! YOU REALLY LIKE US! I just want to say thank you for be-ing the best magazine for women around. In a world where most women’s magazines have articles about “how to ﬂirt like a pro” and “how to get a sleek body in two weeks,” BUST features articless about women who enjoy using their minds and are proud of who they are. BUST has helped me become the woman I am today and for that I am eternally grateful. Alex Blake, Falls Church, VA

Thank you for your coverage of the growing phenomenon of Japan’s male-host bars. In her article “Where the Boys Are” (Apr/May ’10), Molly Simms highlighted the physical as well as emotional impacts on male hosts, which include sleep deprivation, requisite excessive drinking, and pressures to be so thin as to appear “underfed.” Hopefully people’s current fascination with male-host bars can bring more attention to the status of women who work the original hostess bars. This story reveals the signiﬁcant costs to both men and women when we focus on the fantasy rather than the reality of our bodies and relationships. Amy Ng, San Francisco, CA

I want to express the pride I have in being a subscriber and also extend a thank-you from WSAC (the Women’s Student Activist Collective), a group that promotes empowering women on the University of Minnesota, Twin Cities campus. Your magazine is circulated through the women in our group so they all can beneﬁt from the wonderful and inspirational articles you publish. Mandi Marie, Minneapolis, MN I received a copy of BUST from my best girlfriend. I read the entire issue and loved it. What’s strange is that I am a gay guy, and though I may be in the minority when it comes to gay men, I’ll take BUST over Vogue any day! It’s the only magazine worth paying a full subscription rate for and keeping in my library. Thanks for creating a really smart, fun, pretty, unique periodical. Dennis Marchioni via email

FEELIN’ THE LOVE FOR MEN WE LOVE I’ve been a BUST subscriber for more than six years, and it’s been my favorite magazine since my ﬁrst issue came in the mail. Whenever a new one arrives, I drop everything to read it immediately. This month, my Men We Love issue (Apr/May ’10) came on a Saturday while I was busy running errands. My intention was to pick it up as soon as I’d put the groceries away, but then I couldn’t ﬁnd it on our living room table. When I walked out onto our patio, I found it—in my husband’s hands. He couldn’t wait to read it either! Claire Blome, Baltimore, MD

YOU STILL HEART FEB/MAR Today was a gray and rainy day, but as I ﬂipped through the Feb/ Mar issue of BUST, things started to look a little brighter. The clouds parted as I read about composting, chocolate chili, the eco-friendly clothes by Sublet, and DIY necklaces. But things got super sunny when I turned to the lingerie fashion spread (“Oh! You Pretty Things”). I’m a curvy girl, and it was so refreshing to see women I could relate to wearing cute, fun, sexy lingerie and “owning it”! Keep up the great work. Kate Fish, Prince Rupert, BC, Canada I really appreciated the article “The Secret Life of Beekeepers” by Kelly Wilkinson. I began keeping bees a couple of years ago (I’ve included a picture), and I absolutely love it! It’s wonderful to read about and see other women enjoying it as well. Mindi Wooley, via email

Get it off your chest! Send feedback to: Letters, BUST Magazine, P.O. Box 1016, Cooper Station, New York, NY 10276. Email: letters@bust.com. Include your name, city, state, and email address. Letters may be edited for length and clarity.

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CONTRIBUTORS

A degree in medieval studies might explain the romantic quality of photographer Glynis Selina Arban’s work, displayed in the fashion story “Beautiful Noise” she shot for this issue. Models.com called her The One to Watch, and fashion insiders consider her a master of posing with a knack for capturing perfect, unscripted moments. A self-taught photographer, Arban also writes and paints. Her clients include Lula, Nylon, Element, Sony, Bloomingdale’s, and other retailers, catalogs, music, and fashion companies worldwide.

Emma Fletcher created the whimsical collages for our She & Him cover story, “Most Wanted,” and didn’t let a little thing like going into labor stop her— she ﬁnished the artwork from her hospital bed after giving birth to a daughter! Fletcher, who was born in Australia and moved to the States in 1994, launched the New York–based clothing line Lyell and runs a store of the same name on Elizabeth Street in SoHo. She’s now a mother of two and lives and works in New York City.

Our new sex-advice columnist, Carol Queen, Ph.D., is a sexological overachiever. She co-founded and directs the Center for Sex & Culture in San Francisco and is a staff sexologist at sex-positive sex-product company Good Vibrations. She’s authored or edited a dozen books—most recently, the updated edition of Exhibitionism for the Shy—and frequently lectures at colleges and public venues. You can ﬁnd her regular columns at Good Vibrations Magazine online, CarnalNation.com, and SFGate.com’s City Brights blog. For more about her, go to www.carolqueen.com. 10 / BUST // JUNE/JULY

CAROL QUEEN PHOTO: DEN LEGASPI COURTESY OF GOOD VIBRATIONS

Phoebe Magee, who interviewed Tilda Swinton for this issue, is a freelance writer who grew up in Philadelphia. She is a recent graduate of Vassar College, where she studied English and creative writing and learned to believe that both will come in handy someday. On the weekends, you can ﬁnd her washing dishes and conducting research at Shopsin’s General Store. She lives in New York City.

MAKEUP: DENA MICHNOVICH; PROP STYLING: HEATHER ANDERSEN

NEWS+VIEWS

cute overload COULD SUPERCUTE! BE NEW YORK’S MOST ADORABLE BAND? PHOTOGRAPHED BY BY BEK ANDERSEN PHOTOGRAPHED JOHAN RENCK

AT A RECENT show in N.Y.C.’s Tribeca neighborhood, the members of local indie-pop band Supercute! are the youngest people in the room by far. But they don’t seem out of place at all. Wearing pink satin dresses adorned with black pompoms and sequins, keyboardist/vocalist June Lei (age 13, right), guitarist/vocalist Julia Cumming (14, left), and ukulele player/vocalist Rachel Trachtenburg (16, center), are true to their name—super damn cute. Hula-Hoops, the aforementioned ukulele, and songs about candy and roller skates are all part of the youthful vibe the girls create on stage, but every song is executed with a polished indie irony, which helps explain why the band’s fan base is mainly made up of hipster college students and adults rather »

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broadcast Supercute! gets into the cone zone

than their peers. “Kids nowadays want to act older than they actually are,” explains Trachtenburg, the veteran of the bunch, who got her start playing with her parents in the Trachtenburg Family Slideshow Players at age six. “Adults respond better to the satire and comedy in our music, while kids our age don’t really get it.” The band’s original compositions are sweet, catchy, and thoughtful, with melodies that stick in the brain for days. In “Candy City,” the girls sing about a dreamy land where “licorice branches shade your eyes/In not just blue but rainbow skies.” And another standout selection, “Not to Write About Boys,” tells the true story of a collective crush that threatened to break up the band until the gang came to their senses and decided to put their friendship and music ﬁrst. (Yay!) Throughout the show, it’s refreshing for those of us who aren’t teenagers to see smart young women embracing their youth, choosing popcorn over pole dancing and enjoying every moment of it. “We try to keep that innocence,” acknowledges Cumming.

she-bonics

OUT OF THE MOUTHS OF BABES

“There’s not an age when you have to stop liking fun colors and hearts.” Hanging out with Supercute! backstage after the show is equally awesome. We talk about dollar-a-slice pizza, Hannah Montana, ice cream, and whether “funner” is actually a word. But in a nod to the maturity that underlies their bubblegum image, the girls also talk about how their creative process has been evolving as they grow as a group. “We all have really different styles and something to offer,” says Cumming, “and we’re still working on how to add more poetic and political stuff to our songwriting. Basically, we’ll try everything and just see how it turns out.” As their sound grows, so too does their reputation. The band has been booking tons of shows, including an opening slot on Kate Nash’s spring tour, and the girls are beyond excited. But are they ready to hit the road unchaperoned? “Julia’s dad was going to come along,” Trachtenburg explains, “but we were, like, ‘No. All girls. It’s an all-girl tour!’” [CATHERINE WEISNEWSKI]

[COMPILED BY WHITNEY DWIRE]

“I feel like I represent normalcy in some way. What are your choices today in entertainment? People either represent youth, power, or sexuality. And then there’s me, carrying normalcy. Me and Rachael Ray.” Tina Fey in Vogue

“My biggest obstacle was losing my entire career when I came out. That lasted for three years. At first I was angry and went through a major depression. It’s also when I started really searching and finding out who I was. I started over again, doing stand-up, and built myself back. Sometimes something being taken away from you is exactly what you need to take a look at yourself.” Ellen DeGeneres in Glamour “The working-mom thing is definitely tricky. Guilt is a bitch. It’s so useless as an emotion. It clouds things. I’m not saying people shouldn’t feel guilty, but for me, it makes certain decision-making more difficult.” Julia Louis-Dreyfus in Redbook 12 / BUST // JUNE/JULY

PHOTOGRAPHY: RAMONA ROSALES

“I will never do nudity. I don’t care how dark and intellectual the role could be. I don’t care if I frickin’ get an Oscar for it. I’m not going to do it. Those accolades mean nothing to me. I don’t think people deserve to see what’s underneath my clothing. That’s only for my next husband.” Jessica Simpson in Allure

broadcast POP TART [BY WENDY MCCLURE]

just another pretty facebook WHY TMI GETS US HIGH THE OTHER DAY I went to check my Gmail account, and this little screen popped up informing me that I can now also “buzz” myself by joining yet another social network. And the next thing I knew, I was uploading my photo, editing my proﬁle, and getting ready for my close-up, because multitudes of contacts

shoes to show off. They’re people I know, or sort of know, or can’t stand but follow anyway, and every day I learn the most random things about them. I knew our pop-culture future would turn weird with round-the-clock celebrity coverage and reality stars who skulk around saying things like, “I’m not here

Every day, whether I’m skimming my Facebook feed or watching Access Hollywood, I’m continually exposed to non-newsy news about people. (OK, 11) were waiting to connect with me. How could I refuse my public? I know: I need another online community like the world needs another crappy tabloid. Somehow, though, it’s all starting to feel like the same thing. Every day, whether I’m skimming my Facebook feed or watching Access Hollywood, I’m continually exposed to non-newsy news about people. People are going to parties and eating lunch and are In Relationships and have adorable babies/cats/ 14 / BUST // JUNE/JULY

to make friends.” But I never would have predicted that this weirdness would ﬁnd its way into my social universe, too. A few months ago, I got a whole rash of Facebook friend requests from folks I knew in junior high, because apparently, the same collective instinct that once led us all to wear neon sweaters insisted that we all reconnect. As this was all happening, I was watching a ton of I Love the 80s reruns. Now, two decades later, I know what Tiffany is up to—both

Tiffany Olswanger from seventh grade and the Tiffany who sang in shopping malls. They’re both ﬁne! Good for them! Of course, there are also times when Facebook feels like my own personal episode of The Surreal Life, except instead of watching a creepily grown-up Corey Feldman, I have the awkward pleasure of knowing that the mean girl from 10th grade constantly quotes the Bible in her status updates and one of my old bosses annoys everyone by playing Maﬁa Wars. In life, as in Hollywood, there is no “Where are they now?” anymore. They’re all here, thrown together in one crazy, mismatched reunion that never ends. Why do I follow along? I suppose if I have to read every last thing John Mayer blathers about his dick, it’s only fair that the rest of us have an outlet, too. And I secretly love how Facebook makes celebrities out of us all. We get to refer to ourselves in the third person (“Wendy McClure is catching up on episodes of MythBusters tonight!”), and we get nearly instant validation to boot. (You like my status update! You really, really like it!) Every time I join a new social network, it feels like a new role for my virtual self. I always hope I’ll get to play the hipster girl-around-town, posting on my way to shows and parties, though invariably, I typecast myself as the cranky slacker who stays home and posts things like, “Memo to Trader Joe’s: your baked chips are the suck.” I doubt anyone these days is surprised that Andy Warhol’s 15-minutes-of-fame prophecy is coming to pass. But I can’t help but wonder what it means to be on the receiving end of all these tiny fames, where it feels like we know everyone just a little. Does that bit of ever-updated acquaintance keep us all at a greater distance? I’d rather believe that it lets us see those around us, even John Mayer, as human. Maybe we’re all here to make friends after all. ILLUSTRATED BY CAITLIN KEEGAN

MODEL: MERRILL MELIDEO; STYLIST: SHELLEY ROSARIO; PROP STYLIST: ANGELA CAMPOS; HAIR: ELIZABETH MORACHE USING SHU UEMURA FOR WORKGROUP N.Y.C.; MAKEUP: LISA AHARON; WALLPAPER: SECONDHAND ROSE, N.Y.C., WWW.SECONDHANDROSE.COM; BRA: HELEN UFFNER VINTAGE CLOTHING LLC

MUSEUM OF FEMORIBILIA [BY LYNN PERIL]

gut feeling REMEMBERING THE BLOODCURDLING MATERNITY GIRDLE PICK UP THE latest issue of any celebrity publication and you’re sure to see a slew of pregnant starlets proudly parading their baby bumps in slinky gowns. But the public’s celebration of impending motherhood is relatively recent; in fact, from the 1920s through the late 1960s, a woman might’ve spent much of her pregnancy in a maternity girdle. These were nothing like today’s spandex panties or belly bands that provide comfortable support late in women’s pregnancies. Instead, maternity girdles resembled 19th-century corsetry: heavily boned, zippered, and often laced up both sides, the better to expand along with its wearer. »

PHOTOGRAPHED BY ROGER HAGADONE

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broadcast “Having a baby and a ﬁgure too—one with a waistline and curves to match those of any deb’s in town—is a feminine triumph over nature,” suggested Los Angeles Times fashion writer Sylvia Blythe in 1941. The maternity girdle, she concluded, was “beauty armor” for the battle. “Always get a model with a side zipper to avoid strain,” recommended a professional corsetiere in 1967. “And wear the garment for the duration, especially if you are on your feet a great deal.” She, and other experts, also suggested pregnant women pull the garment on while lying down. To modern ears, this sounds like torture. During the mid-20th century, however, women wore girdles on a daily basis, and the idea of slipping into one while expecting was not as far-fetched as it would be today. The maternity girdle straddled a ﬁne line between vanity and “science.” In an effort to woo back

consumers after the flapper generation abandoned corsets in the 1910s and ’20s, manufacturers emphasized that modern corsets were “scientifically designed” and had to be “scientifically fitted” for them to work properly. This argument extended to the maternity girdle. “A trained nurse will fit and adjust garments to your personal requirements,” noted a 1932 department-store ad; a Lane Bryant ad from the same era noted that its maternity girdles were “endorsed by physicians.” Indeed, some doctors ordered their patients into maternity girdles beginning around the fourth or fifth month, the better “to support vital organs and ease the strain on your back,” according to Blythe. (Of course, the unspoken corollary is that, left to its own devices, the female body was somehow medically unfit for the ordinary rigors of pregnancy.) Many advertisements pointed to the fact that the maternity girdle could be

worn after the baby arrived, to help the new mother regain her shape; “a quick return to normal ﬁgure lines,” as one mid1930s ad termed it, was a strong selling point. Even the industrial-strength model pictured here—a full 18 inches from top to bottom, with an additional boned insert for extra support in its cup-shaped front—has boning that nips in at the waist to give its wearer’s ﬁgure some semblance of an hourglass. The development of Lycra in the late 1950s made for lighter-weight girdles, both maternity and otherwise. But what spelled the end of the girdle for daily wear was the advent a decade later of pantyhose—and the miniskirts that made them a fashion necessity. Around the same time, thanks in part to second-wave feminists, many women also returned to natural childbirth practices. Both helped to make the doctor-prescribed maternity girdle a dusty relic.

pop quiz MARIAH CAREY MAKES THE WORLD HAPPY!

1. Born in Huntington, NY, on March 27, 1969, Mariah Carey is a woman with a diverse cultural heritage. Which of the following is not part of her ethnicity? a. Irish American b. African American c. Venezuelan d. Native American 16 / BUST // JUNE/JULY

7. Mariah wrote and produced all her number one hits except for which cover? a. “Against All Odds” b. “The Beautiful Ones” c. “I Want to Know What Love Is” d. “I’ll Be There”

3. How old was Mariah when she recorded her self-titled, multiplatinum debut album? a. 15 b. 18 c. 20 d. 30

8. Mariah wowed critics with her performance in the 2009 film Precious, but the first flick in which she starred, in 2001, was widely panned as a disaster. Name the film. a. Glitter b. Sparkle c. Rainbow d. Unicorn

4. What insect does Mariah use as her trademark on her albums, clothing, and in her videos? a. Butterﬂy b. Ladybug c. Fireﬂy d. Bumblebee 5. Mariah has been married twice, in 1993 and 2008. Which of these gentlemen is Mariah’s current husband? a. Tommy Mottola b. Luis Miguel c. Nick Cannon d. Dave Chappelle

9. Mariah is famous for her extravagant backstage demands. Which of the following must be in all of her dressing rooms? a. Cristal champagne b. An attendant to dispose of her chewed gum c. Puppies and kittens d. All of the above

6. In 2008, Mariah’s song “Touch My Body” became her 18th single to reach number one, making her second only to whom for the most chart-topping hits of all time? a. The Beatles b. Elvis Presley c. Celine Dion d. Michael Jackson

10. Complete the following Mariah quote: “I’d rather be onstage with a pig—a duet with ________ and me just ain’t going to happen.” a. Whitney Houston b. Jennifer Lopez c. Taylor Swift d. Mary J. Blige

Answer Key: 1. d, 2 .b, 3. c, 4. a, 5. c, 6. a, 7. d, 8. a, 9. d, 10. b

A POP-MUSIC PRODIGY with an unbelievable, ﬁve-octave range, Mariah Carey has put those pipes to good use for the past 20 years, releasing more number one hits than any woman who has ever lived. Think you know where Mariah gets her ﬁre? Then take the quiz!

[BY EMILY REMS]

2. Mariah’s mom, a singer for the New York City Opera, named her after a song from what Lerner and Loewe musical? a. Brigadoon b. Paint Your Wagon c. Gigi d. My Fair Lady

BOY DU JOUR

soul man

STYLING: ANNA KATSANIS

BOUNDARY-BUSTING MUSIC MAKER JAMIE LIDELL IS HOT AS HELL WHITE SOUL CROONER, twitchy electro rocker, beatboxer, dreamy balladeer—Jamie Lidell can be tagged with all of these descriptors and more. The 36-year-old Brit’s first album, Muddlin Gear (2000), established him as a fan of arty samples and noisy experimentation. But his following two albums—2005’s Multiply and 2008’s Jim—showed off a mind-bendingly expressive voice and a proclivity for old Motown and R&B styles. Compass, his latest release, reunites the gangly sex symbol with longtime collaborator Beck for a stripped-down effort that also features guest spots by Feist, Nikka Costa, and members of Wilco and Grizzly Bear. Like Lidell himself, the results are sweet, strange, and impossible to ignore. “[Making Compass] was pretty rushed but in a good way,” he tells me over the phone. “I am definitely guilty of overpolishing and listening to stuff enough to find flaws with it, even though the initial energy of the recording was great. There’s always that problem—when you have computers and time and skill, you can easily remove the rough edges, which make music sound human. But that’s ultimately really boring.” Writing and recording Compass was a cathartic experience for Lidell. “For a while, I was getting into that slightly comfortable situation where I wasn’t as much of a struggling artist as I used to be,” he says. “But over the past couple of years, I’ve been hit with a lot of emotional issues. Dealing with that stuff and archiving it is clearly therapeutic. That’s what music gives to you as an artist. I don’t know how other people deal with their shit, to be honest. I’ve always done it this way, and I just hope it’s not boring for other people.” Lidell freely admits that, like his career, his new album is difficult to define. But he’s not concerned about how his constant genre jumping might affect his sales or marketability. “In the past, I was aware of that,” he admits. “But I’ve always been into different kinds of stuff, and I don’t see why I need to find a problem with that just because the marketing men can’t put me in a box.” Luckily, his record label, Warp, hasn’t pressured him to settle down with one style. “They’ve been encouraging,” he explains, “because they just want to hear good music that they think is rich and different. So I’m on the right label. I couldn’t work any other way. I’d be screwed.” In fact, it seems to be Lidell’s willingness to continue exploring new musical terrain that keeps him on his toes—and fans obsessed. “In the past, I’ve felt like I was slightly going through the motions,” he says, “and I hated that feeling. That’s not the kind of musician I want to be. Avoiding that at all costs is my new mission.” [MOLLY SIMMS] PHOTOGRAPHED BY ERIN PATRICE O’BRIEN

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broadcast

hot dates THINGS TO SEE, PEOPLE TO DO June 7 – 12 FEMINIST SUMMER CAMP Founded by Amy Richards and Jennifer Baumgardner, authors of Manifesta: Young Women, Feminism, and the Future and Grassroots: A Field Guide for Feminist Activism, this week-long activist boot camp is designed to connect college students with progressive leaders and national feminist organizations based in New York City. Trainees can expect to enhance their rabble-rousing skills through a rigorous routine of morning meet-ups with feminist foundations, brown-bag lunch discussion groups, and evening mingle sessions at radical bookstores. For more info, visit www.soapboxinc.com.

Hard-hatted woman Deidre Olivera-Douglas

top gear LADIES GET THE RIGHT FIT FOR THE JOB AT WOMAN UP LIKE MANY WOMEN in male-dominated trades like construction, Brooklynbased cement and concrete worker Deidre Olivera-Douglas would arrive at her job sites pumped and ready to prove what she could do. But once there, she often found it hard to roll up her sleeves and do her part because her industrial-grade attire, designed for burly men, was always sagging and flapping around her petite frame. “You’d have all these guys looking at you, and you’d feel like you were wearing your father’s clothes,” Olivera-Douglas recalls. “I’d think, I can do anything a man can do—but it’d be a lot easier if my stuff fit!” One sweltering day, while adjusting her uncomfortable, ill-fitting boots in a Portosan, Olivera-Douglas had “an epiphany”: she decided to open a store where women in the trades could find everything they needed “to get the job done”—and look great doing it. And that’s how her Brooklyn shop Woman Up was born. Since 2009, Woman Up has offered hard-to-find items like insulated and rubber gloves for smaller hands (hot sellers), steel-toed boots that conform to the curves of a woman’s foot, female-friendly harnesses, slim-fitting reflective vests, and stretch jeans (“more comfortable when you’re bending and lifting on-site than the baggy pants everyone wears,” Olivera-Douglas says). The vibe inside the store is more boutique than supply depot: a pink toolbox is perched on a pedestal, shelves display tough-looking boots as if they were Louboutins, and body lotions are artfully arranged. Olivera-Douglas explains that the store’s name came from the pep talks she often heard on job sites. “‘Man up!’ is what you say when you’re telling someone to suck it up and get busy,” she says. “I’d joke: No, knucklehead, I can’t man up. But I can woman up!” Olivera-Douglas now spends most of her time working at her popular shop instead of on construction sites, selling to former coworkers and women in industries like transportation, sanitation, mail delivery, and set construction for television, theater, and museums. In an effort to get more women interested in getting their hands dirty, she also plans to offer workshops at the store on home repair. She says her retail philosophy is, whether women are building skyscrapers or grouting the bathroom, “gear should never be a hindrance.” Now, that’s what I call constructive criticism. Visit Woman Up online at www.womanupstore.com. [CORRIE PIKUL] 18 / BUST // JUNE/JULY

PHOTOGRAPHED BY AMANDA BRUNS

June 11 – 13 BROAD HUMOR FILM FESTIVAL Smiles will be wide at this Los Angeles film festival dedicated to showcasing works written and directed by lady comedians. Started by filmmaker Susan diRende in 2005, Broad Humor began as a response to the absence of women in prominent film-industry positions, and has developed into an event with serious industry cred. In addition to screenings, the weekend also promises a mix of women-run panels, an esteemed awards ceremony, and tons of girly giggles. If you’re looking to be amused, laugh it up at www.broadhumor.com. July 1 – 4 NATIONAL WOMEN’S MUSIC FESTIVAL This Midwestern fest in Middleton, WI, invites women to come together for a long weekend of music performances, stand-up comedy, spoken word, dance parties, workshops, and burlesque. Our favorite gemsweater-and-gold-pants–wearing superstar Leslie Hall (and the fabulous Lys) will also be stopping by to launch the audience into a glam-rap-induced frenzy! Tune in to www.wiaonline.org for all the details. July 8 – 11 COLORADO BURLESQUE FESTIVAL This four-day “burlesque and comedy extravaganza” is a Colorado first. Dancers of all genders, races, shapes, and sizes will be descending on Denver this year to show off their tantalizing talents. And while well-known burlesque and boylesque entertainers are slated to perform, amateurs are welcome to shake and shimmy, too! Catch a sneak peek at all the action at www.coloradoburlesquefestival.com. [COMPILED BY LIBBY ZAY]

Kelly Kulick brings a touch of fame to her local lanes

queen pin STRIKING UP A CONVERSATION WITH BOWLING CHAMP KELLY KULICK KELLY KULICK HAS no time to spare these days. Since January, when she became the ﬁrst woman ever to capture a Professional Bowlers Association title—a rare victory in a world that offers few opportunities for major co-ed sports competition—the 32-year-old New Jersey native’s life has taken on a much more high-proﬁle spin. If you hadn’t heard about her triumph before, however, you aren’t the only one. With icons like Fred Flintstone and “The Dude” Lebowski as bowling’s most recognizable ambassadors, its public perception remains in the gutter. “Unfortunately, some don’t see bowling as an athletic sport,” says Kulick. But she knows all too well how grueling it can be. To win her title, she had to throw 50 games over three days. “I was physically and mentally exhausted,” she says PHOTOGRAPHED BY DANELLE MANTHEY

of the toll her winning streak took on her body. “In the end, I would have made a great commercial for Tylenol or Advil.” After her ﬁnal ball spun down the alley in that title match, Kulick told onlookers the win was a landmark victory for women in sports. When asked if defeating former champion Chris Barnes felt like winning a battle of the sexes, however, she modestly remarks, “It wasn’t about a girl beating a guy; it was about having the opportunity to do what I love to do.” A natural bowler since age six, Kulick hit the lanes every Saturday as a kid in her hometown of Union, NJ, until high school, when she decided she had serious talent. That’s when she upped her training to ﬁve-day-a-week workouts alongside bowling practice four days a week. “If there’s something you want

badly enough, you’ll ﬁnd a way to do it,” she says. Kulick travels seven or eight months out of the year on the bowling circuit, and when she’s not competing, she lives at home with her parents, “which might be why I’m still single,” she jokes. Her self-deprecating humor is part of what makes her a charming addition to the pantheon of bowling champs. Everyone seems to love her: the other bowlers in the PBA threw her a surprise party after her victory, and she was welcomed home to Union with a mini parade in her honor. Still, it’s not all fun and games for Kulick, who says she’s come across some surprisingly negative feedback from men on the Internet since her win. “Women are still ﬁghting for equality,” she says. “Especially in athletics.” [LIBBY ZAY] // BUST / 19

broadcast NEWS FROM A BROAD [BY KARA BULLER] the past few decades, however, women have been working aboard surface ships with minimal drama, so the military is willing to try the same co-ed arrangement on subs. Critics say the Department of Defense is more motivated by personnel shortages than a sincere desire for gender equality. But either way, let’s begin the countdown to Hollywood’s naval version of Private Benjamin, starring Reese Witherspoon and some hot guy who at ﬁrst doesn’t like the idea of women on the sub but then discovers he was wrong—and comes to ﬁnd love.

SIR, THIS SEAT IS RESERVED! India trumps Capitol Hill with its Women’s Reservation Bill

did title IX help you get your title? LADIES NOW REAPING THE REWARDS OF SCHOOL SPORTS EQUALITY WOMEN ARE CURRENTLY outdoing men in a number of professional areas— mainly in receipt of diplomas and not getting canned in the Great Recession. But how many of our career successes can be attributed to the sports we were able to play in high school and college?

tions, and sense of healthy competition derived from sports also yielded signiﬁcant long-term beneﬁts. And those war stories about conking out after smacking your head on a goal post? Not bad to have either. Someone has to say it: we really scored with Title IX.

How many of our career successes can be attributed to the sports we were able to play in high school and college? The answer is a lot. According to Betsey Stevenson, an economist at the Wharton School at the University of Pennsylvania, the answer is a lot. Stevenson says the changes set in motion by Title IX, the 1972 U.S. legislation banning sex discrimination in all academic programs, including athletics, accounts for 20 percent of the increase in women’s education. It also accounts for a whopping 40 percent of the rise in employment for women ages 25 to 34. The greater self-esteem, social connec20 / BUST // JUNE/JULY

ACCESS TO BIRTH CONTROL… AND BERTH CONTROL! Military women prepare to take the plunge First the Pentagon required all U.S. military bases the world over to stock the morning-after pill. Now it’s taking action to allow female officers to serve on submarines for the first time in history. Since 1900, the year the U.S. acquired its first submarines, women have been banned from their comically cramped quarters. In

If you’re angling to be the next lady leader of the free world, New Delhi might soon be a friendlier place than Washington. In a near-unanimous vote (186 to 1), the upper house of India’s parliament recently passed the Women’s Reservation Bill. If it makes it all the way through the parliamentary system, the law would require one-third of all seats in the powerful lower house to be reserved for female delegates. Female leaders are nothing new for India. Indira Gandhi held the highest post in the land for 15 years. Currently, however, only 10 percent of India’s lawmakers are women. In the U.S., we’re only slightly better represented, with 16 percent of Congress wearing Clinton-style power pantsuits. Critics say the bill won’t necessarily lead to pro-women legislation (imagine the Indian Sarah Palin, her notes condemning social justice written in henna on her hand) and could result in wealthy men buying seats for wives and daughters. But proponents, like Priya Nanda of the International Center for Research on Women, are quick to point out the benefits. “The bill is a crucial first step in breaking down the barriers women face when it comes to political participation,” says Nanda. “It is an exciting moment for women in India to know that the long fight to gain access to positions of power may lead to victory if the bill is signed into law.” ILLUSTRATED BY RACHEL HARRIS

ad tk

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22 / BUST // JUNE/JULY

CRAFTS+COOKING+HOME+HEALTH

over/ under PROP STYLING: ANGELA CAMPOS; ILLUSTRATIONS: AMY KAROL

TURN AN OLD TEE INTO DIY SKIVVIES WHAT DO YOU do with old shirts that you just can’t get rid of—like the one from that Rush concert you never want to forget, or the tee you wore as a camp counselor all those summers ago? Save them from the Salvation Army by giving your Tshirts new life—on your booty! »

PHOTOGRAPHED BY KATE LACEY

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real life

MATERIALS:

a bit over the edge. Stitch it down with a wide

· · · · · ·

3-stitch zigzag. (Tip: when sewing the lace,

Old T-shirt, the bigger the better (you may need two) A knit-jersey camisole and a pair of underwear to copy 6½ yards of 3⁄8" – 1⁄2"-wide stretch lace (available at most fabric shops) Sewing machine Sewing-machine needle for knits (optional but helpful) Scissors, scrap paper, pencil

thread the needle with thread to match your lace and the bobbin with thread to match the T-shirt.) Do not pull the lace or the fabric while you stitch. Make a sassy, decorative bow by stitching the middle of a 3" piece of lace to the front of the undies, right below the center of the waistband. Tie in a double knot, and trim. 8. On the camisole, stitch stretch lace to the hem and the back neckline in the same manner as above.

3. Fold the undies paper patterns in half to make them symmetrical, and cut out. Lay these paper pieces, still folded in half, on the fold of T-shirt fabric. Make sure the grain of the T-shirt is still going up and down. Trace and cut out. 1. Grab your camisole and undies, and lay them on top of an old T-shirt. (Tip: using a T-shirt that

4. Trace crotch-piece pattern on T-shirt and cut

is similar in weight and stretch to the camisole

out. Use a zigzag stitch on the raw edges.

and undies you are copying will give you the best results.) If you can’t ﬁt both onto one T-shirt, use two. Trace around the body of the camisole (do not trace the straps; you’ll be making straps

9. Finish the remaining raw edges of the

out of lace), adding ¼" to the side seams, and

camisole, extending enough lace from the front neckline and armpits of the body to cre-

cut through both layers of the T-shirt, so you have a front and a back. With right sides togeth-

ate the straps (you’ll secure the two pieces of the strap together with a zigzag stitch up the

er, use a straight stitch to sew up the side seams with a ¼" seam allowance. Set aside.

5. With right sides together, sew side seams and crotch seam of underwear, using a ¼" seam allowance.

middle). To do this, ﬁrst measure the length of your existing camisole’s straps. Now, using a long piece of lace, leave enough tail for one strap (approximately 13") extending beyond one side of the front neckline of the body, and stitch the lace across the edge as above, leaving enough lace extending beyond the other side of the front neckline to create the second strap (another 13" approximately). To create

2. For the underwear, start by making a paper

6. Lay crotch piece on top, centered over ex-

the double strap, stitch another piece of lace

pattern. Lay two sheets of scrap paper side by

posed seam, and zigzag over the outer edges.

over the raw edge of one armpit, starting at

side, and tape together. Center your existing

Try the underwear on. If they ﬁt, proceed. If

the back of the camisole and extending the

undies on the paper, and trace, adding ¼" at

they’re too big, take the seams in a bit, and if

lace in the front, making it long enough to

the side seams and crotch seam. Repeat this

they’re too small, remove stitches with a seam

match the strap from the neckline. Repeat on

step, tracing the ﬂip side of your undies. Draw

ripper and use a smaller seam allowance.

the raw edge of the second underarm. Stitch

ing the crotch piece of your existing undies as

7. Finish the raw edges of the undies. On the

middle, and repeat to create the second strap.

much as possible, and cut. Adjust the shape as

right side of the fabric, lay stretch lace over the

Attach the straps to the back, stitching straight

needed so it will ﬁt your pair when it’s sewn on.

leg openings and the waistband, extending it

across, right sides together. [AMY KAROL]

both tails of one strap together down the

a crotch pattern on a piece of paper, mimick-

24 / BUST / JUNE/JULY

real life

video killed the gymnasium star A ROUNDUP OF THE BEST (AND WORST) WII FITNESS GAMES ON THE MARKET [BY EMILY REMS] WHEN THE WII Fit balance board debuted in the U.S. in 2008, it kick-started a mad rush of exercise software development targeted at the gaming world’s most untapped consumers: women. But with so many games promising to get you ripped quick, which ones are actually worth the splurge? We take the guesswork out of shopping by testing the most popular Wii ﬁtness titles. Jillian Michaels Fitness Ultimatum

TITLE WII FIT PLUS with Balance Board

GRADE PRICE

EA SPORTS ACTIVE and EA SPORTS ACTIVE: More Workouts

THE BIGGEST LOSER

JUST DANCE (Ubisoft)

DANCE DANCE REVOLUTION 3: Hottest Party

Using the balance board to do yoga, strength training, and stability exercises with the excellent included software is like having a personal trainer on call 24/7. Most other games use the balance board, so it’s a must-buy if you’re serious about Wii workouts.

The board has a weight limit of 330 lbs. If this edges you out, the EA Sports Active and Biggest Loser games are a better bet since they work without the board as well.

A+

$59.95

Together these companion games offer fantastic variety. Different daily routines incorporate aerobic activities, strength training, and sports drills, so exercise never gets boring. Works with or without balance board.

These games measure movement with a handheld controller and one attached to a leg strap. But the too-small strap wouldn’t stay up on my thigh, and the thing was trashed by the time I ﬁnished the game’s “30-day challenge.”

and $39.95

$39.99

Bob and Jillian, trainers on the TV show of the same name, virtually kick your ass with superchallenging cardio moves, strength training, and power yoga. Works with or without balance board and includes a comprehensive healthy-recipe section.

If you don’t like the show, the branding is pretty inescapable. The game also asks for info about your general diet and exercise habits and uses these to sometimes “eliminate” you from competition if you don’t lose weight.

B+

$39.99

This simple workout, which doubles as an awesome party game, is the most fun of the bunch. Just grab a controller (it doesn’t use the board), follow the dancer on screen, and shake it to songs by Blondie, Deee-Lite, and Irene Cara.

Because it tracks movement with only one remote, the scoring on this game is kinda wack. I often had no idea why I wasn’t scoring more points, but in the heat of a dance jam, it didn’t really matter.

$49.99

This dance game comes with a ﬂoor pad you step on just like the arcade version (or use it with the balance board) and a massive 50-song catalog. Cool music videos play along with tunes from oldies like Depeche Mode and newbies like Rihanna.

Moving in the conﬁned area of the ﬂoor pad doesn’t give you much range of motion, and it can get repetitive compared with other games.

C+

$19.99

My Fitness Coach is like a slightly souped-up workout video—good for beginners who want something familiar. My Fitness Coach 2 has interactive features like multiple trainer options (this one uses real people, not avatars!) and a menu planner.

These workouts are generally ﬂimsy, short, and less challenging than those cooked up by other companies. And navigating MFC2 is not very intuitive.

(Bundle) (Konami)

MY FITNESS COACH and MY FITNESS COACH 2: Exercise and Nutrition

and $29.99

(Ubisoft)

JILLIAN MICHAELS FITNESS ULTIMATUM 2010

$39.99

Jillian Michaels fans can dress their fave ﬁtness guru up in cute outﬁts and place her in lovely island locales before she rips you a new one every time you attempt one of 16 challenging exercises. Works with or without balance board.

Michaels has a reputation for being tough, so expect a virtual tongue-lashing. Good if you’re into being dominated, but not so great if you’re just trying to work out.

$49.99

This game boasts more than 400 different exercises and comes with a cool little camera that projects an image of you working out onto your TV screen beside Jenny. In theory, the camera tracks your movement, no board or controllers necessary.

Exercising controller-free is a great idea, but the camera didn’t pick up my movements. After being bombarded by what felt like a few hundred shrill, unhelpful directives I was ready to throw the damn thing out the window.

(Majesco)

YOUR SHAPE WITH JENNY MCCARTHY (Ubisoft)

26 / BUST // JUNE/JULY

CONS

$99.99

(Electronic Arts)

(THQ)

PROS

A+

(Nintendo)

the ﬁne print GET CARDED WITH A NEW DIY LETTERPRESS WHEN IT COMES to buying in-

phrases (including Thank You and

vitations, greeting cards, and gift

Happy Birthday). Plan to shell out

tags, we choose the letterpressed

a bit more for the ink colors you

design every time. There’s just

want ($6.99 a tube) and additional

something about the indented

printing plates (they come in oc-

OLD SCHOOL

images on that nice, thick paper

casion-themed sets for $24.99). To

that make them look both cool

be able to print your own designs,

grandma peterson’s doggie treats

and classy. The problem is, they’re

you’ll need to spend $39.99 to

also pricey. So when we found out

have a custom plate made.

that Lifestyle Crafts had created

adhesive printing plate goes on one side of the sandwich board, the

professional-looking letterpressed

paper goes on the other; after cov-

paper products right in our living

ering the plate with ink, you close

room. It didn’t quite pan out that

the letterpress and roll it through

way—our cards look more DIY

the tool to create the imprint. But

than design-store-worthy—but the

getting it right is a bit more chal-

L Letterpress is still a nice addition

lenging. Since you crank the let-

to our crafting arsenal.

terpress through the tool by hand,

The L Letterpress Combo Kit PHOTOGRAPHY: SARAH ANNE WARD; PROP STYLING: STEPHANIE HANES; CUPCAKES: LILY AND FIG, 718-636-0456

Then the process is simple: the

a small-scale home letterpress, we had visions of whipping up

it’s hard to get an even imprint, and

($149.99, www.lifestylecrafts.com)

the ink has a tendency to smudge.

comes with a letterpress (essen-

You’ll likely go through many a

tially a plastic sandwich board),

blank card before you get the hang

the tool you run it through (shown

of it, but once you do, you’ll have

above), black ink and a brayer

cute letterpressed greetings to give

for applying it, 10 blank greet-

away. They won’t look store-bought,

ing cards, and 9 printing plates

but that’s why you’ll love them. [LISA

featuring 3 ﬂourishy designs and 6

BUTTERWORTH AND CAROLINE HWANG]

MY GRANDMA PETERSON had a spunky attitude and a zest for life. On Halloween, she’d often don a costume of her own and trickor-treat around the neighborhood with us kids. Family gatherings at her home in Milwaukee, WI, were always a good time, and the whole gang would end up around the piano, singing along while she played the keys. It was natural that someone as charismatic as my grandma would be a dog lover. A poodle mix named Toby was her constant canine companion, and when Grandma retired—which didn’t slow her down a bit, as she quickly took up tending bar at the local Moose Lodge—she brought home a second pooch, a dachshund named Sassy. While Grandma didn’t bake many goodies for humans, she’d occasionally whip up batches of natural treats for the dogs, proud that her biscuits didn’t have “all that crap in them” like store-bought brands do. I’ve continued to make them over the years, and my current pup, Sally, a lab mix, eagerly gobbles them up. Preheat oven to 350 degrees. In a large bowl, combine 6 Tbsp. oil (I use olive or peanut), 1 egg, ½ cup milk, and ¼ cup water. Add 2½ cups wheat flour, a dash of onion or garlic powder, and about 2 tsp. chicken or beef boullion for flavor (you can also use bacon, beef, or chicken fat). Mix well, then roll out the dough on a floured surface to about ½"-thickness. Cut into desired shapes using cookie cutters or the rim of a small cup (like a juice or shot glass), and place on a greased cookie sheet. Bake for 35 minutes or until crisp. [SHEILA JULSON]

KICK-START MY ART It’s a common tale for creative gals: so many ideas, so little money to execute them. Sound familiar? Then Kickstarter is just what your bank account ordered. The fundraising Web site lets you create a page for your project explaining what it is, how much money you’re hoping to raise and by when (if you don't reach your goal, you don't see a penny), and what, if anything, ﬁnancial backers will get for supporting you. To make a case for your ’zine/art gallery/documentary or to pledge a few bucks to someone else’s dream, go to www.kickstarter.com. // BUST / 27

real life

NICKEL AND DINED [BY ISA CHANDRA MOSKOWITZ]

INSTRUCTIONS

there’s something about berries ANCHO-ALMOND QUINOA SALAD WITH RASPBERRY VINAIGRETTE THIS SALAD SATISFIES your every desire: the quinoa makes it hearty and suitable for an entrée, the dressing is sweet and fruity, the greens keep it fresh, and the almonds provide a spicy, salty crunch. The basil on top ties everything together, and the delicious result just screams, “it’s summer,” in case you haven’t noticed.

2 tsp. sugar ¼ tsp. salt Several dashes fresh black pepper

FOR THE ALMONDS: ½ cup slivered almonds 2 tsp. ancho chile powder ¼ tsp. salt 1 tsp. olive oil

INGREDIENTS Serves 4, $2.40 a serving

FOR THE RASPBERRY VINAIGRETTE: ¼ cup sliced shallots 2 cloves garlic, minced 1¼ cups fresh raspberries (6 oz.) 6 Tbsp. plus 1 tsp. olive oil ¼ cup red wine vinegar 1 Tbsp. Dijon mustard 28 / BUST / JUNE/JULY

FOR THE SALAD: 6 cups mixed greens 2 cups cooked, cooled quinoa (instructions below) ¾ cup fresh raspberries ½ cup raspberry vinaigrette ½ cup basil chiffonade (stack the leaves, roll them tightly, and cut across to create long, thin strips)

Start by cooking the quinoa. Bring 2 cups water and 1 cup quinoa to a boil in a covered 2-quart pot. Once boiling, reduce heat to a low simmer. Keep covered, and stir occasionally for about 15 minutes or until water is absorbed. To cool quinoa quickly, transfer to a wide bowl and place in the freezer for about 30 minutes, stirring every 5 minutes or so. Next make the raspberry vinaigrette. Sauté shallots, garlic, and 1 tsp. olive oil in a pan over medium heat for about 7 minutes. Transfer shallots and garlic to a blender. Add remaining ingredients and purée until smooth. Scrape down the sides of the blender with a rubber spatula and blend again. Since the berries’ sweetness will vary, sample your dressing and add sugar to taste. Refrigerate in a tightly sealed container until ready to use. (Tip: This recipe makes more dressing than the salad calls for, so serve the extra for drizzling and use the rest throughout the week on plain old greens.) In the pan you used to sauté the shallots, scatter the almonds in a single layer and toast over medium heat for about 5 minutes, using a spatula to flip often, until golden brown. Transfer almonds to a bowl and let cool. Drizzle in 1 tsp. of olive oil and use your fingertips to coat the almonds with it. Sprinkle in ancho chile powder and salt, and toss with your fingertips to coat. (Tip: ancho chile powder can be found in bulk bins at fine supermarkets, but to get a really good deal on it, try a Mexican market or that darned “ethnic” section of your grocery store.) Assemble the salad by pouring ½ cup of the dressing into a large mixing bowl. Add the greens in batches, using tongs to toss and coat after each addition. Add the quinoa and raspberries and gently toss. Divide among 4 bowls. Sprinkle almonds over salad and top with a big pinch of basil.

PHOTOGRAPHED BY ISA CHANDRA MOSKOWITZ

BUY OR DIY

i know why the caged bird sings PUMP UP THE VOLUME WITH STYLISHLY SHROUDED SPEAKERS

PROP STYLING: STEPHANIE HANES

IT’S ALWAYS NICE to have some music in the air, but why ruin the ambiance of your décor with an ugly speaker? Join the A/V club and make your MP3 sound system a treat for your ears and eyes by disguising your bland speakers in a birdcage overﬂowing with faux nature. »

PHOTOGRAPHED BY SARAH ANNE WARD

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real life

BUY OR DIY

i wanna rock with you DON’T SIT IN SILENCE, LAMBS—THESE AUDIO BUYS ARE A BLAST [BY CALLIE WATTS]

30 / BUST // JUNE/JULY

THE SPEAKER OF THE HOUSE Tik tok, we’re gonna rock around the dock! This is the perfect iPod speaker system to get any abode in party mode ($149.99, www.klipsch.com).

BEAT RIDERS Smaller than an Olsen twin, this mobile speaker weighs less than four ounces, so it won’t bring you down. It’s available in two models: one for all iPod/iPhone devices and one with BluetoothA2DP, so you can synch up cell phones, PDAs, and MP3 players ($99.95, www.mycyﬁ.com).

HEY, MS. DJ

HEADBANGER’S DOLL

This computer turntable system comes complete with automatic beat matching, so you can turn your iTunes into your own “Mix-y & Scratchy Show” ($99.99, www.ionaudio.com).

Not since Snooki’s pouf hit the Jersey Shore has such a small character boasted so much volume! This three-inch-tall limited-edition speaker will blow you away ($22.95, www.bustboobtique.com).

PRODUCT PHOTOGRAPHY: CHRISTINE BLACKBURNE

Start with a decorative birdcage (we got ours from www.pearlriver.com). Buy one with a removable bottom so you don’t have to insert everything through the cage door. With the speaker side facing up (you don’t want to obscure the sound), measure the height, width, and length of your speaker (we used a single round speaker, but you can easily hide two—simply adjust your measurements). Get a piece of Styrofoam that is an thick as the height of your speaker when laid on its back. With a sharp knife, cut the Styrofoam to the length and width of your speaker, adding 3" to each measurement. Cut out the center of the Styrofoam so the speaker fits inside with a little wiggle room. Make a slit in the foam to run the cord through. Remove the floor of the birdcage, and position the speaker/Styrofoam on top of it. If your speaker has a power button, make sure you place it close enough to the door of the birdcage to be able to reach in and turn it on. Remove the speaker, and use E-6000 glue to secure the foam to the bottom of the birdcage. Cover the rest of the birdcage floor and the top and outside of the Styrofoam piece with dried moss and fake flowers (available at most craft- and floral-supplies stores), securing them with hot glue. Leave the inside of the Styrofoam as is. Let dry, then place your speaker in the ring, and replace the bottom of the cage. Weave fake ferns and boughs of leaves through the sides of the cage; glue a fake bird to the top. Next, make a dock for your MP3 player. Measure the width and depth of your MP3 player and cut a block of floral foam to these measurements, adding 1" to each. Dig a trench in the foam large enough to rest your player in. Cut a piece of cardboard the size of your player’s bottom, and glue it into the trench using E-6000. Before placing your player in the foam, be sure to coat the inside walls of the trench with E-6000 and let it dry; you don’t want dust from the foam clogging up your device. Use E-6000 to cover the top and all sides of the dock with moss and flowers. Then secure the dock with E-6000 to the front of your cage, where it will be easily accessible. Let dry. Hang your cage with a decorative chain and let the beat drop. [CALLIE WATTS AND LORI FORTY WEAVER]

real life MOTHER SUPERIOR [BY AYUN HALLIDAY]

doll parts PACKING UP THE PLAYTHINGS MAKES MAMA WISTFUL

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outﬁts were a few fabric relics of my childhood. I don’t know why my mother sent the clothes without the doll for which they’d originally been sewn. The only dolls of Inky’s these faded rags ﬁt were John and Sunny, the bald, anatomically correct twins Santa scored at the 99¢ store one long-ago Christmas. The frankness of their private

Perhaps a cagey, unsentimental granddaughter will sell the lot of them to the highest bidder. parts, John’s hilariously crabby expression, and yes, their provenance, earned these two a special place in my heart. Though I’m fond, too, of Au Jus I, whose name is the closest Western language approximation of the 17-month-old Inky’s dual-syllabic handle for her ﬁrst real doll, and Au Jus II. (They’re better known as American Girl’s Bitty Baby.) The ﬁrst was a gift from my mother, and the second a fraught $45 on my credit card, with numero uno missing and presumed lost. She turned up at a neighbor’s house nine months later, enough time that I wasn’t

17-gallon clear plastic cofﬁn, it’s anyone’s guess how long Felicity, Elizabeth, and the babies will lie in wait. Milo is convinced he’s biologically equipped to produce nothing but boys, and Inky says she might not reproduce at all. Still, it’s comforting to imagine all these carefully stored things surviving, that there will be new children to enjoy them, and that I will be around to reap a portion of the glory. Perhaps a cagey, unsentimental granddaughter will sell the lot of them to the highest bidder. I hear they’re highly collectible.

ILUSTRATION: AYUN HALLIDAY

I PACKED INKY’S dolls away the other day. It sort of felt like I was sending them off to college or camp, they had so much stuff— ensembles and accessories for every conceivable situation, including several numbers that went out of fashion with the Revolutionary War. I took a moment to change Felicity’s outfit and fix her hair in a tidy braid. Was I playing? If so, what? Funeral director? Pretty much everything I was stowing away came from the American Girl doll company, which does rather make me feel like I’ve bought into an elitist boondoggle, even if it saw very little of my own personal cash. My mother was deeply into it; my father, just grateful to be rescued from the absolute dearth of ideas in which he flounders every gift-giving occasion. Compared with others of our acquaintance, Inky didn’t have that many, but I guess they add up. Her collection enjoyed many years of active play, but lately, it had been shelf-bound, forgotten except on those days when one of Milo’s little male friends encroached upon Inky’s territory, only to be freaked out by those unblinking eyes. Mixed in with all the American Girl

troubled by the needless outlay. It was nice having two for when another little girl visited and good to see the various get-ups getting more use, even if there was no danger they’d ever get too small. Now, suddenly, Inky is too big. A side of me rejoices at the amount of real estate freed up—all those empty bins!—but the other side gets choked up thinking about that montage in Toy Story II where the cowgirl doll’s owner grows up and chucks her in a box slated for one of those charitable donation Dumpsters. (The children in the audience remained tellingly dry-eyed.) I thought Inky might want to be a part of this process, but every time we found ourselves with a chunk of time suitable for the task, a podcast, book, or computer game took precedence. Finally, I did it myself while she was off in Indiana visiting the grandparents who’d made it all possible. I blockaded myself in the children’s bedroom, wary of the destruction a nine-yearold brother or orally ﬁxated cat might wreak on what I now considered family heirlooms. Those familiar with the chaos of my desk, drawers, and purse would’ve howled to see the anal retention with which I matched those fun-sized satin slippers and sorted accessories into Ziploc bags. I couldn’t help it. I was getting into the idea of blowing some little girl’s mind down the line. Imagine bestowing all that at once. I knew the impact would be far greater if it didn’t look like a turd-riddled rodent’s nest. Now that they’re entombed in their

FASHION+BOOTY

mai le STREET FASHION PHOTOGRAPHER SAN FRANCISCO, CALIFORNIA Tell us about this outfit. The dress is a Laura Ashley rip-off; I bought it at a by-the-pound vintageclothing store on Valencia Street in the Mission. It was about $16. The gold boots are by Sigerson Morrison. They were originally about $300, but I got them at Jeremy’s [a designer discount store in San Francisco] for about $90. The belt is thrifted from a Salvation Army in Covina, CA. The tights are by We Love Colors; they were $8. About 95 percent of my wardrobe is thrifted. The other five percent is designer pieces. Do you favor any particular designers? Alexander McQueen was a big inspiration for me. I followed his work for years. I also like Oakland/Brooklyn-based indie designers Feral Childe, Japanese designers Tsumori Chisato and Junya Watanabe, and Belgian designers Ann Demeulemeester and Martin Margiela. How would you describe your style? I recently noticed that pretty much every outfit I wear tends to fall into one of the following categories: superhero, princess, or secretary. I like to dress superfancy sometimes, even on an average day. I’ve also been doing this “faux high designer” thing, referencing, say, Balenciaga’s S/S 2008 Ready-to-Wear collection. I don’t have anything from that collection, but I have a whole series of ’80s dresses that I’ve convinced myself look like it. I have a thing for exaggerated sleeves and shoulders. What’s with the camera? My blog, Fashioni.st, features unadulterated street style. I love doing the blog because I get to talk to people about fashion every single day. I shoot folks who are making an effort, who are being original and creative and not just wearing designer from head to toe. [TRICIA ROYAL]

PHOTOGRAPHED BY GABRIELA HASBUN

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looks AFTER

dressed for success A SEAMSTER TURNS THRIFT STORE TRASH INTO WARDROBE GOLD

BEFORE

test kitchen

INSPIRED BY THE movie Julie & Julia, in which the ﬁrst title character cooks her way through the second’s cookbook in one year, 30-year-old shopaholic Marisa Lynch decided to take on a creatively motivating project of her own. But rather than whipping up concoctions in the kitchen, she challenged herself to forgo buying new clothes for a year and instead spend a maximum of $365 on used, unwearable, out-of-date threads. Then she’d transform them into 365 wardrobe-worthy creations over—you guessed it—365 days. “I’ve always loved sewing,” says the L.A.-based Lynch, who’s been documenting her daily alterations with before and after photos on her blog, New Dress a Day, since November. Lynch scours garage sales, ﬂea markets, and thrift shops for items with potential but gets most of them at a nearby vintage store’s weekly “pile sale,” where everything’s a dollar. It helps that she’s undeterred by spots, holes, and droopy hems. “I look at it as a game,” she says. “If a seam is unstitched, I can resew it. Or if a piece has cool buttons, I can reuse them. Each item has its own character.” A creative director for a music Web site by day, Lynch becomes a whirling DIY dervish at night, when she turns an enormous muumuu into a retro tunic, a long jacket into a bolero and a skirt, or gives a faded, spotted blouse new life with a little RIT dye. “Even though I’m not coming home with bags from Anthropologie or H&M, I’m still adding pieces to my closet. The only difference is that I’m just not spending as much,” she says. “Crazily enough, I still get the same rush!” Keep up with her sartorial sojourn at newdressaday.wordpress.com. [VICKI SALEMI]

[ THEIR PRODUCTS, OUR INTERNS ]

Bioré Makeup Removing Towelettes with Green Tea, $6.49, www.target.com

KATIE

These wipes came in handy for removing makeup in a pinch after a late night, but they were no substitute for washing with a standard cleanser and water. I had a hard time getting all my mascara off with only one.

These were more effective than any other wipe I’ve used, even department-store brands. They took off everything in one go, no scrubbing needed. I only wish they were a bit bigger.

Rimmel London Sun Shimmer Maxi Bronzer in Sun Kiss, $7.99, available at drugstores

LAURA

These little towelettes took off my makeup with only a couple of swipes. I liked that they were alcohol-free and left my face feeling naturally clean and exfoliated. I was also delighted by their green-tea aroma. Totally refreshing!

Having a fair Scandinavian skin tone, I enjoyed getting a magical, sun-kissed, shimmering look. It brightened my face, with little powdery residue. I’m usually not one to bronze, but I’ve been converted. For girls lamenting their pallor, this is for you!

When I use bronzer, I like to apply a light swipe to my cheekbones, the bridge of my nose, and my forehead for a natural glow, but the excessive glitter in this product prevented me from straying from the cheek area.

Alas, I was too pale to beneﬁt from this bronzer’s shimmer. However, spreading it all over my face made me look like a stunt double for Jersey Shore. It gets points for having shimmer throughout the product and not just on top, though!

Eos Ultra Moisturizing Shave Cream in Pomegranate Raspberry, $3.49, www.evolutionofsmooth.com

SUSA N

I’m a slow-mo, and shaving in the shower leads to epic water waste, so a shaving cream that can be used dry sounded like victory! Unfortunately, my legs weren’t very moisturized, and the lack of promised fruity fragrance made me a sad panda.

The beauty of this shave cream is that it can be used wet or dry. I tried both methods and was surprised at how fast and smooth a shave it provided, even without water. It’s so moisturizing, you don’t need lotion after!

I was stoked at the prospect of shaving dry, and this didn’t disappoint. While it left me with itchy bumps at ﬁrst (which may have just been my sensitive skin acting up), the next day I was supersmooth. Smells delish, too!

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PAGE O' SHIT

5 8

6 7 wanderlust MAKE YOUR SUNSHINE DAYDREAMS COME TRUE WITH THESE SUMMER TRAVEL ESSENTIALS [BY STEPHANIE J] 1. DEEP CALM TRAVEL CANDLES BY THIS WORKS, $23, WWW.FUTURENATURAL.COM. 2. SUGAR PLUM SHEER LIP GLOSS BY 100% PURE, $13, WWW.100PERCENTPURE.COM. 3. ORGANIC COTTON COSMETIC BAG BY SUKIE, £24.95, WWW.SUKIE.CO.UK. 4. CHOCOLATE FLOWERS BIKINI SET BY EMOBI, AU $64, WWW.BIRDMOTEL.COM.AU. 5. WHITE PLASTIC AVIATORS, $9.99, WWW.GIRLPROPS.COM. 6. GIRAFFE MEDIUM NOTEBOOK BY CAVALLINI, $16, WWW.KATESPAPERIE.COM. 7. EFFIE SANDALS BY DOLCE VITA, $127, WWW.SHOPDOLCEVITA.COM. 8. RUCKSACK BY FILSON, $265, WWW.STEVENALAN.COM. 9. OVAL ST. CHRISTOPHER EXPANDABLE WIRE RING BY ALEX AND ANI, $76, WWW.ALEXANDANI.COM.

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FASHIONISTA

pedal pushers AS THE LADIES who invented bloomers can tell you, it’s not always easy looking feminine while straddling a bicycle seat. But the girls behind Pedaler, a fashionable but functional line of clothing designed for the street cyclist, are working on that. “It started with bags, actually,” says 29-year-old designer Virginia Elwood. “I ride my bike to work, and those manly messenger bags serve a purpose, but what if you want to go out to dinner afterward and maybe look nice? There was nothing that looked good and also worked on a bike.” So the Brooklyn tattooartist-by-day teamed up with her West Coast friend and avid cyclist Trinity Kerr, 30, to develop the line of slightly tweaked apparel. Their first collection includes sweatshirts with thumbholes and extended sleeves to prevent pulling up while riding, extralong shirts to avert ass flashing, riding pants with a gusset seam in the crotch (to eliminate that painful ridge of material), and reflective details on every piece. “There are other apparel lines for the street cyclist, but they’re mostly geared toward men, and they’re really high-tech,” says Elwood. “Pedaler isn’t for riding a race. It’s for the commuter who rides to work every day and needs to look presentable.” To be a well-dressed dame on a frame, go to www.pedalerclothing.com. [EMILY MCCOMBS] Biker babe Virginia Elwood sporting Pedaler

WHAT’S UP, DOC? these boots were made for rockin’ WHEN YOU THINK about which items of clothing could be considered part of a music fan’s long-running “uniform,” only a few things come to mind: tattered concert tees, maybe some flannel, and a well-worn pair of Dr. Martens. Who among us hasn’t delighted in folding back the tissue covering our first (or 15th) pair of Docs and breathing in the smell of new leather, looking forward to the day when they’d be beat to a pulp, having weathered many loud nights filled with adventure? To celebrate all this, Dr. Martens is sharing the joy of their 50th anniversary by releasing 10 old songs (by the Buzzcocks and the Runaways, among others) by 10 new artists (including the Noisettes, Duke Spirit, and Raveonettes) and some limited-edition takes on a few of their classic pairs. They may be getting up there in years, but these boots are still made for kickin’ butt. Check out the tunes and videos at 50.drmartens.com. Long may they rock. [KELLY MCCLURE] 36 / BUST // JUNE/JULY

Shingai Shoniwa of the Noisettes rocks her Docs

PHOTOGRAPHY: ELIZABETH WEINBERG

THE PERFECT CLOTHES FOR SPINNING YOUR WHEELS

looks

BOOTY CALL [BY CALLIE WATTS]

THE FEATHER UNDERGROUND Jessie Williams’ handmade feather earrings come in real plumage, leather, or a fowlfriendly mesh version so you can give everyone you know the bird (from top: Tail Feather Earrings, $24; Mini Leather Feather Earrings, $14; www.edgeofurge.com).

TRAPPED IN THE CLOSET SHOES OUT FOR SUMMER These banging kicks are fair trade and handcrafted in Guatemala City with local materials that let you feel good and look good (clockwise from top: Mystic Slip-on, $80; Italian Floral Oxford, $98; Kente Jazzies, $98; www.osborndesign.com).

Don’t leave this hanger cover in your closet. It’s a hand-screened chipboard R. Kelly cutout for your closet. You’ll just want to hang out in your closet, closet, closet ($15, killhatsumomo.etsy.com).

OLD SCHOOL VS. NEW SCHOOL

HEAVEN SCENT Not just a bloomin’ beautiful bottle, Eau Mega by Viktor & Rolf smells as good as it looks. Combining notes of violet leaves, green basil, pear, peony, jasmine, lemon, cedar, cashmere wood, sandalwood, and white musk, it’s the best perfume for the day, you understand ($140, www.nordstrom.com).

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PRODUCT PHOTOGRAPHY: CHRISTINE BLACKBURNE

Keep your newfangled typing machine in this Thomas Paul case, an homage to the dinosaur days when twitter meant chirp and social networking occurred at salons and dinner parties ($50, www.allmodern.com).

looks

SHE’S GOT THE LOOK

gabba gabba hey DRESS THE RIFF RANDELL WAY IN THE 1979 punk cult classic ﬁlm Rock ’n’ Roll High School, recently re-released by Shout! Factory, Riff Randell may have been the Ramones’ number one fan, but she was no groupie. As Vince Lombardi High’s resident rock ’n’ roller, she broadcast tunes at lunch, turned gym glass into a dance party, waged war on stodgy Principal Togar, and even penned a song for the band she adored, all while sporting an eye-popping array of bodysuits, leggings, sneakers, and, of course, her signature hair bows. A teenage lobotomy never looked so good. [LISA BUTTERWORTH]

5 8 1. SAFETY PIN EARRINGS BY MISSY INDUSTRY, $45, MISSYINDUSTRY.ETSY.COM. 2. SECK QUARTZ LUX HI-TOPS BY ONITSUKA TIGER, $75, WWW.ONITSUKATIGER.COM. 3. RICH VARSITY JACKET BY JOYRICH, $159, WWW.JOYRICHSTORE.COM. 4. HAIR BOW CLIPS BY IN GOD WE TRUST, $10 EACH, WWW.REFINERY29SHOPS.COM. 5. PLATTAN HEADPHONES BY URBANEARS, $60, WWW.KARMALOOP.COM. 6. ZIP-UP BODYSUIT BY SILENCE & NOISE, $14.99, WWW.URBANOUTFITTERS.COM. 7. LEOPARD LEGGINGS BY L.A. BOUTIQUE, $22, WWW.KARMALOOP.COM. 8. ROCKAWAY TOTE BY TEICH, $145, TEICH.ETSY.COM.

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PRODUCT PHOTOGRAPHY: CHRISTINE BLACKBURNE AND ALEX BAKER

// BUST / 41

looks

AROUND THE WORLD IN 80 GIRLS [#44]

The Cardiff, Wales welcoming committee: Harriet [left] and Ellen Campesinos!

Spillers Records will spin you right round

Go coolhunting at the Cardiff Arts Institute

cardiff, wales THE LADIES OF THE BAND LOS CAMPESINOS! SHOW US AROUND THEIR HOMETOWN

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WALES IS THE unsung beauty of the United Kingdom, and Cardiff, the country’s capital, is the perfect place to explore its cobblestone streets, beautifully rural landscapes, and laid-back, unpretentious vibe. With a population of 324,800, Cardiff is by far the biggest city in Wales, so it’s an important hub of activity—an intriguing mix of the old and new. On weekends the city’s center is brimming with daytrippers who come down from The Valleys—traditional former coal-mining towns in the hills around the city, which are still, for the most part, old-fashioned places. You’ll ﬁnd tribes of kids outside the cafés, little old ladies going bargain hunting, and lots of young mums dressed to the nines parading on High Street. Cardiff is an elegant city with wide streets and gray stone houses bordered by the breathtaking coast on one side and lush hills on the other. The people of Cardiff are friendly, down-to-earth folks with a chirpy sense of humor, and everyone will call you “love.” By U.K. standards, it’s very cheap to live, eat, and drink here, so it’s home to lots of young people and artistic types. Plus, it makes for a very affordable visit! Taking a walk from the train station (Central Square) to Castle Street in the heart of the city center is the best way to see downtown Cardiff, which epitomizes the modern-meets-historic feel: a new, huge glass shopping mall and pedestrian-

ized avenue face the old Victorian arcades and indoor market. On weekends, stop at Jacob’s Market (West Canal Wharf), just behind the station. Here you’ll find three floors of myriad antiques and kitschy keepsakes. Carry on to Spillers Records (36 The Hayes), pride of Cardiff and “the oldest independent record shop in the world” (established in 1894!), which stocks lots of music made in Wales. For a taste of the old Cardiff, stroll through the nearby arcades, a Victorian version of a shopping mall, featuring a glassroofed walkway with rows of specialist shops thatw sell all kinds of things, from violins to Welsh wool blankets. Then head to The Plan (28 Morgan Arcade), a café in the middle of the Morgan Arcade, for one of the best cups of coffee in Cardiff (its barista recently won third best foamer in the U.K.!). Next door is a second-hand-book store called Capital Bookshop (27 Morgan Arcade), where you are sure to find something to treasure. From Castle Street, it’s a short walk to the Riverside Market (Fitzhamon Embankment), which takes place every Sunday morning so local farmers can sell their organic produce, special cheeses, and homemade sausages. There’s also a delicious patisserie stall, a man who makes traditional crepes, and take-out lunch options, including curry, vegetarian pies, and soups. Pick somePHOTOGRAPHED BY HARRIET CAMPESINOS!

Flower power at Cathays Park

Capital Bookshop has a way with words Coffee for two at GwdiHw

How much is that Campesinos! in the window?

Get cultured at Cardiff's museum

thing up, then head to the National Museum Cardiff (Cathays Park) for a picnic on the grass before going inside for a (free) dose of culture. Be sure to visit the life-size animatronic woolly mammoth and her baby. Just down the road is a new café, bar, and music venue, misleadingly called Cardiff Arts Institute (29 Park Place). It’s decorated with Legos and reclaimed furniture and is always hosting cool, free gigs (Islet, Xiu Xiu, and Tubelord have all played here). The little strip of restaurants and bars behind the shopping drag of nearby Queen Street is easily missed, but it’s where one of our favorite bars can be found: GwdiHw (6 Guildford Crescent)—pronounced Goody Hoo, it means owl in Welsh—is a cozy little living room of an establishment serving delicious coffee, good beer, salads, and cakes. There is usually a DJ playing records, and occasionally, local bands and jazz musicians play in the small outdoor area. The Bay Area is a 15-minute train ride from the city center, and though the traditional working docks have been turned into a seaside tourist spot, it’s still worth a visit—the entire Welsh coastline is incredibly beautiful. There are lots of bars and restaurants overlooking the sea, but the real gem is the wooden Nor-

wegian Church (Harbour Drive), which you’ll ﬁnd in an isolated spot along the curve of the bay. Sometimes the church-turned–arts center has atmospheric candlelit music events. During the day, there is a little café open inside, a good alternative to the chain restaurants that dominate most of the Bay Area. For a neighborhood experience, make your way to Roath, the main streets of which—Albany Road, Crwys Road, and City Road—are generally teeming with a bustling mixture of students, young professionals, retired folks, and families. But the biggest draw there is Roath Park and Lake (just beyond Albany Rd.), so meander by the water’s edge and through the rose gardens before stopping for a spot of tea at Waterloo Gardens Teahouse (5 Waterloo Gardens), a lovely specialty tea and coffee shop at one end of the park. When you’re ready for a meal, trek back to City Road and grab a table at our favorite place to eat in Cardiff: Tenkaichi (236 City Rd.), a Japanese restaurant with wooden benches and a high-quality, extensive menu that includes noodles, sushi, vegetable dishes, and great bento boxes. Across the street is Milgi (213 City Rd.), a popular bar with a big heated yurt in the backyard (where they hold a monthly vintage and craft market). And stop in the Milkwood

Gallery (14 Lochaber St.) for a dreamy browse through the shop’s vintage knickknacks, clothes, and arts-and-craftsy objects for the home. Cardiff is the perfect mix of city and country, newschool and old-school, and a supercharming place to boot. So pack your bags, Love, and come to Cardiff for a visit!

Sound Check MORE ABOUT LOS CAMPESINOS! This seven-member indie-rock band has come a long way from their ﬁrst gig, at a student union club night at Cardiff University where they formed in 2006. Earlier this year, the energetic popsters released their third album, Romance Is Boring, on Arts & Crafts. The 15 urgent tracks showcase ultrapersonal lyrics, group singing/shouting, and instrumental explosions that include whistles, handclaps, strings, brass, feedback, and more. Los Campesinos! leave no sound unplayed, and the result is awesome. Check ’em out at www.myspace. com/loscampesinos. // BUST / 43

44 / BUST // JUNE/JULY ON WARD: BLAZER AND SWEATER: SHIPLEY & HALMOS; JEANS: BUILT BY WENDY. ON DESCHANEL: BLUE BOW, WHITE BLOUSE, AND NAVY SHORTS: TIMO WEILAND.

BY KELLY MCCLURE PHOTOGRAPHED BY DANIELLE ST. LAURENT COLLAGES BY EMMA FLETCHER STYLED BY FRANCES TULK-HART // MAKEUP BY CHRISTOPHER ARDOFF HAIR BY ROLANDO BEAUCHAMP FOR BUMBLE AND BUMBLE // PROPS BY MARTYNA SZCZ // BUST / 45

46 / BUST // JUNE/JULY

ON WARD: BLACK SUIT: SHIPLEY & HALMOS; PLAID BUTTON-DOWN: RIVIERA CLUB; TIE: BESPOKEN; BELT: ALEXANDRE HERCHCOVITCH. ON DESCHANEL: DRESS: MARC BY MARC JACOBS; PUMPS: ALEXANDRE HERCHCOVITCH; TIGHTS: DESCHANEL’S OWN.

Zooey Deschanel is the ultimate indie “it” girl. M. Ward is the reigning king of folk. Joining forces as the band She & Him, they are music’s most captivating duo. Here they shop for records, play with puppies, discuss their good vibes, and prove to be even more charming in real life than they are on stage. (Yeah, we didn’t think it was possible either)

F YOU ASK just about anyone with a pulse who her number one celebrity girl crush is, chances are she will name Zooey Deschanel. At age 30, the actress and singer has already accomplished a lifetime’s worth of creative work, most of it showcasing the fact that she’s insanely good-looking and talented in a subtle, secret way. Watching her in Elf is akin to checking out a library book you’re really excited about reading, and then finding a hundred-dollar bill between the pages—in the middle of her adorable performance as Will Ferrell’s love interest, she breaks into song, surprising you with a voice as beautiful as she is. The roles Deschanel chooses and the music she creates are so accessible they appeal to nearly every demographic. She is that gorgeous girl from college you never dreamed would give you the time of day, until you get to chatting with her in English class and realize that she’s a nerdy Twin Peaks fan just like you! (Point of trivia: Deschanel’s mom, actress Mary Jo Deschanel, played Donna’s mom in the David Lynch cult-classic show.) Since her 1999 film debut in the indie sleeper Mumford, Deschanel has punched the clock on an average of three films a year, moving from a small role in Cameron Crowe’s Almost Famous to playing Sarah Jessica Parker’s quirky friend in Failure to Launch to being the leading lady opposite Jim Carrey in Yes Man and, most recently, in the indie love story of last year, (500) Days of Summer, with Joseph GordonLevitt. If you haven’t seen her on the big screen, you probably recognize her from the small one. She’s that cute girl showing off her closet in the “Fabric of Your Life” cotton commercial (for which she also wrote and sang). Somehow, Deschanel’s darlingness outshines the corporate shilling—her cool cred is still completely intact. Your Highness, her newest cinematic endeavor, is a fantasy film co-starring Natalie Portman and James Franco set to come out this fall. But it was while filming the

indie gem The Go-Getter in 2006 that Deschanel’s music career as half of the band She & Him got its serendipitous start. Deschanel had been writing and recording folk and old-school country songs since she was a young girl but kept her interest private until Martin Hynes, The Go-Getter’s director, asked her to sing a duet with Portland, OR– based musician M. (Matt) Ward for the film’s closing credits. The song Deschanel and Ward recorded for The Go-Getter was a cover of Richard and Linda Thompson’s “When I Get to the Border,” a slow, early-morning stretch of a tune that pairs Ward’s whiskey-throated singing (he prefers sparkling water, by the way) with Deschanel’s honeycoated voice. Its beauty gave an early inkling of what the two were capable of. Ward, now 36, discovered that not only could the actress actually sing, but she could also belt out the kind of tin-toned folk-rock songs he had spent his musical career recording. In 2008, the two officially joined forces on Volume One as their music baby, She & Him. In March, they released Volume Two, a much more lush and complicated album than their first, largely because Ward and Deschanel are just that much more comfortable and in-tune with each other as collaborators now. What was good in the beginning has now matured to fantastic. Very few bands have the ability to literally turn a frown upside down, but the sunny melodies, heartwarming harmonies, and bouncy throwback sounds of She & Him are real bummer fighters. “It’s not so much that I’ll sit down and write a song when I’m happy,” Deschanel says. “There are just certain chord progressions and types of melodies that make me happy, so that’s sort of what I go for. I can definitely think of songs that make me [feel that way]. Like the Beach Boys make me happy in a truly genuine way. Not just like, ‘Oh, this is a fun song,’ but I genuinely feel happy.” Meeting Ward and Deschanel for // BUST / 47

the first half of our “date” (we’d made arrangements to go record shopping before sitting down to chat) goes down pretty much like a scene from a movie. One minute I’m standing, peering into the storefront window of Academy Records in the Flatiron district of N.Y.C., and the next I see the reflection of a black town car pull up to the curb behind me. I turn in time to watch Ward step out of it, dressed all in black, sporting a mustache and chin pubes. Then Deschanel unfolds from the car wearing a blue coat with a matching blue hat and gloves. Her eyes suck the color from the sky, and I’m reminded of that scene from her role in Almost Famous in which she is leaving home with a quickness but stops to say goodbye to her little brother (the budding nerdy rock writer) by leaning down and telling him that one day, he’ll be cool. The camera narrows to a shot of just her big, blue eyes. At this moment, I am that budding nerdy rock writer. We walk into the shop but quickly discover that this particular location sells only used DVDs and classical vinyl, neither of which we have a hankering for. “Whose idea was it to come here?” Deschanel asks me, and I rat out her publicist with a point of my finger as we make our way back to their car to head to another Academy Records, closer to their hotel. On the ride over, we get into a conversation about what sort of music makes for good morning jams. “I like to listen to George Jones or Aretha Franklin,” Deschanel says. “I also bought this album of Hawaiian songs from the ’50s a long time ago, so sometimes I listen to that.” Ward adds, “Classical music is pretty good to listen to for, like, the first five minutes of the morning.” Stopped at a light, Ward spots a friend of his across the street, and Deschanel lowers her window to call him over. As he begins to cross, the light changes, and he almost gets squished by approaching traffic. “If I hadn’t rolled down my window, that wouldn’t have happened,” Deschanel says, being playfully dramatic with a 48 / BUST // JUNE/JULY

wide-eyed “Oh, no” expression. We pass by an Irish pub named Kelly’s, and she points at it and says to me, “Look, that’s your bar.” As we enter the second record shop, Deschanel looks around and says, “This is more like it.” Ward goes straight to the new vinyl releases, and Deschanel plops down on the floor to flip through the bargain-bin section, pulling out the gem 20 Original Winners Vol. 1 and a few others she admits caught her eye just by having a weird name or cover. “I listen to a lot of Jenny Lewis and Lavender Diamond,” she says—Becky Stark, Lavender Diamond’s singer, provided backup vocals on She & Him’s 2008 tour—“but mostly I stick to older stuff. I like a lot of random things too. One time, I bought an album of kettledrum music that seemed like a really good idea. But really, there’s only so much you can take.” After browsing around a bit, Deschanel comes away with a few albums (including 20 Original Winners Vol 1.), but Ward decides against buying anything; he doesn’t want to worry about the records getting ruined on their travels. When Deschanel takes her stuff to the register to pay, I pull a sweaty wad of cash from my pocket and offer to foot the bill, but she says, “No, no.” The cashier looks at me like I’m a crazy stalker, so I wiggle the pen in my hand at him like some sort of sign that I belong there, you know, with Deschanel. We pull up to their hotel a few minutes after leaving the record shop, and I jump out and walk up to the entrance with Ward at my side. As he opens the “H” side of the “BH” door handles indicating that we are at downtown hotspot the Bowery Hotel, he asks, “Have you ever been here before?” This is the moment I describe to a friend later in the night as being so Jake Ryan waiting by the Corvette at the end of Sixteen Candles, if you know what I mean. And if you don’t, then just picture some insanely exciting moment when you feel like your head is going to explode. The lobby of the Bowery Hotel is dimly lit, and we

“Rock tends to be more male or masculine, but I don’t know if we really make rock records. I think we make more sort of AM Gold hits.” - ZOOEY DESCHANEL

ON DESCHANEL: DRESS: LOVER; SLINGBACKS: VIVIENNE WESTWOOD: TIGHTS: DESCHANEL’S OWN. ON WARD: SWEATER: SHIPLEY & HALMOS; JEANS: BUILT BY WENDY; SHOES: WARD’S OWN.

plunk our stuff down at a small wooden table toward the back of the room. But before we even sit, Deschanel excuses herself to go pet a puppy she spotted in the lap of a guest sitting on a couch up front. “His name is Franklin Delano Roosevelt,” she says, walking back to the table, “but he also responds to Mr. President.” Having recorded and performed with both women and men (including Conor Oberst and My Morning Jacket’s Jim James as supergroup Monsters of Folk), I ask Ward if he thinks there’s such a thing as a “woman’s touch” when it comes to music, a ques-

tion which causes Deschanel to reach across the table and poke him. But he sees more similarities than differences among boys and girls in the recording studio. “The difference is huge and also nonexistent,” Ward says. “I think the difference between collaboration with a male versus a female is the same as the difference between going out to lunch with a friend who is male versus female.” Deschanel chimes in, “Well, my voice is higher than Conor’s,” she jokes, “but are you talking vibe-wise? We got good vibes, and I love working with Matt. We have a lot of similar sensibilities. Rock tends to be more

male or masculine, but I don’t know if we really make rock records. I think we make more sort of AM Gold hits.” Ward explains, “I think the sheen and quality of our records is due to Zooey’s songwriting and her voice, which is very vintage-sounding.” And it’s true: listening to She & Him brings to mind a world of old movies starring gowned starlets and dashing leading men in suits. “It’s not as if I don’t hear the things that are on the radio,” Deschanel says. “If you take exercise classes, you hear a lot of that stuff. I’m sure it’s fine, but it’s like it comes from a different planet.” // BUST / 49

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DRESS AND BELT: MARC BY MARC JACOBS; WEDGES: MELISSA; TIGHTS: DESCHANEL’S OWN

The waitress brings over a tray of drinks, which also contains those of a nearby table’s. Ward mistakes a brightly colored bloody mary for something fruity, and I ramble off some story about a bar in Chicago that serves bloody marys with chunks of ham and cheese in them. Deschanel ponders this for quite some time. “That sounds disgusting in a really intense way,” she says. “I feel conflicted about savory drinks. Meat and drinks don’t belong together.” Deschanel was a vegan for a number of years, but since she can’t eat wheat or soy, she eventually found the diet too limiting. “I realized it’s better to just put things into perspective. I gave it a good try, but sometimes you just need a little something. A little meat.” Although Ward and Deschanel get to spend a good deal of time together, touring and doing press, the fact that they live in different states (Oregon and California, respectively) means they often rely on the Internet to collaborate. As was the case with Volume One, the demos for Volume Two were passed back and forth via email and iTunes before finally coming to fruition in the recording studio. In the beginning, Deschanel writes songs at her home in Los Angeles, recording rough demos on which she sings and plays piano, sometimes even drums. She then sends these to Ward to tinker with. “That’s the easiest way,” Deschanel says. “I’ll send my stuff to Matt, and then we won’t work on it again until we get to the studio. Matt will listen to them all, and then when we’re in the studio, he’ll be like, ‘OK, with this song maybe we’ll try this, and let’s start with this song.’ And then we’ll do overdubs and stuff. So, yeah. Thanks, iTunes. Thanks email.” Since she married Ben Gibbard, the lead singer of Death Cab for Cutie, in 2009, Deschanel’s home would seem like a place constantly filled with tuning guitars and clumps of cords, but apparently, that’s not entirely the case. “We keep our music quite separate, and that’s intentional,” she says. “He has introduced me to some cool records,

and I know there are records that I like that he didn’t know about. But I think it’s good to keep things separate. Even with She & Him stuff, I didn’t play Ben anything until it was mastered.” Being an actress and a musician means Deschanel gets yanked from city to city (and country to country), doing press for movies and records. It may sound exhausting, but she seems happy to do it, though she clearly has more invested when it comes to promoting She & Him. “Where do I begin? When I do music press, I have all the answers for you. Sometimes things are hard to put into words, but, like, I was there the entire time,” she explains. “I write the song, we go into the studio and record it, we put the record out, we tour it. I am witness to all of it, and it feels like a piece of myself. Whereas when you do a movie, your part is very small, although your face is all over it. When you do film press, you meet with hundreds of people, many, many weeks before and after, and you’re talking about somebody else’s vision. Not that it can’t be fun, but this is much more.” Ward has his preferences as well. Although he continues to record and tour solo, he especially likes being part of She & Him because he gets to focus on guitar playing and behind-the-scenes production. “With She & Him, I get to leave the vocals to a professional like Zooey,” Ward says. As a producer, Ward has a passion for working with the songs’ undertones. “If Zooey were to give me a painting she had painted that was all really dark colors, and I had to take a picture of that painting, I think I’d try to bring out a lot of the lighter colors so that there was that strong contrast. Every song is a good little snapshot of life, so you want that contrast.” Deschanel agrees, “Yeah, we’re happy and sad.” But it’s hard to believe much sadness creeps into She & Him’s snapshot of life. The two go together like peaches and cream. “It’s fun to play with Matt,” says Deschanel, “because you’re playing with your friend, and you can always look over and be like, ‘OK, there’s my buddy.’” B

“I write the song, we go into the studio and record it, we put the record out, we tour it. I am witness to all of it, and it feels like a piece of myself. ” - ZOOEY DESCHANEL

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MAKEUP: CHRISTIE LEE; HAIR: JAKE DINGLER FOR ARTISTS BY TIMOTHY PRIANO; STYLIST: KATE ERWIN

WOMEN WHO ROCK STARRING:

CHERIE CURRIE JOAN JETT JILL SCOTT WANDA JACKSON CHERIE CURRIE PHOTOGRAPHED BY ADAM KRAUSE JOAN JETT PHOTOGRAPHED BY MICHAEL LAVINE

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JOAN JETT AND CHERIE CURRIE Punk Rock Pioneers

HIRTY-FIVE YEARS AGO, the world was exploding with rock ’n’ roll. Hard rockers like Led Zeppelin, glam rockers like David Bowie, heavy metal rockers like Alice Cooper, and blues rockers like the Rolling Stones were burning up the airwaves. Conspicuously missing from this cultural soundtrack, however, were bands where women made all the noise. Incredibly, it wasn’t until 1975 that a crew of teenagers calling themselves the Runaways shattered the music industry’s glass ceiling by becoming the first globally successful all-girl rock band. Fronted by lead singer Cherie Currie, with Joan Jett on rhythm guitar, Sandy West on drums, Jackie Fox on bass, and Lita Ford on lead guitar, the Runaways used raw jailbait sexuality and in-your-face lyrics to hold their own at the dawning of the punk revolution. But behind the scenes, it was their unscrupulous manager, Kim Fowley, who was calling the shots, appropriating their money, and subjecting them to relentless impropriety and verbal abuse. Crisscrossing the country as headliners with opening acts including the Ramones, Van Halen, and Blondie, the girls made songs like “Cherry Bomb,” “Queens of Noise,” and “Born to Be Bad,” anthems for a generation who wouldn’t be told what to do. By 1977, Runaways mania hit fever pitch. But before the year was out, Currie abandoned the group, leaving Jett to soldier on as lead singer until the band’s eventual demise, in 1979. Post-Runaways, Jett and Currie led very different lives. Jett kept rocking, forming Joan Jett and the Blackhearts and recording classics like “I Love Rock ’n’ Roll” and “Bad Reputation” for her Blackheart Records label, which just released her group’s Greatest Hits collection in March. Currie tried her hand at being an actor, drug counselor, physical trainer, painter, and chainsaw carver. But it was her incarnation as an author—of the new memoir Neon Angel, now out from HarperCollins— that brought her and Jett back together. While Currie was shopping around her updated life story (an earlier version was re54 / BUST // JUNE/JULY

leased in 1989), her Runaways reminiscences caught the attention of Jett’s business partner Kenny Laguna, who then paved the way, along with Jett, for a movie adaptation. By March 2010, Runaways mania was back, as Hollywood darlings Kristen Stewart and Dakota Fanning made headlines playing Jett and Currie in multiplexes from coast to coast. I caught up with Currie on the eve of The Runaways N.Y.C. premiere, and a few days later, I nabbed a phone chat with Jett as she prepared for the film’s release at SXSW in Austin, TX. In each conversation, I got the sense that being reunited to promote the film was an emotional experience for them both. They talked about taking chances, being the first, and finally getting the recognition they deserve.

Your memoir made me want to hug the Runaways and say, “I’m sorry about how badly you were treated!” CHERIE CURRIE: Boy, it’s hard to chronicle everything. But I feel so blessed that I got two chances. The first book, Neon Angel, came out in ’89 and was geared toward young adults. But I rewrote the book in 2001 and put in a whole lot of stories I couldn’t tell in the young-adult book. Which stories are new? Well, one is Kim Fowley’s “sex education class” [in which the band’s manager forced them to watch as he had sex with a groupie]. And then there’s the one where Kim pimped me out to a very famous rock star. There are lots of them. Your sexual relationship with Joan Jett was very artfully described both in your book and in the movie. When did that become OK to talk about? It’s always been OK with me, because it’s life. Back in the ’70s, Bowie, Elton John, Mick Jagger, they were all talking about having bisexual experiences. It’s just an experience, and you learn from it, and you move on. There’s nothing that you shouldn’t be able to talk about. If you’re given one shot at life, why not experience the most that you can? Then

BY EMILY REMS

you’ve got great stories to tell the grandkids. Has watching other people viewing this dramatization of your life changed your perspective on that time at all? I feel very blessed that people are finally giving that group of girls—kids who left their families and really suffered to do this—the recognition that they deserve. I look back at us as these young girls struggling to make a point, and I think, “Thank God, finally. We really did make a difference.” Your Runaways bandmate Lita Ford didn’t want anything to do with the movie. Do you know why? Lita just has a lot of unfinished, un-dealtwith business. I know she spoke with Joan at length, and we thought Lita was on board, and then she pulled the plug. I don’t know what’s going on with her, but I wish she could get over it. I wish we could have done this together. It’s too bad. I know you and Joan recorded together for the soundtrack. Will you be working together again in the future? I’m actually going to be on the same bill with Joan on a few shows this summer. Going into the studio again with her, it was like time stood still. We did the vocals effortlessly. We remembered every harmony. It was just so easy and so exciting. Joan and I were magical on stage together, so I would never say no. How has your friendship evolved over the years? We never spoke after I left the Runaways, and I’m really sad about that, because I thought that they wanted me out. I had no idea that Joan was upset that I left, and I couldn’t listen to the Runaways’ music for over 20 years, because I was so sad and I missed them. So it’s really neat that we get to discuss it now. We’re finally, after all these years, burying those hatchets. One of the most remarkable aspects of your story is that there were no successful all-girl rock bands before you. Did you have a sense of what you were trying to overcome? It was right in our faces. We couldn’t get

away from it. And the more resistance we got, the tougher we fought, because we knew we had something special. All these people tried to tell us we couldn’t. Or we couldn’t do it well enough. We just saw all these men grabbing, acting like, “No! This is our music! You can’t play this!” We were so young, and no one ever cut us a break. But it just made us want to fight harder. Do you have advice for women today who want to rock? Yeah: have no fear. Fear is the single most destructive emotion we have. Fear holds you back. Fear will stop you dead in your tracks. Have no fear, and go for it no matter what. Don’t let anyone stop you from your dream. Bottom line: believe in yourself. There is nothing that you can’t do. It might take 35 years [laughs], but if you believe it in your heart, there is no way you can fail.

a guitar when I asked for one. A lot of parents might not have, but they did. So I was able to continue my fantasy of being a rock star. Is that what made you feel like you could start a great all-girl rock band as a teenager when there had never been a successful one before? Once my family moved to Los Angeles, I figured, “I’m in Hollywood. There’s got to be other girls who want to play rock ’n’ roll like me. I can’t be the only one.” It just seemed obvious. I was really naïve. When you’re 13 or 14, you haven’t lived yet or been smacked down by society because you’re a girl. I thought people would freak out in a good way. And they did freak out, but not necessarily in an excited way. They were threatened. Cherie was telling me what an amazing experience it was recording with you again for the movie and was ex-

out. If you want to be in a band, make it happen. Get out and play live and find somebody who supports what you believe. It’s very important to have somebody who can help support your music, because it’s really hard to fight when you’re all alone. In Cherie’s memoir, the Runaways are depicted as young women being exploited by older, unscrupulous men who stole everything they made. Do you agree with this portrayal? I wasn’t thinking about the money. I was thinking more about the experiences and the fact that I was actually on the road, touring different countries, and playing with all these different bands that went on to become very well known. I had a great relationship with Kim Fowley… But you still had to sue him for Runaways money not too long ago…

“When you’re out there trying to play rock ’n’ roll, you get a lot of negative feedback. And you just have to fight through it. ” - JOAN JETT You immersed yourself in making The Runaways movie, and now you’ve been seeing audiences watch it all week. Do you have a different perspective on your life after that experience? JOAN JETT: Having people watch an interpretation of our lives is kinda scary. You don’t have control over it. But I think the actors did an incredible job and really gave you a sense of what it was like to be in the Runaways. Is there a message that you hoped people would get from the film? If sticking to your guns and fighting for your dreams is a message that people take away from it, then I’m happy, because that’s what we were trying to live in the Runaways. That, and breaking down the barriers of the roles that girls are set up to play in life. My parents never put any limited thinking in my mind. They always told me I could be anything I wanted. So I wanted to be an astronaut, an archaeologist, and an actor before I settled on music. My parents got me

cited about playing with you this summer. What are your feelings about collaborating again? She’s going to open for us, but I don’t know about us being on stage at the same time. We’ll have to see about that. But I think this experience, if anything, is giving Cherie the idea that she might have forgotten how much she liked it. It’ll be fun for her to get out there and do her own thing with her own band. I look forward to seeing what she comes up with when we play together. Female musicians are being forced into a pop mold more than ever right now. What advice do you have for women who want to rock? I don’t know why, but it boils down to sexuality, and owning your sexuality. You’ve got to dictate what’s going to happen with it, and that’s threatening to a lot of people. When you’re out there trying to play rock ’n’ roll, you get a lot of negative feedback. And you just have to fight through it. Just stick it

Yeah, well, that’s business. But we’re still friends. He wasn’t abusive to me, because he can bet I would have told him to fuck off. So I didn’t look at it as abusive, and I didn’t think anyone else did, because if they felt abused, they could have left. I read something funny about you coaching Kristen Stewart to appear more like you on stage by telling her to play her guitar more with her crotch… Kristen had a lot to think about—the guitar, the lyrics, the camera, the other girls. So if she was losing her connection to the song, I’d yell out, “Kristen! Pussy to the wood! Fuck your guitar!” When you’re playing rhythm guitar, the wood is right on your pubic bone. So sometimes, when I hit a chord a certain way, it vibrates. It’s not sexual, it’s just very powerful. And that’s what I was trying to get at. It’s about the power of the music coming through your body. You don’t want to think about it too much. The more I think, the more I screw up. B // BUST / 55

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JILL SCOTT Soul Singer Extraordinaire, Actress, and Class Act

HAIR: AMOY PITTERS; MAKEUP: SACHA HARFORD FOR SMASHBOX; STYLIST: KATE ERWIN; DRESS: ANGELA DEAN; EARRINGS: MANGO; BELT: RED DRESS, BROOKLYN, NY; NECKLACE: DAME

ILL SCOTT DID a lot of living between her 2007 album, The Real Thing, and last November, when she went back into the recording studio. From 2007 to 2009, the soul/R&B phenom got divorced, got engaged, had a baby, and then became single again—all experiences she says have made her “feel like more of a woman than ever before.” Since garnering rave reviews last year as Precious Ramotswe in the critically acclaimed HBO crime dramedy The No. 1 Ladies’ Detective Agency, Scott has become one of a select few artists taken seriously both as an actor and musician. Before making her first hit album, 2000’s Who is Jill Scott?, the now 38-year-old Philadelphian studied Shakespeare and took apprenticeships under directors whom she says would “work the snot out of you” in exchange for free acting classes. Her big break into film was in Tyler Perry’s 2007 release, Why Did I Get Married?, which opened number one at the box office. And now fresh off the success of that movie’s sequel, Why Did I Get Married Too?, Scott is releasing her much-anticipated fourth studio album, The Light of the Sun. While Scott is still dedicated to acting— she’s in talks for a second season of The No. 1 Ladies’ Detective Agency and dreams of working with director Lee Daniels and actress Meryl Streep, who she describes as “my kind of girl”—she’s taking “a year or two” to tour and focus on the music her fans fell in love with a decade ago. We recently talked about this transition, as well as everything from her Lifetime movie Sins of the Mother to new motherhood. You just played a recovering alcoholic making amends with her daughter in Sins of the Mother. Did any emotions from that role seep into your songwriting for your latest album? The two don’t live together at all. I don’t take the characters home with me. I leave them where they are and don’t pick them up until late at night when I study. And when it’s over, I try my best to kill my characters. I take a day, and I bury them.

How would you describe the sound of the album? Much of it is freestyle. There’s bass-driven jazz. It’s a little funky. OK, maybe more than a little funky. [laughs] Are you working with anyone we know? I like working with relatively unknown producers. They’re very hungry. They don’t mind staying until 5 a.m. in the studio to get it right. I need to work with real musicians. Their music is my blank page, then I add a character to it. My characters come out in the booth. What do you mean by “characters”? I’m a character singer. I create a character in my songs. I’m trying out some new voices on this project. You hear some singers on the radio, like Anita Baker, and you know it’s them immediately. I love vocalists like that, but I don’t feel like I have one voice. There are more women in me. What are your characters like on this project? Some of them are bright. Some of them are aggressive—there’s a song called “I’m the Shit.” It’s empowering for anyone on their way to the club, a meeting, or, dammit, to the grocery store! It’s kinda ’80s pop rock. I’m not that much of a narcissist or egomaniac to walk around saying “I’m the shit.” But I’ve been divorced, engaged— that didn’t work out—had a baby. All of that means lots of characters. Your last album, The Real Thing, was lyrically bolder and more assertive than your earlier albums. Can we expect more of the same from The Light of the Sun? Yes. I went in with musicians I love. When we went into the studio and the engineer hit record, we went on a journey. When we looked up, we were eight songs deep—complete songs—without having to write anything down. When I listened to the songs, I couldn’t believe I said certain things, because I think in my right mind, I never would’ve said those things. But I like how freeing it is. What surprised you the most? It’s funny, because I’m still a little embar-

rassed! Some of the things are very sexual in nature. Some of it is about being submissive. I’ve learned that’s not something you can do with everyone. I was embarrassed, but I listen to it and I say, “Oh, yes. This is correct. I agree with this woman!” How has dating changed for you? Now I have a high bar. I love being in control of how I date, who I date, when I date. My new thing is, nothing pops off until the fifth date—and there’s no guarantee you’re going to get it then, either! I think when it comes to dating, we’ve got feminism all wrong. What does being a feminist mean to you? I think I’m a feminist in the truest sense of the word, if I can be that bold. I want equal pay for equal work. I should have praise and respect based on my performance. I don’t necessarily feel like I need to cook and clean, but part of me enjoys doing those things. I like keeping my home. I think we have the sexual aspect of feminism particularly backwards, though. I think we’re trying too hard to date like men and have relationships and affairs like men. But we’re women, and we’re just not as cavalier as men are. We’ve forgotten to be coy—have them woo us. We’ve forgotten the rules of womanhood, and I think we’re giving more than we’re receiving. Would you ever get married again? I don’t think so. He would really have to be something else completely. Do you sing to your year-old son, Jett? Every day! And he sings back! He loves “Come Live With Me” by Marvin Gaye, that’s his favorite. And he also loves “Brother Sister” by the Brand New Heavies. Every time music comes on, even if someone’s cell phone rings, he’s clapping! He just loves music. How would you feel about him pursuing a career in music? I would be happy about him pursuing a career, period! This kid is going to have a job by the time he’s 14. I don’t like a man who sits around and doesn’t do anything. I want him to be a strong man and will do everything in my power to help him be that. B

DEK CEK CEK

BY SABRINA FORD // PHOTOGRAPHED BY MARK MANN

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WANDA JACKSON The First Lady of Rockabilly

ANDA JACKSON IS on stage in Austin, TX, and she’s blinged-out in a red fringed tunic, blue eye shadow, red lipstick, glimmering earrings, and a rhinestone watch. She’s not much over five feet, at least three inches of which is a dark helmet of hair she’s cultivated since the 1960s. And her evil-munchkin singing voice and distinctive growl sound as powerful as they did when she first belted out her hit rockabilly song “Fujiyama Mama” in 1958. “I can tell I’m at South by Southwest,” says the smiling 72-year-old, eying her younger generation of admirers. “What do you call that coif ?” she asks one fan. “A mohawk...I’ll have to try that next time.” When some onlookers start chattering later during her set, Jackson issues a gentle “shhh,” and the crowd hushes in due respect. She is, after all, one of the first women to ever play rock music. Jackson started her career at 15, singing country tunes on her radio show in Oklahoma before being discovered by her mentor, western swing singer Hank Thompson. In 1955 and ’56 she toured with Elvis Presley, whom she also dated, and he encouraged her to sing rockabilly. For a time, she was even bigger than Presley. Her cover of his song “Let’s Have a Party” was a Top 40 hit, and “Fujiyama Mama” was number one in Japan. As rockabilly’s popularity waned, Jackson returned to country. But when the style resurged in the ’80s, so did interest in the woman dubbed the Queen of Rockabilly. Half a century after her teenage beginnings, Jackson has one of the lengthiest careers in rock, and she’s still innovating. Following her induction last year into the Rock and Roll Hall of Fame, she’s touring internationally until her new album, produced by Nashville’s new King Midas, Jack White, comes out this fall. I caught up with the legend over the phone while she was on the road, and we took a walk down memory lane as she recalled some high points from her extraordinary life. 58 / BUST // JUNE/JULY

The first single from your upcoming album is a cover of Amy Winehouse’s “You Know I’m No Good.” Did Jack White push you to try new things? Working with Jack was a very exciting adventure. Everything we did was different for me. I’ve done so many kinds of music, so I fell into this naturally. But he pushed me. Once I made up my mind that this young man knows what he’s talking about for today’s audiences, I just decided I would do whatever he said, and it turned out very well. When you first started out, women were supposed to be delicate and pretty, but you sounded tough and wild. Was that just who you were, or was it a decision to be that way? The rendering of a song is dictated by the song. What is this song saying? What is the melody imposing? Is it sad? Is it funny? Is it about life? Is it about death? You sing these songs the way they were meant to be sung. So it was mostly the material, ’cause nobody was writing for girls. If I did any rock ’n’ roll songs, I had to make them cover songs. “Let’s Have a Party” was a cover. So were “Fujiyama Mama” and “Hot Dog That Made Him Mad.” I started running out of covers, and that’s when I began writing rock songs, and it turned out real well for me. “Made Me Mad” is a rock ’n’ roll standard now, and “Right or Wrong” is another one I wrote. So, I’ve had success with that. Your dad was your chaperone and went with you on your first tour. Did you ever come to a point where you had to assert your independence? Not really. My dad and I got along great. We had a lot of respect for each other. He was caring and protective of me, so I never felt the need to get away from him. He allowed me all the freedom that I needed, and he was a real stickler for me being my own person. That gave me a lot of freedom in my work. As one of the first women in rock, do you consider yourself a feminist?

Oh, heavens no. I don’t care much for that movement. But I am very proud of the women these days. They’re strong and independent. I admire that, since I’m really quite the opposite by nature. I grew up in an era where women didn’t take the lead so much. So in that respect, I was an original, and I wound up coming across as a strong, independent woman. I was independent in some ways, by getting my own way. [laughs] It was just a different generation that I grew up in. I was always thinking that as soon as I got married, I would have to give up my career. But I was so fortunate when I married Wendell Goodman. We were married in ’61, and I had just released “Let’s Have a Party” and “Right or Wrong,” so I was at the top. He said, “I think you and your father and mother have worked so hard getting you to where you are now, I’d hate to see you quit. I would prefer we work on your career together, as long as I can be helpful to you.” I thought that was very wise, because he had a great career in store for him. It’s just been a phenomenal life that we’ve had together—like we’re on a honeymoon all our lives, traveling the world, seeing it together. We’ve been married for 48 years. Why did it take so long for you to get into the Rock and Roll Hall of Fame? I heard it was a whole political thing. I’ve never had a string of number one rock ’n’ roll songs. In fact, I’ve never even had one number one rock ’n’ roll song in America. I’ve had ’em in Japan, in Germany, and other places. But then they came up with the “Early Influence” category, and that did it, because I was the first girl, at the beginning of the whole genre. In retrospect, I see all that I did do, and it’s nice to be recognized for that. It was a challenge for me as a teenage girl trying to break down barriers and make changes in the old school. Thank you for doing that. You’re welcome. B

BY COLLEEN KANE // PHOTOGRAPHED BY JO MCCAUGHEY

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Life's a Picnic Everything you need to make your next barbecue a walk in the park BY LISA BUTTERWORTH PHOTOGRAPHED BY JEANEEN LUND PROP STYLING BY JENNA KAISER

HESE WARM SUMMER days are perfect for lounging outdoors, and the best way to do it is in the park with your pals. Add a delicious spread of food, a tasty cocktail, and a bumping boom box, and you’ve got the makings of the best day ever. We’ve done all the planning for an epic outdoor shindig, so simply read on for our sample menu, a handful of finger-lickin’ recipes—including pickles, kabobs, and barbecue sauce—tips for lighting a grill, songs for a summerific soundtrack, a DIY banner craft to cute up your setup, and some adorable finds that’ll make your picnic easier. You can also lend your outing an eco-friendly slant, not to mention a little class, by bringing real dishes instead of disposable ones. So hit up the grocery store or your farmers’ market, grab your girls, a few blankets, that croquet set gathering dust in your closet, and a cooler, and get ready for some fun in the sun.

MENU *RECIPE INCLUDED!

Shrimp + nectarine kabobs* Burgers + hot dogs (meat + veggie) with blackberry barbecue sauce* Bread + butter pickles* Corn on the cob Spinach salad with strawberries + almonds Cubed watermelon + mint Potato chips Chocolate chip cookies Strawberry lemonade Pimm’s cup* Beer

BREAD AND BUTTER PICKLES Canning is great, but when you want a quick DIY condiment fix, bread and butter pickles (which don’t require water baths, sterilized jars, or any unusual equipment) are the way to go. Throw in some onions and you have the perfect pickled toppings for burgers, dogs, and sammies of all kinds. You can make them a few hours ahead of time, but for the most flavor, let them marinate overnight. 2 English cucumbers, sliced into ¼-inch thick rounds 2 small red onions, thinly sliced ¼ cup kosher salt 2 cups cider vinegar 1 cup sugar 1 Tbsp. whole black peppercorns 1 tsp. mustard seeds ½ tsp. celery seeds ¼ tsp. fresh ground black pepper ½ tsp. red pepper flakes In a large bowl, toss cucumbers and onions with 2 Tbsp. salt and refrigerate for one hour. Rinse and drain. Pat them dry with paper towels or a dishcloth, and place them in a glass bowl. In a small saucepan, combine remaining 2 Tbsp. salt, the vinegar, sugar, peppercorns, mustard and celery seeds, fresh ground pepper, and red pepper, and stir well. Bring to a simmer over medium heat, and let simmer for five minutes. Pour the mixture over the cucumbers and onions (they should be covered), and let cool. Cover and refrigerate overnight. // BUST / 61

HOW TO LIGHT A CHARCOAL GRILL

Forgo chemical-laden lighter ﬂuid by using a DIY chimney starter. With a punch-type can opener, make a few holes around the edge of a coffee can, then use a hand can opener to remove the bottom.

Take the grill gate off your barbecue and place your chimney in it with the holes at the bottom. Scrunch up a piece of newspaper so it forms a ring, and place it in the bottom of your chimney.

Fill your chimney to the brim with charcoal, and use a match to light the newspaper in several places through the holes.

Allow the briquettes to turn ashy (about 20 – 30 minutes), then use tongs to carefully remove your chimney. Spread the coals evenly, replace your grill grate, and start cookin’.

SHRIMP + NECTARINE KABOBS Grilled shrimp paired with summer fruit is pretty damn good. But brushed with a garlic-herb oil (which you’ll need to make at home ahead of time) makes it a party in your mouth—and the perfect dish for pescetarian picnickers.

BERRY BARBECUE SAUCE This summery barbecue sauce, from our Nickel and Dined columnist Isa Chandra Moskowitz, is the perfect condiment for all your outdoor grilling. We slathered it on veggie dogs and burgers, but it tastes awesome on just about anything. You may even be tempted to grab a spoon and eat it straight. That’s totally OK too. 1 Tbsp. peanut oil 1 small onion, ﬁnely chopped 3 cloves garlic, minced 1-inch chunk peeled ginger, minced 2 cups berries (we used blackberries, but raspberries or blueberries work well, too) ½ cup veggie broth or water 2 Tbsp. soy sauce 2 Tbsp. ketchup 2 – 3 tsp. chipotle powder (smoked paprika works too) ¼ cup molasses 2 Tbsp. sugar (more to taste) Salt to taste Preheat a saucepan over medium heat. Sauté the onions in the peanut oil for about 10 minutes, until lightly browned. Add garlic and ginger, sauté for a minute more. Add berries, veggie broth, and soy sauce, and bring to a boil. Once boiling, add ketchup, chipotle powder, molasses, and sugar. Lower heat and let simmer for about 45 minutes, until it’s reduced by about half. It should be nice and thick. Adjust sugar, salt, and chipotle powder if necessary. Turn the heat off and let sit for about 15 minutes before using, stirring occasionally. 62 / BUST // JUNE/JULY

¼ cup olive oil 2 cloves garlic, minced 2 Tbsp. chopped fresh herbs (we used basil, rosemary, and thyme, but throw in whatever you have handy) 3 nectarines (plums and peaches work well too) 1 pound large peeled and deveined shrimp 1 lemon, thinly sliced Cayenne pepper (optional) To make the garlic-herb oil, combine the olive oil and garlic in a small saucepan. Stir over medium heat just until the garlic is aromatic (probably under a minute); you don’t want it to brown. Remove from heat and immediately stir in herbs; set aside. Cut nectarines into 1⁄2-inch-thick slices, and thread onto skewers alternately with shrimp and lemon slices. Brush lightly with garlic-herb oil. (For a little kick, sprinkle kabobs with cayenne pepper.) Throw them on the grill for a few minutes per side or until the shrimp is pink and cooked through. Drizzle with extra oil for added ﬂavor.

ULTIMATE PICNIC PLAYLIST “Sunshower” DR. BUZZARD’S ORIGINAL SAVANNAH BAND

“Bees” TANLINES

“Let’s Go Surﬁng” THE DRUMS

“Moscow 1980” JAVELIN

DIY BANNER

“When I’m With You”

PRODUCT PHOTOGRAPHY: CHRISTINE BLACKBURNE

ULTIMATE PICNIC PLAYLIST: SUSAN JUVET (FREE DANGER)

BEST COAST

Nothing says good times like a garland, so pretty up your picnic with this easy-peasy pennant. First, gather a variety of fabric in complementary patterns. Then cut 1 triangle with a 6" base that is 10" from base to tip. Use this triangle as a model and cut others, making sure to use all your fabrics. The desired length of your banner will determine how many triangles you need (for ours, which was 36' not including tails, we cut 45 ﬂags). Now it’s time to attach the triangles to twine. Lay a fabric triangle right-side down on your ironing board. Grab a ball of twine and, leaving a 2' – 3' tail, rest it on top of the fabric, parallel to the 6" side about ¼" from the edge. Cut a piece of iron-on adhesive (we used Steam-ASeam) that is slightly shorter than the width of the triangle where the twine rests, and place it on the fabric just below the twine. Fold the edge of the triangle over the twine so that it completely covers the adhesive. Activate the adhesive by resting your heated iron on it for 5 – 10 seconds (or however long is recommended on the adhesive’s package). Repeat this step, securing the triangles about 2½" apart in alternating fabric patterns, until you’ve reached the desired length of your pennant. Leave a 2' – 3' tail of twine on the other end as well. Hang it up at the park, and tell picnic goers to look for the adorable banner!

“Arm Around You” ARTHUR RUSSELL

“Despicable Dogs” SMALL BLACK

“Ring Ring” SLEIGH BELLS

PIMM’S CUP

“She’s the One” JAPANTHER

“Funnel Of Love” WANDA JACKSON

“Don’t Worry Baby” THE BEACH BOYS

“Love Will Find You” HOLLOWS

“In the Sun” SHE & HIM

“Jail La La” DUM DUM GIRLS

“Shakin’ All Over” JOHNNY KIDD & THE PIRATES

“Redondo Beach” PATTI SMITH

“Summer Wine” NANCY SINATRA & LEE HAZLEWOOD

“Want You Back” NITE JEWEL

Your search for the best warm-weather cocktail stops here. Pimm’s No. 1 Cup is a gin-based U.K. liqueur that’s a little bit spicy, a little bit citrusy, and a whole lot tasty; this recipe turns it into a refreshing adult bevvie. Best of all, it looks just like iced tea, so if you’re drinking illegally in the park, chances are you won’t be bothered by the fuzz. 1 orange, sliced 2 lemons, sliced 3-inch-long piece English cucumber, sliced 2 cups Pimm’s 4 cups lemonade Club soda Fill a pitcher (or large thermos) ¼-full with ice. Add a layer of orange slices, a few lemon slices, and a layer of cucumber slices. Add Pimm’s and lemonade and stir. Top off with club soda and stir gently. Garnish glasses with a slice of cucumber or lemon wedge.

PICNIC ESSENTIALS

WEBER SMOKEY JOE GRILL $49.95, www.crateandbarrel.com

CHERRY PICNIC BASKET $110, kazamcreations.etsy.com

SUNSHINE BLANKET $19.95, www.ezpicnic.com

ESSCHERT DESIGN PICNIC TROLLEY

€59.95, www.countrydesign.eu

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PHOTOGRAPHY BY MICHAEL LAVINE HAIR BY MOIZ ALLADINA STYLING BY PRISCILLA POLLEY 64 / BUST // JUNE/JULY

DRESS: LANVIN; RING: TILDA'S OWN

BY PHOEBE MAGEE MAKEUP BY DEVRA KINERY

transformer An actress of incredible range and depth, Tilda Swinton gives life to finely rendered characters who are always more than meets the eye // BUST / 65

ILDA SWINTON BELIEVES in change. In fact, she is absolutely unafraid of it. Which is appropriate, considering how often the 49-year-old Scottish actor/producer/writer performs amazing feats of transformation. Ever since her film debut, in 1986’s Caravaggio, she has refuted any limitations on whom she might play—up to and including limitations of gender. Whether she’s portraying a nobleman who wakes up one day as a woman (Orlando, 1992), a beigeclad corporate lawyer (Michael Clayton, 2007), or a flame-haired American with a push-up bra and a thing for vodka (Julia, 2008), Swinton looks completely different in every role and has a near-magic ability to fully become someone else. Off-screen, however, the actress is wonderfully comfortable in her own skin and wholly unconcerned with changing to fit anyone else’s standards. If you ever find yourself sitting across a table from her, like I did in New York, you’ll find it impossible to believe she could ever be anyone but herself. Born in London as the only daughter in a military family with three brothers, Swinton spent her early life at the West Heath Girls’ School, where one of her classmates was Diana Spencer—future princess of Wales. She graduated from Cambridge University in 1983 with a degree in English literature before launching her acting career in a decade-long partnership with experimental director Derek Jarman, with whom she collaborated on eight films. In 2008, Swinton won an Oscar for her role opposite George Clooney in the aforementioned Michael Clayton. And in the two years following, she worked on mainstream movies with Brad Pitt (The Curious Case of Benjamin Button) and the Coen Brothers (Burn After Reading). But her latest project, Lo Sono L’Amore (I Am Love, premiering June 18), is an Italian-language art film that is the product of another decade-long collaboration, this one with Italian director Luca Guadagnino. The film stars Swinton as Emma Recchi, the Russian-born wife of a wealthy Milanese businessman who, 66 / BUST // JUNE/JULY

after years spent acting the part of a perfect mother in a rigid household, quite suddenly and unexpectedly falls in love for the first time. Here, Swinton talks candidly about emotional moviemaking, motherhood, and avoiding the Hollywood mascara wand. Your latest film, I Am Love, was almost 11 years in the making… Luca Guadagnino and I produced the film together over 11 years. We’ve known each other for nearly 20, and a large part of our relationship has been a conversation about the kind of cinema we love and would really like to make. We started talking about a kind of emotional cinema that we were really into—filmmakers we love like Luchino Visconti or Douglas Sirk or Alfred Hitchcock. I know it was 11 years ago, because my children were 1 at the time. Maybe it was hormones, but we started talking about a style of filmmaking that is now kind of derided. You know, it’s very possible to say that a film is operatic or emotional or even beautiful and actually be kind of rude about it. We wanted to try and reclaim this idea, so we started talking about melodrama. [We wanted to make] a family story that involved looking in meticulous detail at a world that we didn’t necessarily know that much about, and then in the heart of it, to look at a woman bursting out. Which is the province of great Russian novels like Anna Karenina, or Flaubert’s Emma Bovary. The film opens up a very carefully closed-off world to the viewer, and at the same time, it covers some pretty universal themes. Did you understand Emma as the product of a very particular place, or could you see her as someone most women could relate to? I think the thing that might speak to women in the film is that it is about something that happens to any woman who has children at a certain age. Wherever you live, however you live, the point comes when [those children grow up to be] around about the age you were when you had them, and they move out, start having sexual relationships, and start building their own lives. And you sort of return to that moment yourself, and you

start to pick up the threads of some kind of individual existence that you dropped when you became a mother. You started thinking about this film very soon after your own children were born? Yes, I suppose that had something to do with it. And I was aware of this question that people ask mothers: How have you changed? And I always find that it’s the wrong question, because for my money, it’s not a question of changing. It’s like a new person comes into being—you as mother. But the old person, the notmother, goes on. And you ignore her at your own peril! If you think she’s not going to come and bite you in the ass 20 years later, then you’re really going to end up like Emma Recchi. You’ll have a big surprise on your hands. As an actor, you’re known as a fearless conqueror of new territories. You’ve played a man, you’ve played a robot. So was there anything refreshing or different about playing a beautifully dressed, “well-behaved” woman? I’m always bemused by the idea that people are supposed to pick their identity and stick with it through thick and thin, through the rest of their lives. And I am always concerned—or interested, at least—in challenging that. So whether it’s someone who’s born a boy and at some point in his life turns into a woman, as in Orlando, or whether it’s about a mother who suddenly falls for a gambler in something like The Deep End, this feeling of shift is what I’m always really interested in, that point when someone goes, “Wow, maybe I can change. Maybe I am changing. Maybe I have changed.” And with Emma, that’s absolutely the heart of it. So in a way, [this role is] business as usual for me. You’ve said that I Am Love is about overcoming the idea of oneself as presented by society. As an artist living in the public eye, do you have to work to overcome what the world thinks of you? Not at all. For some strange reason, I’ve always known that change was inevitable and that it’s the only thing you can really attach yourself to. I’m happy to say that I have neither much knowledge

about, nor really much interest in, how anybody else sees me. So I’m not particularly attached to anyone else’s perceptions. I’m kind of too lazy for that. Let’s talk about your upbringing. Going to a girls’ school, was feminism part of your consciousness growing up? I don’t think there was ever a moment in my life when feminism had to be explained or introduced to me. Maybe that has something to do with being the only daughter in a family of three boys. That will grow a feminist if anything will. I never felt like I had either a pre-feminist or a kind of graduation moment with feminism. Liberation felt completely non-negotiable for me. Speaking of liberation, in every movie I see you in, you seem to inhabit a different body and actually look like a different person. This is something that

what you’re talking about. Because I think there is misinformation out there about my life [that I may need to] rectify. I understand that you share a domestic partnership in Scotland with the artist John Byrne, and also, you sort of travel with a different boyfriend. It’s very simple and completely unexotic: I’ve never been married. I have two children with John Byrne. I, like many people, have children with one person, and we’ve not been a couple for many years, and we’re very close friends, and we bring up our children together, and for the last five years, I’ve been in another relationship. That is very simple. It’s very boring [laughs]. And it’s important to rectify, because there’s some fantasy about us all living in a big hut together, and that’s not actually true. Look,

ending up estranged from one another, that when people come along who really are there as a family forever, because you are actually linked forever, it’s radical and somehow frightening. Having said that, I think that many more people live in the way that we do—in a state of real love and support—than newspapers might lead you to believe. I think newspapers love a bit of friction. And we’re a pretty friction-free zone. It is pretty dull, but there you have it. I have one final question, and it’s about something that Luca Guadagnino said in an interview at the Toronto Film Festival, which was that I Am Love is about a man’s world confronted by the power of women… The radical force in the film really is its women. The daughter is an alien by virtue of the fact that she is an artist in this

“ Real love is about knowing and accepting somebody absolutely and being right there for them, whatever curves are ahead.” could grant you a lot of power in an industry where looks are so unusually important. Do you think your physical abilities as an actor afford you a professional freedom in Hollywood that others don’t enjoy? I actually don’t know. I’m not really aware of operating in any industry. I started making films with filmmakers who came, as I did, from a fine-art background. So the idea of negotiating around Hollywood norms is something that I never had to even think about. I’m only [in Hollywood] on a tourist visa. So I never had to check in at the door and get my mascara. I Am Love stands up for love itself in many different forms, even if it’s unconventional or comes with complications. I know that you have spoken briefly in interviews about your unconventional family life…. Well, before we go there, I need to know

life unfolds, and to deny the curves in the road seems to be so masochistic. And to deny anybody else those curves in the road seems so cruel. Real love is about knowing and accepting somebody absolutely and being right there for them, whatever curves are ahead. Whether they’re your children, or the father of your children, or your parents, or your brothers, or whoever they are—if they are really there to support you whatever you do, then you don’t need to be frightened of any curve in the road, and you don’t need to believe that any relationship is brittle enough to break. I think that if there’s anything remotely radical about my living situation, if there’s anything that’s made any kind of waves— and I think this is really sad—it’s that we all really love each other and are there for each other. I think people are so used to the concept of people having children with somebody and then, somehow,

capitalist family, which is a tricky situation. But she goes forward and lives her life in a way that inspires her mother. What her daughter is doing is the thing that Emma didn’t do, which is to absolutely follow her own star and fall in love and be who she needs to be and go on her adventure. It’s the idea of a woman at a certain age who has done everything right. She’s been the perfect wife and the perfect mother. But now [she sees] someone really living in a liberated state, and it’s her daughter. She’s being led by her daughter. Any upcoming projects you’d like to tell us about? Perhaps an HBO film in which you play Conan O’Brien? I actually think that he should stand in for me occasionally. That’s what I’m working on. It’s inevitable. Either that or the biopic of David Bowie. Maybe both at the same time! That would be a fun party! B // BUST / 67

quiet riot

ALMOST 20 YEARS AGO, AN UNDERGROUND FEMINIST PUNK MOVEMENT CALLED RIOT GRRRL ROCKETED ACROSS THE COUNTRY IN A FLURRY OF POLITICAL MUSIC, HOMEMADE ’ZINES, AND “REVOLUTION GIRL STYLE NOW.” HERE WE TRACE THE RISE AND DECLINE OF RIOT, AND REVEAL WHAT ITS CENTRAL FIGURES ARE UP TO TODAY

PHOTOGRAPHY: PAT GRAHAM; BRATMOBILE/CHIA PET POSTER COURTESY OF TAE WON YU; ALL OTHER POSTERS COURTESY OF KATHLEEN HANNA

BY MARISA MELTZER IN THE EARLY 1990s, a new kind of women’s movement was ent project—a band called Bikini Kill, which she formed with forming. Fueled by their fury at the way girls were both men- friends Tobi Vail, Billie Karen, and Kathi Wilcox. Along with aced and marginalized in the punk-rock scene, female musi- playing shows, Bikini Kill self-published a two-page manifescians were starting to join forces to make a change. Together, to preaching their own brand of feminist uprising—what they they formed riot grrrl, an underground movement that would called “Revolution Girl Style Now.” It urged girls to “resist psyhave an impact around the world and whose influence is still chic death,” “cry in public,” join bands, teach each other how to play instruments, and fight back against aggressors and The felt today. “A lot of [riot grrrl] was about creating safe and encouraging Man. “In Bikini Kill, we created a mythology, slogans, a set spaces for girls in the punk scene,” says singer/songwriter Alli- of values, and terminology, and we had tactics and skills we son Wolfe, whose all-girl punk band, Bratmobile, was a central would share,” says Vail. “One of our slogans was, ‘Encourage in part of the scene. Formed in 1991 with her college roommate, the face of insecurity,’ and another was, ‘Stop the J word—jealMolly Neuman, Bratmobile began playing in Wolfe’s home- ousy, the killer of girl love.’” In her ’zine, Jigsaw, Vail transfigtown of Olympia, WA. “Grunge shows were still pretty aggres- ured the word girl into grrrl, giving it a growl. But the term was not meant to be infantilizing; it was a nod to using youthful exsive, and girls would get hurt in the pit a lot,” says Wolfe. Wolfe had been inspired to start her band the previous sum- uberance as a force for social rebellion. Meanwhile, on the other side of the country, all hell was mer. While wandering around Olympia, “trying to figure out who I was and what to do,” she says, “I saw this intense girl with breaking loose. In 1991, a clash between Washington, DC’s Latino population and a shaved head, Kathleen the city’s police led to Hanna, around town a a series of race riots. lot. She kinda freaked Energized by the upme out, but I was very rising, Jen Smith, a intrigued.” Then she saw member of DC’s punk Hanna perform with community and a pal her band, Viva Knievel. of Wolfe’s, wrote to her “It was the first time I’d friend, “What we need seen a girl on stage beis a girl riot!” That suming loud and confrontamer, Bratmobile’s Wolfe tional,” she says. “[And and Neuman moved to that] planted some seeds DC and were joined by in my head.” Bikini Kill, along with a In 1990, Hanna Tobi Vail [left] and Kathleen Hanna of Bikini Kill number of other women moved on to a differ// BUST / 69

Tobi Vail

70 / BUST // JUNE/JULY APR/MAY

[left to right] Suzi Gardner, Demetra Plakas, Donita Sparks, and Jennifer Finch of L7

In those pre-Internet times, news about riot grrrl spread via ’zines, letters, and musicians going on tour. By late 1991, riot grrrl bands such as Skinned Teen and Huggy Bear had sprung up in the U.K. At the same time, a network of riot grrrls was emerging in New York, Chicago, Los Angeles, and Portland, OR, characterized by high-school and college-aged girls holding meetings where young women talked about subjects ranging from sexual harassment and body image to ’zine distribution and putting on shows. And the music of riot grrrl, for many, was like hearing their inner lives represented in song for the first time. “When you hear a song like ‘White Boy’ by Bikini Kill, it’s a revelatory experience,” says Stacy Konkiel, co-editor of the ’zine International Girl Gang Underground. “You can finally think, ‘It’s OK to be mad. I’m supposed to be offended by this kind of b.s., because it is degrading. And there are other women out there who are just as pissed as I am.’” Other all-girl bands of the time were also labeled with the riot grrrl moniker, whether they considered themselves part of the movement or not. Donita Sparks’ Los Angeles–based band, L7, was formed a few years before riot grrrl. “I certainly felt a kinship, and we were certainly all feminists. But it was a college thing; you could tell it was birthed from a university,” she says. “We were from the sleazy L.A. underground.” That’s not to say L7 didn’t make their own feminist statement. In fact, they pulled off one of the most notorious incidents of the era, at the Reading Festival in England. “The crowd started throwing mud, which we didn’t like. I was just having a shitty time and decided to amuse myself,” recalls Sparks. So she pulled out her tampon and threw it at the crowd. “It got thrown back on stage and remained on the monitor during Nick Cave’s set,” she says, laughing. Riot grrrl was first and foremost about making punk rock a more hospitable place for girls. But it also came in a cutesy,

PHOTOGRAPHY: BOTTOM: MABEL DAMU; TOP: MICHAEL LAVINE

from Olympia. There, Smith proposed that they collaborate on a ’zine called Girl Riot. When the ’zine finally came out, it was called Riot Grrrl, and before you could say “Hello Kitty,” a budding movement had been given a name. It didn’t take long for riot grrrl to take hold in DC. “There was a presumed interest in equality among DC punks, but I couldn’t find any evidence of it within the scene,” says Lois Maffeo, an Olympia-based musician and writer who was in DC at the time. “I would characterize Olympia as being very feminist-friendly. DC, on the other hand, was extraordinarily traditional and gender-role conservative. So when this migration of Olympia girls hit DC, it was like dry tinder and a flame.” Indeed, the city was filled with young women who were primed for riot grrrl’s message. “I remember seeing Bikini Kill in Washington, DC,” writes Valerie Palmer on the Bikini Kill Archive blog, where fans post their memories of discovering the band. “I’d grown up on DC bands, which were very antiestablishment, but in a white-male kind of way. When I saw Bikini Kill, I finally realized what had been missing. The energy was electric. Kathleen Hanna had the word slut written in big black letters across her stomach. That made a distinct impression on me.” And when Sara Marcus—whose book on riot grrrl history, Girls to the Front, comes out this fall—discovered the band Heavens to Betsy (whose singer, Corin Tucker, would later form Sleater-Kinney with Carrie Brownstein), she would sit on her bedroom floor and play along to the record using pillows and notebooks as her drum kit.

pink package, complete with a wholehearted embrace of childhood objects previously verboten to good feminist women. Grrrls wrote ’zines filled with essays decrying the term prick tease, made collages of women cut out from vintage ads, and shared vegan recipes. They sang and wrote frankly about issues young women faced that the larger culture didn’t want to talk about, such as incest, rape, and eating disorders. Even though punk had long been about embracing taboos, these were subjects that weren’t being addressed, possibly because they were the domain of girls. But riot grrrl encouraged young women to create ’zines or bands themselves, instead of being passive cultural consumers of male punk propaganda. To the mainstream media, a bunch of angry-yet-sexy 20-something women was irresistible, and they were quick to descend upon the riot grrrl scene. Sassy, Newsweek, USA Today, L.A. Weekly, Seventeen, and Melody Maker wrote early stories on the movement in 1992 and ’93. The media coverage was, however, mostly outlandish or negative. Producers from Sally Jessy Raphael’s talk show were rumored to be calling around, trying to get a real-life riot grrrl to take on dinosaur rocker David Lee Roth (unfortunately, no one rose to that challenge). The hit sitcom Roseanne even had a plotline in which Roseanne and Jackie picked up a riot grrrl hitchhiker (played unconvincingly by Jenna Elfman), who gave them a Bikini Kill cassette. Newsweek called it “feminism with a loud happy face dotting the ‘i’” and emphasized the popular “vintage littlegirl dresses that barely make it past [the] hips.” USA Today reported, in an equally patronizing tone, “From hundreds of bedrooms comes the young feminist revolution. And it’s not pretty. But it doesn’t wanna be. So there!” “The media tended to trivialize our activities and concerns, to defang and declaw our messages, to highlight the aesthetics and leave most of the content behind, and to pit girls against each other,” says Wolfe. “I was more OK with it than others, I think,” says Neuman. “My dad was a pr person, so I was used to being around media, and in my personal life, it made my family take me more seriously than I think they would have otherwise.” Bikini Kill’s Vail agrees that the mainstream’s reporting was “dismissive, sexist, and condescending,” but she also saw an upside to it. “I like to focus on the positive impact that the media coverage had, which was to get our name out there,” she says. “We didn’t run the band as a business, so there wasn’t any publicist or promo strategy, other than getting the word out that we wanted to change the world and that all girls were invited to participate by starting bands and fanzines.” Nevertheless, in the fall of 1992, the women of riot grrrl declared a media blackout. The mainstream press was taking too large of a role in defining what riot grrrl was, so bands, ’zine editors, and riot grrrl organizers simply stopped cooperating with outsiders en masse. While bands were still touring and putting out albums and giving interviews to ’zines, the damage was done. The women of riot grrrl no longer necessarily identified with the moniker now that it had gone mainstream, and by the mid-’90s, their use of it began to fade away. Most of the original riot grrrl bands didn’t make it out of the

’90s intact, and the use of the term riot grrrl disappeared with them. But that didn’t mean the spirit of feminist revolution behind the music died. In the 20 years since that turbulent time, the women of riot grrrl have inspired future generations of girl rockers, archived important artifacts of the era, and proved themselves to be proliﬁc in taking on a diverse array of new projects that remain in keeping with their ideals. Some made a greater impact in their post–riot grrrl projects than they did at the apex of the movement, as subsequent bands like Carrie Brownstein and Corin Tucker’s indie-rock juggernaut Sleater-Kinney and Kathleen Hanna’s feminist dance-punk trio Le Tigre won a level of mainstream recognition and inﬂuence that riot grrrl never came close to. Like the riot grrrls, these bands retained control of their image. They (mostly) stayed on independent labels, played all-ages shows and countless political fund-raisers, and asked like-minded bands to tour with them. Many even became legitimately famous—going from feminist icons to rock icons—and played stadiums. Sleater-Kinney, for example, was the opening act for Pearl Jam in 2003. Though Sleater-Kinney went on hiatus in 2006, its members are still rocking out, and now they have the world’s ear. “I just started a new band after taking many much-needed years off from playing,” Brownstein told IFC during 2010’s SXSW Festival, adding that her former bandmate Janet Weiss will be in the group. Tucker, Sleater-Kinney’s other co-founder, now has two children and recently told The Portland Mercury that she’ll be releasing “a middle-aged mom record” in October. “It’s not a record that a young person would write,” she explains. “There’s some sadness, some reinvention, some rebirth.” Tucker also says that “the door is open” for a SleaterKinney reunion. For other former riot grrrls, the music of their youth acted as a springboard that launched them into other sectors of society where they’re working to implement their social ideals. Tobi Vail’s ’zine lives on in the form of her blog, Jigsaw Underground, and she still plays drums “here and there.” Bratmobile remained

[left to right] Christina Billotte (Autoclave/ Slant 6), Jen Smith (Rastro!), Molly Neuman (Bratmobile), and Erin Smith (Bratmobile). [in cart] Allison Wolfe (Bratmobile)

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Allison Wolfe [left] and Molly Neuman of Bratmobile

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chicken and ice cream, which was labeled one of “Hollywood’s Deadliest Diets.” In response, she scrawled, “Punk rock will never diet” on her body during photo shoots. Today, there’s a whole new generation of girl rockers, who weren’t even alive in the ’90s, playing music because of the Rock ’n’ Roll Camps for Girls the riot grrrl ethos helped create. The first Camp for Girls cropped up in 2001 in Portland, OR. And now budding musicians ages 8 to 18 are flocking to camps across the U.S., Europe, and South America to learn instruments, form a band, and play concerts. Former riot grrrls like Hanna have participated in teaching campers, and according to Vail, these programs are “probably the real continuation of riot grrrl, giving kids the access and encouragement to produce their own culture.” Thankfully, when these fledgling shredders grow up, there will be riot grrrl–inspired cultural institutions around to guarantee that they’ll always have support. The most obvious example of these, says Vail, is Ladyfest, the women’s arts festival born in the summer of 2000 in Olympia. Since then, more than 100 localized manifestations of the festival sprang up on six continents, all with the same blend of girl-centric music, art, and activism. And this January, Kathleen Hanna insured that the history of riot grrrl will have a permanent archive when she donated her ’zines, correspondence, and other Bikini Kill ephemera to New York University’s Fales Library, for its new Riot Grrrl Collection. Ultimately, though, despite all the positive cultural touchstones riot grrrl left behind, its founders have mixed feelings about the aftermath of the movement. “I think now there is an idea that girls are active and strong, but I don’t know that girls are producing culture en masse,” says Vail. “It’s more like, ‘Hey! Let’s buy so-and-so’s toddler a T-shirt that says Girls Kick Ass.’ But buying a Girls Kick Ass T-shirt for a child is not the same as riot grrrl. Female artists and musicians still hesitate to align themselves with feminism. I would like to see more women and girls creating work for a female audience that explicitly challenges patriarchy, capitalism, and racism. I still think all girls should start bands! But if this generation doesn’t take music seriously as a site of resistance, then maybe they need to locate where that site of resistance is and take feminism to it.” “Riot grrrl wasn’t perfect, but it was a success,” counters Konkiel of International Girl Gang Underground. “It got women off of the sidelines and into the pit.” Her co-editor, Kate Wadkins, agrees: “It reshaped the landscape of punk for the better and opened up dialogues that previously were uncharted territory. Honestly,” she says, “without riot grrrl, I don’t know if I ever would have decided to play music, and think of how many girls in this country alone can say the same. I owe my own belief in feminism and punk rock to riot grrrl.” “Nearly 20 years later, I certainly think that the effort we made at being in bands and talking about ideas that weren’t widely discussed in the punk world has inspired other women to be honest and speak their own truths,” says Neuman. “The legacy is in the ideas, the women and girls making music, and the lack of freakishness associated with those things now.” B

PHOTOGRAPHY: TAE WON YU

active from 1991 to ’94, then reformed brieﬂy from 1999 to 2003. These days, however, Allison Wolfe is planning a move from New York to Los Angeles to work on an oral history of riot grrrl. And her bandmate Molly Neuman, also in New York, just launched a company called Simple Social Kitchen that she says “connects my passion for women’s health and opportunity with my passion for delicious, whole food.” When asked if her ideals have changed over the past two decades, Neuman is thoughtful. “When you’re 19 or 20, your ethos is a work in progress, and I still feel like I’m a work in progress,” she says. “One of the things I’ve always tried to do is just have as much energy as I can for the things I’m passionate about and, hopefully, encourage as many people as I can to do the same.” The inﬂuence of riot grrrl is also still making waves in other areas of pop culture. Gossip, a feminist indie-rock trio that formed in Olympia in 1999, hot on the heels of riot grrrl, is proof that the attitude lives on. In her introduction to the British anthology Riot Grrrl: Revolution Girl Style Now!, Gossip’s charismatic singer, Beth Ditto, writes, “Riot grrrl made it possible for me to get up in the morning and say to myself, ‘I can do any fucking thing I want!’” In Ditto’s iteration of the movement, however, she embraces the media in ways her predecessors never would. Her band’s biggest hit, “Standing in the Way of Control”—advocating same-sex marriage—went gold in the U.K. Ditto appeared in British Vogue, penned an advice column for The Guardian, appeared nude on the covers of NME and Love, and even launched a plus-size clothing line for British retailer Evans. But all this fame was a Pyrrhic victory: Ditto, who has always called herself fat without apology, landed on the cover of The National Enquirer for her preference for fried

The Revolution Continues

REMEMBERING RIOT GRRRL WITH KATHLEEN HANNA THE FIRST TIME I saw Kathleen Hanna, it was around 1993, and she and her band Bikini Kill were the most visible face of a burgeoning cultural movement called riot grrrl. “They’re feminists,” a friend told me. “I think you’ll like them.” He was right. The band was confrontational, funny, pro-woman, and—people tend to forget this—a fucking great rock-’n’-roll experience. On stage that night in Los Angeles, she seemed like the coolest, most confident girl in the world. But being the leader of a revolution isn’t all it’s cracked up to be. The decade took its toll on Hanna. After Bikini Kill broke up, in 1998, she moved to New York and formed the still-political-but-more-danceable band Le Tigre, with JD Samson and Johanna Fateman. Currently, Hanna, 41, is producing a Le Tigre compilation DVD, and she recently donated all her riot grrrl papers to N.Y.U.’s Fales Library. She’s also launching an online history project called The Bikini Kill Archive (bikinikillarchive.wordpress.com). Clearly, it’s a time for looking back as well as forward. So I was thrilled to interview Hanna, nearly 20 years after that first show, and talk to her about riot grrrl, history, feminism, and, well, being a rock star. So, here’s your chance to define riot grrrl once and forever. Oh, God. I can’t really define riot grrrl, because the whole idea is that each person gets to define it for herself. In the ’90s, it was a loose-knit group of feminist artists, musicians, writers, punk-rock instigators, and promoters who were all pushing politics back into punk rock. What it’s become now is totally different, which I think is great. At a lot of high schools and even junior highs, there’s a group of girls who are riot grrrls, who are defined by their taste in music and their interest in feminism, and that’s one of the best things that possibly could have happened. I feel like some of the baggage that was attached to it has gone, because the people who were originally involved are much older. I don’t feel the same way I felt when I was that age anymore. It’s not like I’m not still upset about injustice all over the world, but I wouldn’t write the same records now that I wrote then. My goal was to be a bridge between feminists from the past and now. That’s what I’ve always wanted to do artistically, and I feel like I succeeded. Was it uncomfortable for you to become the face of riot grrrl? Oh, yeah. It sucked. It was awful. When I started out, I ran an art gallery/punk club with my friends, and it was a feminist space. We were putting on shows for people, and we were spending all of our money on this; we were full-time college students, and I was a volunteer at

a rape-relief center, and we were incredibly busy. I considered myself an organizer, somebody who wanted to help other people’s work get into the world. So it was really awkward for me when I started getting all of this attention. I was like, “I’m not just a figurehead. I’m actually somebody who is deeply involved in this stuff.” I wasn’t prepared for it, and I didn’t know how to deal with it. Also, I was feeling in-between. I was too feminist for the male-dominated punk scene and not feminist enough for the riot grrrls who were super extreme. I didn’t always agree with what other people were doing, and people didn’t agree with me. As someone who was young and kind of insecure, I took criticism too much to heart and wasn’t able to know the difference between productive criticism and bullshit disguised as criticism. When I look back on it, the thing I really regret is… I’m actually pretty good at leadership stuff. Had I read a book about how to run a meeting or how to actually organize, I think I could have been a great leader. But there was so much anti-hierarchy stuff floating around, and I was young, and I was in a band. We didn’t have a manager, agent, or publicist. We did it all ourselves. It was like, “Here, do this all yourself and now you are also the leader of a youth movement.” Is all of the archiving of riot grrrl–era material you’ve been doing lately a way of dealing with the past? Yes, because I never really did it before. I’ve never listened to the Bikini Kill records. I’ve never let myself have time to process. So much stuff happened, and I neglected my personal life for so long. By looking at it and dealing with my friendships, dealing with my family, becoming closer with my mother, all of these different types of things I’ve been doing over the past couple of years, I’m sort of at the end of that process, and I’m ready to get back to work. But before I do that, I was like, “I have to make sure this stuff doesn’t get thrown in the trash.” And I have to look at it for all of its flaws and all of its successes. I’ve never really stopped and been like, “I’m proud of myself; I did a good job.” I needed to do that and to grapple with the arrogance of my youth and move on. Where do you see riot grrrl going from here? I really hope that the renewed interest in riot grrrl will turn into a renewed interest in kids who are making things happen in their local scenes as opposed to just buying a book about riot grrrl. Or if they do buy a book, that people will read it and say, “I could do something.” Because to me, that’s the story. B

BY MIKKI HALPIN // PHOTOGRAPHED BY ALIYA NAUMOFF

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JOANNA NEWSOM

beautiful music beautiful noise

OUR FAVORITE MUSICIANS MODEL THE MOST STAGEWORTHY THREADS. TREAT YOUR EARS TO THEIR NEW TUNES, OR CATCH THEM LIVE ON THEIR SUMMER TOURS! PHOTOGRAPHED BY GLYNIS SELINA ARBAN // STYLED BY PRISCILLA POLLEY 74 / BUST // JUN/JUL

STYLIST’S ASSISTANT: CAITLYN LEARY. BLOUSE AND SHORTS BY STELLA MCCARTNEY, WWW.NET-A-PORTER.COM. HAIR: JENNA BRAUER FOR TOMMY GUNS SALON; MAKEUP: JILLIAN CHAITIN FOR MAC

ENCHANTING HARPIST, PIANIST, FAIRY-TALE TELLER Album: Have One on Me (Drag City)

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HAUNTING, SULTRY SONGBIRD Album: The Ghost Who Walks (Third Man)

KAREN ELSON

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COCOROSIE

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FABULOUS, FREAKY FOLK ROCKERS Album: Grey Oceans (Sub Pop)

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R&B, CLUB-POP, DANCE-MUSIC DIVA Album: Flesh Tone (will.i.am Music Group/Interscope)

KELIS

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FLORENCE AND THE MACHINE

POWERHOUSE POP-ROCK-SOUL SINGER Album: Lungs (Island Records)

78 / BUST // JUN/JUL

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INDIE-COUNTRY CROONER Album: What We Lose in the Fire We Gain in the Flood (Saddle Creek)

LAURA BURHENN, THE MYNABIRDS

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NEO-SOUL SUPERSTAR Album: I Learned the Hard Way (Daptone)

SHARON JONES

80 / BUST // JUN/JUL

BETHANY COSENTINO, BEST COAST

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FUZZY LO-FI POP–MAKING LOVELY 7": Sun Was High (So Was I) (Art Fag Recordings)

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ELIZABETH HARPER, CLASS ACTRESS

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HEAVENLY SYNTH-BACKED SONGSTRESS Album: Journal of Ardency (Terrible Records)

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HARD-HITTING DISTORTED DANCE-POPPER Album: Treats (Mom + Pop/N.E.E.T.)

ALEXIS KRAUSS, SLEIGH BELLS

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MELISSA AUF DER MAUR

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BASS-PLAYING FEMME FATALE Album: Out of Our Minds (MAdMMusic)

’60S GIRL GROUP GONE GRITTY Album: I Will Be (Sub Pop)

DUM DUM GIRLS

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86 / BUST // JUNE/JULY

the bust guide

MUSIC

THE BLACK KEYS Brothers (Nonesuch) The Black Keys’ sixth full-length, Brothers, is a platter heaped with slogging, swampy, sweltering takes on blues tradition. Served with unique spins, including a hint of harpsichord (“Too Afraid to Love You”) and other sonic surprises (the poppy Danger Mouse–produced “Tighten Up”), the Black Keys ﬁlter blues through the rich meat of the heart. Brothers’ 15 cuts deal with love denied (“I’m Not the One”), pursued (“Go Getter”), and obsessed over (“Never Gonna Give You Up”), but don’t blame the band for the creepiness of that latter song; it’s the album’s only cover—a Jerry Butler classic stalker study. For all its melodic swells and percussive lulls of passion, Brothers sings a happy tune. Guitarist Dan Auerbach and drummer Patrick Carney mimic but never wallow in the pain. These musical patterns aren’t haunted; they’re tastefully designed for the dorm room, making this a perfect soundtrack for suburban angst. [PETER LANDAU]

PHOTOGRAPHY: JASON CREPS

BROKEN SOCIAL SCENE Forgiveness Rock Record (Arts & Crafts) It’s hard to believe it’s been ﬁve years since Broken Social Scene dropped their last album, but within minutes of listening to their new release, Forgiveness Rock Record, it’s obvious that no one has even come close to challenging them as the indie-rock collective of the aughts. Album opener “World Sick” is typical BSS fare, beginning with echoing drums and slinky guitar lines and eventually building to an epic, arena-rock climax that would make Bono jealous. The pretty, slow-burning “Sentimental X’s,” featuring vocals by Emily Haines, Feist, and Amy Millan, isn’t quite as mind-blowing as you’d expect it to be, but Lisa Lobsinger picks up the slack on “All to All,” a drum machine–powered vehicle for her breathy voice. At times, the record doesn’t feel quite as complex as the group’s earlier efforts, but even so, Kevin Drew and his band of Canadian rock royalty have produced another batch of intensely emotional, on-the-edge-of-falling-apart anthems. [ELIZA THOMPSON]

the new pornographers TOGETHER (MATADOR) YOU KNOW HOW sometimes, while sitting around at a party, a group of friends will bust out instruments for an impromptu jam sesh, just like they did at the last party, and the one before that too? At ﬁrst you think, “Why do they always have to do this?” But then, after a few songs, you’re super into it. That’s pretty much what every one of the New Pornographers’ albums is like, especially their newest, Together. It’s hard to pick who wins the award for best vocal delivery—Neko Case or Carl Newman, who once again split lead-singer responsibilities—because the standout tracks on Together are one for one. On “My Shepherd,” Case shrugs off love to a backing of deep drums with the lyrics, “If I’m honest you come to mind/But baby I’m not,” while Newman makes his own statement on the subject in “Valkyrie In the Roller Disco,” with “Come on be the one/Do your worst.” This album, like the band, is a gold mine. Or, to look at it another way, a solid brick of rock ’n’ roll thrown right into the punch bowl. [KELLY MCCLURE] // BUST / 87

the guide MUSIC COCOROSIE Grey Oceans (Sub Pop) I’m pretty sure I read once that fairies use music to lure humans into a fatal sleep. Not wanting to take any chances after my first listen of CocoRosie’s Grey Oceans, I brewed black tea and kept a vigilant eye. For their fourth full-length and first release on Sub Pop, sisters Sierra and Bianca Casady channel spirits of past albums for tracks like “R.I.P. Burn Face” and “Fairy Paradise.” But they capture something altogether different and a little darker for “The Moon Asked the Crow,” which sounds like a Baroque concerto on LSD. Each song seems to have its own distinct mood here, like “Smokey Taboo” with its Middle Eastern influence and “Hopscotch,” bookended by ragtime piano. Filled with soft, tinkering, music-box beats, weird sounds probably made with toys, and plaintive lyrics about prayer and party balloons, Grey Oceans is pitched-down spoken word for the more stalwart lovers of scary-dreamy, forest fairy hip-hop. [ELISABETH WILSON]

THE DEAD WEATHER Sea of Cowards (Warner Bros.) Aided and abetted by sultry Alison Mosshart, Jack White blackens garage blues into a thick, gooey tar on the supergroup’s second album, Sea of Cowards. The wooly, bottom-heavy, ’70s-funk thump oozes menace like Jimmy Page coming down from heroin or Deep Purple heard through a hit of brown acid. Opener “Blue Blood Blues,” one of the few songs sung by White, hits hard with gut-punch rhythms and dazed-fuzz bass courtesy of Raconteur Jack Lawrence. “The Difference Between Us” twists a hypnotic keyboard groove around a propulsive charge, and “Gasoline” chickenscratches its way to a hellcat chorus and a titanic organ riff. Throughout, Mosshart’s wailing blues vocals practically make the walls sweat with their humid intensity. You wouldn’t be surprised to hear Sea of Cowards coming out of an airbrushed van, but it would be the kind you’d stay far away from unless you were prepared to break some laws. [TOM FORGET] 88 / BUST // JUNE/JULY

THE FALL Your Future Our Clutter (Domino) The Fall have been around so long, you’d think they’d need no introduction, but since most of you kittens weren’t even born when this U.K. punk band got its start in 1976, allow me to introduce you to one of the most seminal bands of the genre. Mark E. Smith, the group’s lead singer and only constant member, returns with his 29th record, a sharp collection of fresh ﬁlth that proves he is still relevant to the cause. Smith is not quite as “Totally Wired” as he was in his youth, yet he still manages to sound compelling after all these years. The current lineup’s beefed-up bass and quirky keyboards, especially on “Mexico Wax Solvent” and “Hot Cake,” make Your Future more accessible than many of their more recent efforts. Smith’s signature stream-of-consciousness poetic rants over catchy, repetitive beats have given way to something that sounds almost sweetly reﬂective in the closing track, “Weather Report 2,” perhaps because of his recent stint in a wheelchair due to a broken hip (insert your own “fall” joke here). [CRISTINA MARTINEZ]

GROWING Pumps! (Vice) Growing grew from a seed planted in Olympia, WA (where Wynne Greenwood from Tracy + the Plastics briefly played keyboard for them), in 2001; now the three bandmates who make up this dancey noise ensemble reside in Brooklyn and have released a new album, Pumps! Since their start, the band has evolved from slow drone to a more ass-shaking beast of carefully structured chaos. Pumps! is an eightsong soundtrack for that hysterical hour right before the time when sleep is no longer an option but a necessity. Difficult to separate by tracks, the album as a whole pokes and chatters and slithers until you snap to at the end, half expecting to find yourself standing in line at a pizza joint at 4 a.m. with some sweaty dollars in your hand. When you’re 80 and reminiscing about how good it felt to be bad way back when, these are the songs you’ll want

to close your eyes and hear. They’re what “wild” sounds like. [KELLY MCCLURE]

HOLLOWS S/T (Addenda) This self-titled debut from the Chicagobased fivesome delivers organ-heavy pop music with handclaps and straightforward rhythms. Despite the male drummer they’ve stashed away in the back, Hollows bridge the gap between ’60s girl-group Motown and all-girl ’70s rock groups like Fanny and the Runaways. The album steers toward silly with the song “Do the Scarecrow,” in which vocalist/organ player Maria Jenkins sings, “I found a field where I could stand with a fence post up my ass/I do the scarecrow, whoa whoa whoa.” But fortunately, it levels out in the very next track, the seemingly more sincere and Phil Spector–influenced “Happy to Listen,” one of the subtler, more laid-back tunes on the record. S/T is a great debut from a band that has already found its niche. [AURORA MONTGOMERY]

JAVELIN No Más (Luaka Bop) Summer parties on rooftops need soundtracks, and Javelin’s No Más is the perfect album to covet all season long. Sounds of steel pans give these songs a distinctly tropical feel, and blips of electronic noises, toy chimes, and synths pepper all of the feel-good tracks. This debut from Brooklyn duo Tom Van Buskirk and George Langford takes you backward and forward in time with an ambient-pop feel one moment (“Dep”) and an upbeat party vibe the next (“On It On It”). Creepy vocals overpower songs like “Oh! Centra,” but the lyrics are dreamy and romantic, while the song still makes you want to bust a move. Here and there, ’80s inﬂuences sneak in, giving this innovative sound a strangely nostalgic feel. So mix up a margarita, throw a warm-weather dance party, and pop No Más in your stereo, rooftop or not. [SUSAN JUVET]

LCD SOUNDSYSTEM This Is Happening (DFA/Virgin) When you make an electronic album as

critically acclaimed as James Murphy’s LCD Soundsystem did in 2007 with Sound of Silver, it’s hard not to expect a letdown. But on This Is Happening, LCD’s third proper release, Murphy tries to cure the post-hit hangover headon with something of a rarity in electronica: songs. There’s “One Touch,” a lilting, warehouse-ready slab of techno, and “Dance Yrself Clean,” a metallic, stripped-down shufﬂe that is suddenly brought to a Talking Heads–like boil. He’s got a kitschy club punk-hit-in-themaking with “Drunk Girls,” though it’s not nearly the best song on the album. That honor goes to the aptly named “You Wanted a Hit,” which wraps its melody neatly inside shards of keyboards, then turns it inside out. For Murphy and LCD Soundsystem, this isn’t happening, it already happened. But This is the next best thing. [DYLAN STABLEFORD]

MALE BONDING Nothing Hurts (Sub Pop) Listening to the debut full-length by London threesome Male Bonding is like trying to have a conversation with someone who’s running a marathon—they’re hufﬁng along at warp speed and you’re all, “Wait! Wait!” The 13 songs featured on Nothing Hurts are fast in every way (note the Nirvana-esque bass and guitar on “Weird Feelings”), and the whole thing is over in a little more than half an hour. Each two-minute song is a hyper throwback to ’90s punk, if the era knew what punk knows now, with a salty splash or two of surf rock leaking through the open-aired vocals and guitar provided by Kevin Hendrick and John Arthur Webb. A prime example of this is “Franklin,” which heavily hints that someone in this band is a huge Beach Boys fan. “All this won’t last forever,” is repeated in the chorus, and that ain’t no joke. It took me three listens to fully get the ﬂavor of the album, but once I did, I could say for certain that it tastes good. [KELLY MCCLURE]

THE MYNABIRDS What We Lose in the Fire We Gain in the Flood (Saddle Creek)

It would appear that the Mynabirds is actually just one bird, Laura Burhenn (formerly of D.C. duo Georgie James). Her debut album, What We Lose in the Fire We Gain in the Flood, plays host to some guest musicians who boast horns, guitars, and drums. The main instrument showcased, however, is Burhenn’s voice, which brings to mind Cat Power or Dusty Springﬁeld. The songs here are very soulful, gospel-like, and a little bit country, and the whole record sounds like it was recorded in an old, half-empty studio in the ’60s. While certain songs are a tad rambunctious, like “Wash It Out,” others are really beautiful, such as album standout “Right Place.” Prepare yourself for when Burhenn sings a high note and lets it hang gingerly before tapering off. It’ll break your heart, I tell you what! [WHITNEY DWIRE]

NINJASONIK Art School Girls (Green Owl) Since their formation in 2007, Ninjasonik has been dropping teasers

in the form of mix tapes and a split record with fellow Brooklynites Japanther, but they’ve finally released their debut album, Art School Girls, and it doesn’t disappoint. DJ Teenwolf makes beats that bring the party, and when joined by rapper Telli “Bathroom Sexxx” Gramz and charmingly off-key crooner/rhymer Reverend McFly, the three bring ass shakers into mosh pits and shower them with high-fives and PBRs. The infectious “Somebody Gonna Get Pregnant” showcases Telli’s smooth delivery and will definitely make your eggs drop. Dripping with Brooklyn love, Ninjasonik brings in Team Robespierre for the guitar-fueled track “Ha Ha Ha,” and their cover of Matt and Kim’s “Daylight” outshines the original. “All Our Friends” is an ode to their bros in bands, in which they shout out to regular showmates like the Death Set and Dan Deacon over a bass-heavy M.I.A.’s “Paper Planes”–inspired beat. Forget Lil Wayne’s rap/rock fuck-up Rebirth; like early Beastie Boys, Ninjasonik gets it right. [CALLIE WATTS]

PETER WOLF CRIER Inter-Be (Jagjaguwar) Peter Wolf Crier further demonstrates that there’s something good happening in the Midwest, with local boys like Bon Iver, Andrew Bird, Gayngs, and Volcano Choir contributing, prolifically, some of indie’s loveliest music. This Minneapolis duo, comprised of Peter Pisano and Brian Moen, rounds up their specific brand of lo-fi love songs on debut Inter-Be. Its temperate aesthetic is propelled by shambling rhythms that shuffle and plod as Pisano recounts nonspecific, late 20-something tales of love, their fallouts, and the ambiguous depression that follows, in his upper register. This is accessible, aboveaverage music, mellow in mood but nonetheless resolute—good stuff for a Sunday morning. “Untitled 101,” an uptempo meditation on grace and hopeful courtship, is the best track, and its piano solo will give you goose bumps. There’s no drama on Inter-Be. The music is evenkeeled, pretty, sincere, and like many average Midwestern guys in and out of love, just really nice. [KATIE BAIN]

RASPUTINA Sister Kinderhook (Filthy Bonnet) Perhaps no artist alive embodies the creaky, creepy, ornately detailed steampunk aesthetic more than Rasputina’s Melora Creager. Instantly recognizable on stage in her bloomers, petticoats, and vintage corsetry, Creager has been creating compelling cellofueled art rock since the early ’90s, with help from a rotating cast of supporting cellists and drummers. Her current lineup, appearing on Rasputina’s seventh full-length album, Sister Kinderhook, is among the best she’s ever recruited. Supported by cello wunderkind Daniel de Jesus and percussion powerhouse Catie D’Amica, Creager catapults listeners through 14 tracks redolent with eerie 19th-century atmosphere, haunting harmonies, and chilling narrative lyrical loops that are as confounding as they are fascinating. The deliriously demented “Holocaust of Giants” and breathtakingly delicate “My Night Sky” stand out as superlative selections on Kinderhook, but every song is a muse-

EVERETT TRUE’S FIRST LADIES OF ROCK The best girl bands you’ve never heard of [BY EVERETT TRUE]

BEST COAST Listen, I know this Los Angeles–based band fronted by Bethany Cosentino is everywhere right now (e.g., see page 81) but please, indulge me. Because “When I’m With You” is the greatest fuzz-laden, harmony-drenched, ennui-saturated, stand-up-drummer–fueled pop song I’ve ever heard. Honest! I know it doesn’t seem possible. Oh, wait! They sound like the Breeders. No wonder I love them.

MASADAYOMASA Masadayomasa marvelously inhabit the exact middle ground between Bikini Kill and fearsomely competent Japanese noise sweethearts Afrirampo, only not quite. I don’t really understand what’s going on between the monster drumming and frenzied vocals, but—as Thurston Moore emailed me the other day to state—“I don’t want music, I want pain.” Put them on a mix-CD to piss off an ex.

Think: Crocodiles, Slumber Party, the Shangri-Las Kim Deal factor: 8 Kim Kardashian factor: 0 www.myspace.com/bestycoasty

Think: Acid Mothers Temple, the Runaways, Boredoms Joan Jett factor: 8 Joan Baez factor: 0 www.myspace.com/masadayomasa

LONELADY LoneLady is Julie Campbell from Manchester, U.K., creating thinsounding, taut, mutated dance music on Warp Records along the lines of Michael Dracula, Chicks on Speed, and mid-’80s Madonna shed of everything. Her songs are jagged, paranoid, and abrasive. File under “misanthropic bedroom femme pop,” but maybe whisper the “misanthropic” part. Think: Delta 5, Cristina, Gang of Four Warp Records factor: 10 Warp drive factor: 2 www.myspace.com/hiholonelady

MIU MAU There’s something very early-’80s Brian Eno or Philip Glass about Miu Mau. Doubtless some will dismiss the eerie simplicity, modernity, and synchrony of this color-coordinated Japanese trio as a joke or ﬁgure it to be “not music”— everything is staged, everything is immaculate, everything is shiny like Tron. But if this isn’t music, then I don’t want to be a music critic. Think: Laurie Anderson, Devo, the Complaints Choir of Tokyo Futurism level: 10 Futuristic furniture level: 10 www.myspace.com/miumaujapan // BUST / 89

the guide

MUSIC {INTERVIEW}

this charming woman ON HER ENCHANTING NEW ALBUM, KATE NASH PROVES SHE’S A BRIGHT YOUNG THING

BRITISH INDIE-POP singer/songwriter Kate Nash plays a plethora of instruments (guitar, keyboard, bass) and writes whip-smart lyrics that are at once wholly personal (“Kiss that girl/And I will shrink up and I will die/And I will think up a thousand ways that I can hurt you”) and utterly relatable (“Barbecue food is good/You invite me out to eat it, I should”). Oh, and she’s adorable. The 22-year-old rode a MySpace wave to fame in 2007 along with her debut album, Made of Bricks, and its star single, “Foundations,” a catchy-as-hell, sarcasm-charged pop diatribe of romantic dissent. After winning Best British Female at the 2008 BRIT awards and watching Made of Bricks go platinum in the U.K., Nash took a break from the industry to pass her driving test, hang out with friends, and write a follow-up. Now she’s back—older, wiser, but just as sassy—with My Best Friend Is You, a collection of sophisticated pop tunes that range from brooding to brightly danceable, all built on the strength of Nash’s pretty voice and confessional storytelling. Have you changed since Made of Bricks came out? Yeah, deﬁnitely. I’ve learned a hell of a lot and have had to take on a ton of responsibility in my life and deal with things that not many people deal with at my age. I think it’s made me pretty strong, and I’ve had to be smart and savvy and make good decisions under a lot of pressure. I’ve had to grow up, really. You received a lot of media attention when Made of Bricks came out. Do you think the media is harder on female musicians? I do think so, for sure. You just have to look at the way the media treats men being promiscuous or using alcohol, drugs, and anything that’s sort of frowned upon. It’s seen as just rock ’n’ roll, and that band is respected for it and even seen as cooler, whereas women are seen as train wrecks. I think everyone likes to put a pretty girl on a pedestal and then knock it down. I’ve seen that happen quite a lot. In “Mansion Song” on My Best Friend Is You, you sing, “I want to be fucked, then rolled over/Because I’m an independent women of the 21st century.” What are these lyrics a reaction to? They’re a reﬂection on groupie culture and girls using sex as a way in, as a foot in the door, rather than being happy and doing things because they want to do them. I see these girls going around with various bands, being picked up in one town and ditched in the next. I think it’s sad to see that’s as far as their ambitions go. 90 / BUST // JUNE/JULY

Is your music autobiographical? I like to start from some element of truth. I’ll either write about myself, or I’ll completely make up a story, or I’ll be inspired by books that I’ve read or a film I’ve seen. I’ll just pick up something that’s happened to one of my friends and kind of steal that, but I also write about my own experiences. Is it strange to share your personal life with strangers through your lyrics and in interviews? In my music it’s a natural thing to do, and I really find it exciting to have a relationship with people I don’t even know and might not have known normally. But in terms of interviews, when you do lots of them, you feel like you’ve just given yourself away. You’ve talked about yourself or what your interests are so much that they don’t even really exist anymore. You lose ownership, which can be quite disturbing. Tell me about My Best Friend Is You. I’m excited about it. Having written a second album is such a relief, because after I wrote [Made of Bricks] I was like, “Oh, my God, am I going to be able to write anything ever again?” If you’ve only got one record, you don’t know whether it’s just a fluke. So the fact that I’ve completed another one makes me excited about writing the third. Now I feel like I can do it. [KATIE BAIN] PHOTOGRAPHED BY PAT GRAHAM

um-quality treasure that sounds as if it escaped from some long-buried time capsule just to stow away in your iPod. [EMILY REMS]

{heavy rotation}

(N.E.E.T.) M.I.A.’s protégé is all grown up! After pushing back the release of her debut to give birth to her ﬁrst child, 19-year-old Ryeisha Berrian (aka Rye Rye) has ﬁnally dropped an album of fast beats and smooth rhymes. It’s been two years since we interviewed the up-and-coming Baltimore rapper in BUST, but her voice is still as young and fresh as ever. And though she may sound innocent, her lyrics prove otherwise (“And we can bang it anywhere/Even in my house/But don’t think so slick/If you think the opposite/Imma bang yo lips”). Produced in collaboration with M.I.A., Diplo, and DJ Blaqstarr, Rye Rye’s long-awaited release pays tribute to her hometown’s fast-paced, heavy-hitting bass scene—Go! Pop! Bang! is Baltimore grime at its best. Be sure to catch her live, ’cause this girl knows how to shake it to the ground and bring it back up. [ANDIE RISHOI]

SIA We Are Born (Monkey Puzzle/Jive) Australia-born Sia is well known in other parts of the world, but her last album, 2008’s Some People Have Real Problems, was a U.S. breakthrough. Even Christina Aguilera took notice, enlisting Sia on her forthcoming Bionic, which is fitting since We Are Born kind of sounds like a Christina Aguilera album minus suspicious Spanish detours. It’s true American pop—sticky hooks, dancefloor-ready bass lines, multiple choruses—moreso than Sia’s previous efforts. And that’s not necessarily a bad thing, especially if you like your pop polished. Still, you have to wonder if some of these songs—like “Clap Your Hands” with its “Clap your hands/Clap your hands” chorus—were meant for a direct-to-mainstream audience rather than Sia’s indie-leaning faithful. But then you hear smart, R&B-inflected tunes like “You’ve Changed” or “Bright Night” (featuring Strokes guitarist Nick Valensi) and you’re forced to succumb to Sia’s sweetness. Ear candy is ear candy, after all. [DYLAN STABLEFORD]

PHOTOGRAPHY: DANA GOLDSTEIN

STEREO TOTAL Baby Ouh! (Kill Rock Stars) You can count on Stereo Total. Uncertainty may whizz around us at mega– warp speed these days, but the German/French quirk-pop duo never fails to crank out rad euro-electro jams. Their latest and greatest Baby Ouh! is instantly irresistible, from the chanty John Waters homage “Divine’s Handtasche” to the robot-gone-haywire electro-pop of “Alaska.” And though the album’s a tad more polished than 2007’s ParisBerlin, it deﬁnitely hasn’t traded down the energy. Francoise Cactus and Brezel Goring are nothing if not a little hysterical, and tracks like “Babyboom” and “Wenn Ich Ein Junge Wär” pulse and titter with the poignant silliness we’ve adored since, like, 1995. And who else could turn a cover of Kraftwerk’s chilly techno “Tour De France” into a whis-

RYE RYE Go! Pop! Bang!

tling melody worthy of some Disneyobsessed Girl Scouts? Like I said: you can count on Stereo Total. [MOLLIE WELLS]

TENDER FOREVER No Snare (K) I saw Tender Forever perform one lazy weeknight last summer, and listening to her new album, No Snare, brings it all back. Melanie Valera—the sole member of this Franco-American pop project—was wearing red sweatpants, talking about her breakup, and flinging herself around so much that I chose to drink my PBR in a corner, a safe distance from the stage. On this new album, her lyrics are sad, introspective, and melodramatic, but she incorporates some danceable beats on a number of tracks, including “Like the Snare That’s Gone.” Despite the many layers of electronic strings, flutes, and rumbles of timpani kettle drums, when she sings, “I knew it all before/I knew the time it takes for a heart to soar” with her overarticulated French accent, I have to wonder if this album isn’t best experienced over some cheap beer on a warm night, with the benefit of seeing a petite woman sweating and falling to her knees on stage. [ELISABETH WILSON]

TRACEY THORN Love and Its Opposite (Merge) Everything But The

Girl’s Tracey Thorn is back, with her third solo release, Love And Its Opposite. As with her work in EBTG, Thorn successfully keeps the balance between acoustic-based tunes and alt-pop/electronic ones. The opener, “Oh, the Divorces!” is on the singer/songwriter tip and continues Thorn’s usual stories of love, relationships, and domestic bliss gone awry. The beats kick in on “Hormones” and “Why Does the Wind?” with some help from Hot Chip’s Al Doyle. Slower numbers like “You Are a Lover” and “Singles Bar” showcase Thorn’s effortlessly cool alto vocals and lyrical wit, like when she sings, “Is there any more room at the singles bar?” If she continues making great records like this one, there’ll always be room for Tracey Thorn. [MICHAEL LEVINE]

TOBACCO Maniac Meat (Anticon) Here’s something new: The guy behind psychedelic-pop darlings Black Moth Super Rainbow has created a noise album you can dance to. If the labels “noise” and “dance” seem about as compatible as liverwurst and frosting, it’s because they are. Yet somehow on Maniac Meat, Tobacco manages to blend menacing drums and distorted feedback with the simple, analog electro-dance hooks of MGMT or Neon Indian. As a bonus, Beck offers guest vocals on two tracks. The collaboration makes sense, since Tobacco’s complex beats, stripped-

down effects, and just-plain-weird chord progressions evoke Mr. Hansen’s One Foot in the Grave era. On “Fresh Hex” and “Grape Aerosmith,” Tobacco artfully layers Beck’s unmistakable voice at its most haunting over a vocoder and dark, elaborate key line. It’s a moody, grimy aesthetic that’s a little dangerous, a little dirty, and a little trippy. It’ll make you dance, even if you never really liked liverwurst. [ERIN GRIFFITH]

ZOLA JESUS Stridulum (Sacred Bones) With a stage name like Zola Jesus, you wouldn’t expect sweetness and light from classically trained singer/songwriter Nika Roza Danilova, and you don’t get it. On her new EP, Stridulum, the Wisconsin native shrugs off her previous lo-ﬁ aesthetic to embrace a darkly lustrous sound. The album’s cover, which pictures Danilova with black goo pouring down her face, is a good representation of what lies beneath: six darkas-night songs that marry the ethereal, synthy atmospherics of This Mortal Coil with a pitch-perfect Siouxsie Sioux– esque howl. But Stridulum is more than just a love letter to the ’80s—Danilova can really sing, and her songs are both frighteningly intense and impressively melodic. From the nightmarish whispers of “Night” to the passionate crescendo of “I Can’t Stand,” this is goth with a shiny pop heart, a David Lynch movie in musical form. [LUIZA SAUMA] // BUST / 91

the guide

MOVIES

Joan Rivers rocks the mic

JOAN RIVERS: A Piece of Work Directed by Ricki Stern and Annie Sundberg (IFC Films) Joan Rivers is a polarizing ﬁgure in popular culture. Some see her as a boundary-busting comedy pioneer whose tenure as guest host on The Tonight Show opened doors for every woman in the industry who came after her. Others simply regard her as a crass and elitist plastic-surgery casualty whose red-carpet diatribes and mean-spirited barbs have worn out their welcome. But whatever side of the fence you’re on, watching the startlingly intimate documentary Joan Rivers: A Piece of Work will leave you with a richer, more multidimensional perspective on this entertainment legend. True to form, a clip of Rivers on stage in a nightclub—still plugging away at her stand-up act at 75—captures her acidly dropping the C-bomb even before the opening credits roll. And it is with this same candor that Rivers allows ﬁlmmakers Ricki Stern and Annie Sundberg unprecedented access to her inner sanctum and everyday life on the road. For each clip we see of Rivers ragging on fat people, there’s another of her sharing tender personal moments with her plus-sized handlers; examples of her claiming on stage to hate children are juxtaposed with quiet scenes of her lavishing her young grandson with affection; and segments depicting Rivers as a decadently wealthy entre92 / BUST // JUNE/JULY

preneur contrast starkly with images of her delivering holiday meals to the destitute in her native N.Y.C. Clearly a woman of complexity and deep contradictions who was born with a work ethic rarely seen since the Great Depression, Rivers is one of only a few comedians alive today whose life could so ably ﬁll a feature ﬁlm. Fresh off the festival circuit where it got tongues wagging at Sundance and Tribeca, A Piece of Work is a work of art that should not be missed. [EMILY REMS]

THE KIDS ARE ALL RIGHT Written and directed by Lisa Cholodenko (Focus Features) Not to be confused with the Who’s rockumentary of the same name, The Kids Are All Right is a new heartfelt comedic drama by Lisa Cholodenko, writer/director of indie hits High Art and Laurel Canyon. The ﬁlm centers on Jules (Julianne Moore) and Nic (Annette Bening), a lovingly dysfunctional couple who have been together for 20-something years. They are the adoring, solicitous moms of Joni (Alice in Wonderland’s stunning Mia Wasikowska) and Laser (Josh Hutcherson), both of whom are dealing with the awkwardness of being 18 and 15, respectively. Having just legally entered the adult world, Joni is able to access the records of the sperm donor both moms used for artiﬁcial insemination in the early ’90s.

And it turns out the mystery man is Paul (Mark Ruffalo), an organic restaurateur with a slight sleaze factor (and the exposed chest hair to prove it). Joni and Laser decide to bring Paul into their family life, despite reservations from their moms, and drama ensues when some relatives take to “our donor” more than others. But it is Jules and Nic’s relationship that is the most dynamic and gripping of the story, nudging the audience to think about commitment and forgiveness, parenting and family in different ways. The characters sometimes come close to slipping into stereotypical holes, but just before they trip and fall, Cholodenko and her co-writer, Stuart Blumberg, write them out of harm’s way. It is great to ﬁnally see lesbian motherhood normalized in the setting of a family dramatic comedy, even if the actresses playing the part are hetero Hollywood megastars. With characters who are able to laugh at the locavore hipsterdom from which they are written, this ﬁlm is a great story for our time. [ANNA BEAN]

MOTHER AND CHILD Directed by Rodrigo Garcia (Sony Pictures Classics) Rodrigo Garcia is widely known as a man who makes movies about women. His episodic 2005 ﬁlm, Nine Lives, told nine short stories, each driven by a central female character. And Garcia’s latest ﬁlm, Mother and Child, is another ensemble piece

Shareeka Epps with Kerry Washington by her side in Mother and Child

populated by strong women, although its numbers are smaller—the film follows three women—and its characters more deeply entangled. This time Garcia is concerned with human connection at its most basic level, attempting to understand the bond between a mother and her child. This is tricky territory, and there are moments that veer toward melodrama. Luckily, the film is also beautifully acted, and when things start to go over the top, one of its stars— Annette Bening, Naomi Watts, and Kerry Washington—always manages to pull it back. Bening plays a physical therapist who writes long letters to a baby she gave up for adoption at 14. Watts is a successful lawyer who was adopted as a baby and never felt close to family or other women. And Washington plays a woman unable to conceive who is trying with the help of her husband and a private Catholic agency to adopt. Over time and through much upheaval, these separate lives become permanently linked. Watching Annette Bening is a joy in itself. Naomi Watts has the most difficult role, and it is to her credit that her character comes across as real and vulnerable and not a dangerous stereotype. But it is Kerry Washington who truly stands out. She is charming, frustrated, neurotic, honest, and resilient—just like any real person faced with the enormous challenge of becoming a mother to someone else’s child. [PHOEBE MAGEE]

PHOTOS COURTESY OF IFC FILMS; SUZANNE TENNER; RALPH NELSON/SONY PICTURES CLASSICS

Annette Bening and Julianne Moore sit tight in The Kids are All Right

PHOTOGRAPHY: DANIELLE ST. LAURENT; HAIR & MAKEUP: PRISSY MODELED BY BABYCAKES EMPLOYEES: EVAN (WRITER), LIZZ (ARTIST), JUSTIN (PAINTER)

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the guide

BOOKS

LITPICK

spooky little girl: a novel BY LAURIE NOTARO [VILLARD] FOR LUCY FISHER, when it rains, it pours. After a food-poisoning-laced vacation in Hawaii, she returns home to find all of her belongings littered across her front yard, her locks changed, and no way to get in touch with her now-ex-fiancé. To top things off, Lucy loses her job, is being accused of embezzlement, and fails two drug tests, despite the fact that “no one’s done cocaine since 1987, except for Fleetwood Mac cover bands.” And just when she decides to start her life anew by moving in with her sister and nephew, she is run over by a bus, and, well, dies. But that’s just the beginning of the story. Ghost Lucy finds herself in ghost school to learn how to haunt in order to complete her unfinished earthly business. A bitingly funny series of ghastly events ensues with fellow ghost-school classmates, such as Mrs. Wootig, a housewife who met her sudden death when her silicone “appendages” exploded on a ski trip, and Bethanny, who, during an Anna Nicole Smith farewell tour in the Bahamas, became shark bait while scuba diving. When Lucy returns to earth for her ghostly mission, she is paired up with her grandmother—who was kicked out of heaven after hitting on Paul Newman—and they team up to haunt Lucy’s ex and his new girlfriend. In Spooky Little Girl, Notaro crafts a wondrously realistic afterlife. In between hilarious antics with phony psychics and messages communicated to the living via steamy mirrors (Ghost reference intended), she is able to make death laughable in a heartfelt way. Notaro, who had us at The Idiot Girls’ Action-Adventure Club and We Thought You’d Be Prettier, has put out a comedic killer yet again. [ERICA VARLESE]

ANTHROPOLOGY OF AN AMERICAN GIRL: A Novel By Hilary Thayer Hamann (Spiegel & Grau) When Hilary Thayer Hamann self-published Anthropology of an American Girl in 2003, she achieved an inordinate amount of success for any novel, let alone a self-published one. Now Random House is publishing a revised version of the visionary work. The story centers on Eveline, an introspective high-school girl in East Hampton at the end of the 1970s, trying to make sense of both her gender and sexuality while ﬁnding her artistic voice. Through each of the men she attaches herself to, Eveline’s sense of her sexuality changes and deepens. There is Jack, her off-kilter boyfriend who helps her through the trauma of being raped by two of her male classmates; Rourke, her high-school drama teacher turned prize ﬁghter; and the cold and soulless Mark, who attempts to buy her love through constant luxuries and gifts.

The true value of the story lies not in the plot or the characters, which, at face value, may not seem out of the ordinary, but rather in the rich, poetic language that beautifully renders Eveline’s every thought and emotion as she makes the transition from girl to woman. Even at over 600 pages, Hamann’s words never meander, and she successfully explores the formation and maturation of female sexuality. One cannot help but be moved by Eveline’s attempt to turn her body into a means for euphoria and connection rather than abuse and manipulation. [ADRIENNE URBANSKI]

THE BLACK GIRL NEXT DOOR: A Memoir By Jennifer Baszile (Touchstone) Yale’s ﬁrst black female history professor, Jennifer Baszile, came of age in the not-quite-integrated suburbs of Southern California. Her account of that era in this riveting, fast-paced memoir is noteworthy for her clear-eyed perspective and honesty; in Baszile, the

reader finds an all-cards-on-the-table narrator to root for as she navigates the ins and outs of growing up in an affluent, white enclave in the late 1970s and early ’80s. Her mother and father, from Detroit and rural Louisiana, respectively, relocated to Palos Verdes as a means to give their two daughters—the only blacks at their school—a first-rate education. And while Baszile does well enough academically, she has a harder time fitting in, either at school dances or in the social setting of the Black Heritage Association, a group her parents co-founded to give their daughters a “richer sense of black culture and black pride.” In one of her slyly funny asides, Baszile writes that she also suspected they feared she wouldn’t date black kids unless they intervened: “[t]hey should have called it the Black Hormone Association.” Her accounts of several overt, aggressive instances of racism are painful but objective. At the heart of Baszile’s debut lies her volatile relationship with her father, who, she concludes, maybe “finally understood that integration had been as hard on me as segregation had

been on him.” The family consistently projected an image of perfection, but Baszile’s rendering of her upbringing reveals the hidden tension, as well as how she grew to be comfortable and happy in her own skin. [SARAH NORRIS]

FORGET SORROW: An Ancestral Tale By Belle Yang (W.W. Norton & Company) Paralyzed with fear after an abusive relationship and nearly 30 with no accomplishments, artist Belle Yang feels like a failure. She moves back home to practice calligraphy and recoup, but she ﬁnds it hard to identify with her immigrant parents’ traditional ways. Her father is prone to a bad temper and blames his daughter for the way her life has turned out; likewise, Yang feels suffocated by her father’s high expectations. Seeking a distraction, she begins to ask questions about her father’s family in Manchuria, and soon ﬁnds herself writing and illustrating his // BUST / 95

BOOKS {INTERVIEW}

novel Baise-Moi and the film based on it, in which two women go on a killing spree after one of them is raped, Despentes is notorious in her native France, where her film was banned due to its explicit sex scenes. In this context, King Kong Theory reads as both a defense of her work and the backstory to it, revealing her own brutal gang rape and brief time working as a prostitute, and arguing for the rights of sex workers and the validity of porn. I spoke to the 41-year-old about the book and the difficulty of fitting into the straitjacket of femininity. What has been the response to the book in France? The response was quite positive, which I did not expect. Classic feminists were not happy about it. I think they were disturbed by the way I quoted American theorists and activists. French feminists like to think, “French people do it better—we don’t need Americans.” Women feel very restricted in the role of femininity, yet I don’t read about this sort of rejection very often. Why is that? I don’t know. It’s hard, but once you say, “I am out of the market of beautiful women,” it’s easy. It comes out of dyke culture, because once you’re with women, lots of things don’t concern you anymore. I fell in love with a girl for the first time six months before writing the book, and that gave me lots of strength. Were you straight before? I was straight, and I didn’t know what it would mean to change orientation. I didn’t know how powerful it would be.

THE FEARLESS FRENCH FEMINIST DISCUSSES HER NEW MANIFESTO, KING KONG THEORY

Is there any way to be as free as a queer and be straight? Not until men start real reflection upon themselves. If men want to stick to masculine values, it will be difficult to live with them and to have good relationships with VIRGINIE DESPENTES GRABS you by the ovaries and doesn’t let go in them. For example, I’m always fascinated by the fact that King Kong Theory (The Feminist Press), a short but intense tome subtitled “A men don’t feel bad that they always have to kill people manifesto for women who can’t or won’t obey the rules.” “I am writing as in movies. I mean, every actor you like, you will see him an ugly one for the ugly ones,” she states in the first chapter. “The old hags, killing someone on the screen. And once you realize that, the dykes, the frigid, the unfucked, the unfuckables, the neurotics, the psy- you really wonder, Why don’t they feel bad about it? How chos, for all those girls that don’t get a look in the universal market of the do they keep their dignity? For 40 years, we’ve tried to consumable chick.” Despentes describes herself as “more like King Kong deconstruct femininity, and we’ve had some revolutions. than Kate Moss,” and reading her book is, indeed, like watching a monster If you don’t do the same thing about masculinity, then no, on a rampage through the past 100 years of women’s history and feminist it’s going to be difficult for a straight woman to be as free theory, destroying anything in its path that it doesn’t like. Best known for her as a queer. [DEBBIE STOLLER] 96 / BUST // JUNE/JULY

PHOTOGRAPHY: CAREME

who’s afraid of virginie despentes?

Do you consider yourself a dyke now? Yes. I’ve been with a girl for ﬁve years, and I love it. I wasn’t able to recognize how feminine I felt before, feminine in the compulsory sense of the meaning. I didn’t even think of it, and once I got out of it, I felt lots of freedom and strength. Before, I’d always wondered why so many women writers were bisexual or dykes, and now I know. It gives you a lot of power.

BOOKS stories. Yang’s father’s tale begins with his father and his father’s three brothers, four men born into a prosperous family whose closeness becomes threatened by war, famine, and Communist oppression during World War II. Despite its heavy premise, Forget Sorrow begins at an awkward pace; the set-up—Yang’s return to her parents’ house—occurs too rapidly to sufﬁciently set the stage for the entire book. Although the story returns frequently to scenes with Yang and her father, Yang reveals little about her relationship with her ex-boyfriend (referred to simply as Rotten Egg), and Yang and her parents are never fully ﬂeshed out, making them hard to relate to. Despite these unsatisfactory segments, the ancestral-tale portion of the book develops into a fascinating read in the vein of the popular comic Persepolis. Charmingly illustrated with black-and-white ink drawings, this graphic memoir explores a tumultuous time in China’s recent history. [ANTONIA BLAIR]

GIRL POWER: The Nineties Revolution in Music By Marisa Meltzer (Faber and Faber) The Fabulous Stains or Spice World? Britney or Bikini Kill? No matter if your poison is punk or pop, How Sassy Changed My Life co-author Marisa Meltzer attempts to link the two seemingly opposite cultures under one genre in her new book, Girl Power. Meltzer begins in Olympia, WA, in the early 1990s, where as a student at Evergreen State College, she witnessed riot grrrl sheroes such as Sleater-Kinney and Bratmobile making musical history by empowering young women to pick up guitars, pen ’zines, and deconstruct feminism. Meltzer weaves personal anecdotes together with interviews of key players such as Tobi Vail from Bikini Kill, and then she moves forward, chronicling a sequential legacy of female artists including Madonna, Courtney Love, and Alanis Morissette, eventually landing at Britney Spears and girl-power poster band the Spice Girls. Meltzer argues that although the term “girl power” has been commodiﬁed, its musical roots can be traced back to the riot

grrrls and that the true heart of the grrrl movement, female empowerment, is still very much alive and screaming. The fact that Meltzer has been both spectator and participant in her subject matter allows her to offer some very keen observations, and her book is intimately written. If it’s a little difﬁcult to believe that, music-wise, Kathleen Hanna is the great-great-grandmother of Hannah Montana, Meltzer at least throws down a strong case, and her openness to different forms of feminism should make all sistas take note—and want to dust off their electric guitars. [MICHELLE KEHM]

I KNOW I AM, BUT WHAT ARE YOU? By Samantha Bee (Simon Spotlight Entertainment) Samantha Bee could be the love child of David Sedaris and Chelsea Handler, if such a thing were possible (which it’s totally not). And in her memoir, Bee, who is currently the Most Senior Correspondent on The Daily Show with Jon Stewart, does not disappoint. She takes us through the entrails of her childhood upbringing in Toronto, Ontario, her college years, her married years (to fellow TDS correspondent Jason Jones), and myriad experiences with animals throughout her life. Upon reading the ﬁrst story, which is about Bee attending day camp when she was eight, one might think to herself, “Oh, I don’t know about this,” but just keep on truckin’. I assure you, the book delves deeper, becoming funnier—and way, way dirtier—than your wildest dreams. I Know I Am takes us there, brings us back, and then takes us there a few more times. One story begins, “There’s really nothing creepier than going somewhere with one of your parents and having people think you are together, as a couple. Of lovers. Who do it. With each other.” Her compositions mainly deal with everyday situations, if you consider being a witness to accidental penis-ﬂashing, dressing like Sailor Moon for a living, and knowing at age nine what a sex act called the Cincinnati Bowtie is all about to be the norm. There’s no turning back for the thrill-seeking reader after something like that, and honestly, who would want to? [WHITNEY DWIRE]

summertime fun WHILE IT MAY be too darn hot to get your knit on, the following DIY guides have just what you need to keep your hands busy till fall. From quilting to organic gardening, they’ll keep you and your crafty ways fresh through the steamiest nights.

If you’ve ever felt daunted at the prospect of making a quilt, WHIP UP MINI QUILTS: Patterns and How-To for More Than 20 Contemporary Small Quilts (Chronicle Books) will take you step by step through the process. From traditional patterns to contemporary, illustrative designs, these projects are so small you can work on them from your lawn chair. Genius. The designs in SCANDINAVIAN NEEDLECRAFT: 35 Step-by-Step Projects to Create the Scandinavian Home (Cico Books) have that minimalist appeal—just enough needlework to add panache to a dishcloth or pair of slippers, but always stopping short of fussy. Although the directions can seem a bit Ikea-like and difficult to follow, if you’re an intrepid crafter, these chic adornments can help you chill like a stylish Viking all season. Summer’s best outfit is a sweet dress, and thanks to Wendy Mullin you can make an entire wardrobe of them yourself. In BUILT BY WENDY DRESSES: The Sew U Guide to Making a Girl’s Best Frock (Potter Craft), you get patterns for three basic dresses, along with directions for customizing each for your perfect fit. Then Mullin shows you how, with a bit of alteration, those 3 shapes can become 25 adorbs dresses. So go ahead and set up your sewing machine on the porch, then get ready to stitch your nights away. Getting the most out of the summer’s rich harvest can be a challenge. Author Susie Middleton knows that and wants you to have options. In FAST FRESH AND GREEN: More Than 90 Delicious Recipes for Veggie Lovers (Chronicle Books) she offers loads of veggie-based (but not all vegetarian) meals. Middleton explains the whys and wherefores of terms like braising and blanching, and puts you in charge of those unruly cupboards. If only the makers of cookbooks would offer spiral-bound editions, life would be perfect. Getting green can be a creative outlet too, as Gayla Trail (author of You Grow Girl and the brains behind YouGrowGirl.com) proves again in GROW GREAT GRUB: Organic Food from Small Spaces (Clarkson Potter). With illustrations, sumptuous photography, and clear directions, Trail covers everything from mulching to harvest. Her tips are practical (how to make seed-starting cells out of an old toilet paper roll), personal (“my own little rooftop farm has reignited my childlike sense of wonder about the world”), and even motivational (“it took growing my own to have a religious experience with a strawberry”). It’s heavenly. [LISA KIRCHNER] // BUST / 97

the guide IF YOU FOLLOW ME: A Novel By Malena Watrous (Harper Perennial) Fresh out of college, Marina follows her girlfriend to rural Shika, Japan, to teach English for a year. But challenges arise as she navigates a host of cultural differences and soon finds that it is difficult to discard anything there. Literally. The more she botches traditional garbage-disposal rules, the more the gomi police return to her all manner of incorrectly disposed of trash, from rotten meat to feminine products. And garbage isn’t the only thing haunting her; grief over her dead father followed her on this journey, too. It is her constant shadow. Early on, Marina takes a tour of the local nuclear power plant’s Arisu in Shikaland museum—themed after Alice in Wonderland, white rabbit and all. A pamphlet reads, “Arisu fell down a hole. Into a new world she could not understand. Rules were so confusing. To break them was kind of dangerous.” But in “risky business” (as her sensei calls it) there is also growth. Marina falls through many holes—pits of grief, of loss, of communication breakdown, confusion, and self-doubt. But like Alice, she makes her way with grace, honesty, and humor, until gradually, these holes start to fill. Along the way, Marina encounters a host of delightfully quirky characters: the shy, cat-killing neighbor boy, Haruki; Keiko, the exhausted mother of an autistic child; and student sumo star Nakajima, a wiseass with an Afro-perm and too much self-tanner. The book begins to sing as Marina’s relationships deepen. Generous and poignant, Watrous’ writing is sure to fill a few holes of its own. [KATHLEEN YALE]

MOLLY FOX’S BIRTHDAY By Deirdre Madden (Picador) Nothing happens in Molly Fox’s Birthday. The plot is entirely uneventful, charting a day in the life of the narrator, a celebrated playwright, who is staying in Dublin at the home of her best friend, the Molly Fox of the title. The narrator wanders around the house, 98 / BUST // JUNE/JULY

eats meals, takes a walk into town, and is visited by three unexpected, but by no means shocking, guests. It is the very lack of excitement that gives the narrator time to reflect, and those reflections are the real stuff and substance of the book. Her two main preoccupations are her relationships, with Molly and Andrew, her other closest friend, and her work. She is beginning a new play and turning over in her mind all her thoughts about art and nature, the need for theater, the danger and value of theater’s two-faced quality of dissembling and truth. A certain graceful restraint permeates the short work, including its modest length. Though this is a novel of ideas, it does not expound, but collects small anecdotes and observations that elucidate the issue, often providing more questions than answers, and is content with its own ambiguity. Molly Fox’s Birthday, which was a finalist for the Orange Prize last year and is being newly reissued by Picador in the U.S., is an invitation to contemplation. Madden’s sympathetic characters have a complexity that gives them real weight and pathos, so that their ideas about the relationship between art and life, between artifice and nature, are engrossing enough to sustain vivid interest even in the utter absence of plot. [EMMA HAMILTON]

NOMAD: From Islam to America: A Personal Journey Through the Clash of Civilizations By Ayaan Hirsi Ali (Free Press) This deeply personal story of feminist activist and political leader Ayaan Hirsi Ali is part family history and part thesis on the impact of Islam on women. The result is a must-read memoir more enlightening than many books assigned in liberal-arts classes. A follow-up to her influential bestseller Infidel, this is the story of a family ruined by adherence to the Qur’an in a literal sense. Born in Somalia and erratically transplanted around Africa, Ali is forced to flee every place she settles. Growing up, the only constant in her life is her family’s uncompromising attachment to Islam; with only blind faith as a guide, each of Ali’s family members’ conflicted views toward sexuality,

BOOKS money, and violence lead to suffering, from mental illness to murder. When her father arranges her marriage, Ali decides to escape and seek political asylum in the Netherlands. There, she becomes a member of Parliament—until a political crisis leads to the stripping of her citizenship. Then she again seeks refuge, this time in the United States. Nomad explains why she chose America and how she successfully adapted in ways the rest of her family could not. Every culture has dysfunctional families, but Ali illustrates why Islam’s “culture of shame” is a true threat. Thankfully, she offers remedies to the situation. Ultimately, her inspiring journey becomes a call to action for Western feminists to share in her courage and clarity and reach out to their Islamic sisters. [LIBBY ZAY]

STILL LIFE: Adventures in Taxidermy By Melissa Milgrom (Houghton Mifflin Harcourt) In Still Life, Melissa Milgrom peels back the skin on contemporary taxidermy, revealing all the blood and guts of a hobby focused on making the dead appear alive. She profiles a motley assortment of practicing taxidermists who, she discovers, deeply revere the critters they’re “fleshing,” macerating, and sculpting into art. There’s in-your-face Emily Mayer, head of Britain’s Guild of Taxidermists and best known for her work on the cow heads and animal parts in Damien Hirst’s controversial art pieces. And then there’s Ken Walker, determined to win Best of Show at the World Taxidermy Championships (WTC) with his re-creation of the extinct prehistoric Irish elk. Milgrom also hangs out with the folks working behind the scenes at the Smithsonian as it prepares a new mammal exhibit (they use Garnier Nutrisse “Luscious Mango” hair dye to darken the Bengal tiger’s stripes) and takes taxidermy lessons from the family who works with the American Museum of Natural History’s exhibits. Naturally, reading about a trade whose tools include brain spoons, eyehooks, and tail splitters makes the retch factor high, especially when Milgrom gets her hands dirty to mount a squirrel for the WTC.

The judges deem her entry subpar (its eyes aren’t aligned, and anatomically, it’s a “Barbie doll”), but though Milgrom is unable to make her squirrel appear lifelike, she does succeed in animating the dark and strange world of taxidermy. [ERICA WETTER]

UNLOVABLE, VOL. 2 By Esther Pearl Watson (Fantagraphics) There’s lots to love in the latest gleeful offering from the pen of BUST’s genius cartoonistin-residence Esther Pearl Watson. Purportedly based on a real teenager’s 1989 diary found in a Las Vegas truckstop restroom, Watson’s comic strip, “Unlovable,” narrates the exploits of hapless high-schooler Tammy Pierce as she navigates the glories and humiliations of small-town adolescence with unbeatably clueless bravado. This book, the second compilation of Watson’s strips from the back page of BUST, follows Tammy’s adventures throughout her sophomore year of high school, over the course of which she perpetually lusts after her dreamily handsome, gay, Morrissey-obsessed “New Wave thespian” neighbor; fields taunts from bullies and mean girls at school; shops; drinks smoothies with her mascara-andfishnets-wearing best friend, Kim; and battles her hyper, obnoxious younger brother, Willis. Chunks of the handwritten text are tellingly, tantalizingly inked out, contributing to the diary effect. For those who already follow the strip in BUST, there’s more to find in the book; the sturdily bound, sparkly cover encloses lavish, whole-page panels that allow for lingering closeup absorption of Watson’s creation, which lovingly combines gross-out comic-book camp with bittersweet teenage nostalgia. Especially delightful is the addition of Tammy’s amazing cartoon concoctions, which resemble what might have happened if Lisa Frank had blown her mind on LSD. Bursting with late-’80s pop-cultural references and buoyed by the exuberance of Watson’s flamboyant heroine, Unlovable, Vol. 2 is an irresistibly hilarious, tenderly drawn treat for your inner teen. [RENATE ROBERTSON] // BUST / 99

100 / BUST // JUNE/JULY

sex ﬁles porn—winner of the Most Deliciously Diverse Cast award and the only nominee directed by a man—could be splashed on the wall of an edgy nightclub. More important, it features drop-dead gorgeous plus-size ladies, not to mention a couple of beautifully hung men, having hot sex in lush forest settings. One dude, a slender punk in his 40s who gets it on with his reallife wife, is shy about taking off his shades and shirt, and that’s really a shame.

for your viewing pleasure FEMALE-POSITIVE PORN TO GET YOU HOT AND BOTHERED HOT SUMMER NIGHTS have arrived, so you may as well put those sweaty palms to good use. Thankfully, the Feminist Porn Awards, held every year in Toronto, trumpets ﬁlms you can feel good about enjoying: the women they feature are pleasured, not exploited, and real bodies are sucked and fucked and worshiped. Here’s a roundup of some of the 2010 nominees and winners recommended by Alison Lee, FPA organizer and manager of Toronto’s Good for Her sex shop. Wildly diverse, they do exhibit one common thread: women having body-shaking, face-contorting, visibly mind-blowing orgasms. So pop in a disc and rub one out. THE BAND Directed by Anna Brownﬁeld (Hungry Films) Don’t let the piggish antics of the rocker dudes put you off. The stereotypically sexy women get their revenge (and swoon-inducing orgasms) by the end of this plotdriven Australian porn. If you’ve ever fanILLUSTRATED BY AI TATEBAYASHI

tasized about having dirty sex backstage with the smokin’ guys in a band, this Hottest Feature Film winner gives you a peek into the steamy debauchery, big boners, and bathroom-humor raunch of these wellendowed rock-’n’-rollers’ lifestyle. CRASH PAD SERIES 4: Ropeburn Directed by Shine Louise Houston (Blowﬁsh Video) In this compilation of episodes from the Web-based Crash Pad Series, a silent voyeur watches girls romp in various rooms of an apartment from her laptop. All the stars have realistic bodies, and the most intense and titillating episodes feature dominatrices gently educating and punishing their female submissives with rough ropes, mark-making slaps, and lit cigarettes. DANGEROUS CURVES Directed by Carlos Batts (HeartCore Films) With its continuous techno soundtrack, quick cuts, and glossy production, this

HONEY BUNNY Directed by Vena Virago (Vivid Alt) The strangest and straightest of the bunch, this porn incorporates an art installation in which the Hollywood-hot cast riffs about bunnies in an LSD-like trip of stuffed animals, spring ﬂowers, and blow jobs. In pastel rooms ﬁt for fucking like Peeps rabbits, the insanely beautiful couples play out porn conventions: deep-throating giant cocks, doggy-style pounding, screaming orgasms, and money shots. QUEER MANOR Directed by Madison Young (Reel Queer Productions) The cupcake craze goes next-level in this fantasy about eccentric female aristocrats with a penchant for strategically placed pastries. Populated with realistic bodies, every scenario begins with a woman pleasuring herself, legs splayed wide, before she brings in a servile partner. Don’t miss the pearl-storing “oyster” or the lesson on how to truly enjoy a cigar. SPEAKEASY Directed by Courtney Trouble (Reel Queer Productions) A turn-on for vintage fetishists and the genderqueer crowd, this winner of the Most Tantalizing Trans Film award explores a deliciously seedy ’40s underworld. Blond bombshell Lorelei Lee gets a sweaty, quivering orgasm from a transman while pinned against a wall; fringe-porn superstar Jiz Lee shows off her cum-shooting skill while strung up in ropes; and female-to-male transgendered performers give each other a good pounding with strap-ons behind the bar. [LISA HIX] // BUST / 101

sex ﬁles

questions for the queen DR. CAROL QUEEN TELLS YOU EVERYTHING YOU EVER WANTED TO KNOW ABOUT SEX BUT WERE WAITING FOR SOMEONE ELSE TO ASK

Q. A.

My boyfriend touches himself in his sleep. Though he doesn’t bring himself to orgasm, he does it for a few minutes at a time, heavy breathing and all, and it goes on throughout the night. He says he doesn’t even know he’s doing it. It isn’t because we don’t have an active sex life—we do it almost every day. Why is he doing this? Is it normal? It’s keeping me from sleeping well, and for some reason, it really bothers me. Is there anything we can do about it? Woken by a Sleepwanker

CAROL SAYS: Your boyfriend’s actions are comparable to those cute YouTube pet videos featuring dreaming puppies running in their sleep: this is a sexual version of chasing sleep rabbits. Is it normal? More or less. Most people have erotic dreams occasionally, often even including orgasm; healthy men get erections several times a night. What’s different about your guy is that he’s so physical about it. That’s not always the case. Plus, you’re a light enough sleeper that it affects your own dream time. What can you do about it? First, I implore you to not take it personally, and don’t react to the fact that it’s sexual— sexuality is as natural a part of sleeping life as it is of waking life. Really, this is like a newfangled kind of snoring. And what would a considerate snoring partner do? Ask his (or her) doc about it. There are some sleep disorders (including some that may be brought on by certain meds) that keep the dormant body extra-busy with activities that are usually done when awake: walking, talking, eating, having sex, and even driving. It might be worth exploring whether this is the case with him. He can start by asking the doc if he has REM sleep behavior disorder or another parasomnia. I hesitate to suggest sleep meds for you, but they might help. At minimum, make sure your own sleep hygiene is as good as possible, since light sleepers are much more likely to be bothered by partners’ nighttime antics.

Please help me diffuse some of my fear surrounding the hysterectomy I’m scheduled to have. When I have an orgasm (and I know very well just how this feels), my uterus contracts. Without a uterus, what will I have going for me? My uterus and cervix will be removed, ovaries will not. Adios Uterus

CAROL SAYS: First, a second opinion may conﬁrm whether your M.D. is too quick to recommend a hysterectomy. Some studies suggest that many of these surgeries are done instead of less-invasive therapies. Make sure you really need this procedure before you go under the knife. Tell your doctor that you’re orgasmic and want to stay that way, and that you want to know more about her/his plan to maintain the neurology supporting your ability to come. If the doc doesn’t seem to think that’s important, ﬁnd one who does. Feel free to research the doctor’s track record on this issue. Since you know your orgasm includes uterine sensation, you know that your climaxes are likely to change. You’ll still have the other parts of orgasm: the pleasure center of the brain, the chemical rush of your hormones and endorphins, and the contractions of your PC (pubococcygeal) muscles. All of these elements work together to support the peak-experience feel of an orgasm. The uterine squeeze you’re used to will be gone, but your PC muscles will still be able to deliver the pulsing sensation of climax. As soon after surgery as you comfortably can, resume erotic activity. Focus on the sensations you retain, and stay as open-minded as possible about the ways your responses may have changed. You’ll do best if you can meet this change with the idea that you’re going to relearn your body and seek out its new version of pleasure, rather than stay in a mourning period about what you’ve lost. Support healing and sexual response with good nutrition and exercise.

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a sexy yarn WHAT HAPPENS WHEN A GAL GIVES KNITTING LESSONS IN BED? [BY LETTY JAMES] “WHATCHA KNITTIN’?” CAMERON, my fellow film student and roommate, stood over me with his lean, skateboarder’s body—one I dreamed of seeing from every angle. I showed him the bikini I was working on. He flopped down next to me on the couch, leaning close and making my heart race. “Shit,” I said, as I dropped a stitch. He chuckled and grazed my cheek with his finger. “I’ve got an idea, Nicole. Our short film project should feature this,” he said, picking up the bikini top and swinging it back and forth as if to hypnotize me. “As a costume.” “And I do what, pole-dance?” “That’s an idea.” His smile turned wicked. “Not a chance. How about I give knitting lessons?” I said, as his grin waned. “I’ll wear the bikini—as a visual aid.” Cameron’s face brightened. I’d make it a lesson to remember. Two days later, I sat on my bed. Underneath my robe, the stitches of my new bikini caressed my most sensitive places. The weather was sultry, and Cameron wore only a pair of low-slung shorts, clearly going commando. I watched entranced as the line of hair from his navel twisted along with his stomach muscles as he set up the video equipment. He motioned me to begin. “A successful knitting project is like good sex,” I said, playing to the camera. Cameron snorted, but I continued. “You must plan ahead and have quality materials. And just as you measure up each lover, be sure to take the necessary measurements for your knitting project.” I winked at the camera. “Like a bikini.” As I dropped my robe, I relished Cameron’s gasp of appreciation. I crooked my finger at him and he sauntered to my side. I pushed him down beside me, then pulled his hands up parallel in front of his chest. “First, every good knitter should rewind her yarn to avoid tangles and nasty surprises, like short pieces.” Suppressing a smile, I wound the yarn around Cameron’s fingers, then his wrists. His eyebrows rose 104 / BUST // JUNE/JULY

at the inaccurate technique. I kept going. “You don’t want to make it too tight,” I said, demonstrating on Cameron’s wrists. I pulled his arms over his head, securing his hands to the bedpost. “Hey!” A surprised grin appeared on his face along with a sexy bulge in his shorts. “Here’s a nice way to gauge the wearability of your yarn. Is it too rough?” Running the skein over his chest, I watched with pleasure as his nipples peaked. “Or is it too soft?” I pressed the ﬂaccid yarn between my legs and slowly humped it. Cameron’s eyes darkened with desire, and his smile turned sly. I unbuttoned his shorts, and his delightful cock sprang out. I grabbed an assortment of condoms from my nightstand and fanned them before the camera. “Pick the best-sized tools for the job.” I plucked out the largest package. Ripping it open with my teeth, I spit the wrapper aside as I sheathed Cameron. Then I slowly untied each juncture of my bikini, letting it fall. Cameron addressed the camera, announcing, “Stay tuned for lessons regarding appropriate clean-up.” Laughing, I slid his shorts off. I was excited about this project. Apparently, so was Cameron, as his penis jerked in readiness. I straddled him, my breasts swinging over his mouth. “Make sure you’re comfortable before starting,” I dictated, then guided my breast to Cameron’s lips. He sucked hard, creating sweet, exquisite pain. I gasped and moved my clit against him. Slowly he released me, his teeth scraping against my tight nipple. “I think it’s time to cast on,” he said, his voice turning husky with need. “Very nice. You’re learning the terminology.” I gave him a reward kiss, only to lose my concentration when he kissed me back. His full lips were a delightful contrast

to his slim, hard body. And he knew how to use them. As I pulled away, our eyes met and held in mutual appreciation. “This ain’t my grandma’s knitting lesson,” he said. “And don’t you forget it.” I threw back my hair, thrilled with the power I had over him. “Now, don’t rush things, or your project will end up uneven.” I leaned my other breast over his mouth, and he sucked it greedily. My whole body hummed. He nipped the tender flesh of my breast, making me squeal. I eased back and began to lightly massage his tight balls with one hand while I drew over his stomach with the fingers of my other hand. “Double-check your instructions. Then begin.” I mounted Cameron, sliding his cock in to the hilt, my clit snuggling against him. We both moaned. I pumped slowly, savoring the feeling of each stroke as all my nerve endings tightened. Cameron’s triceps stood in relief as he strained against his bonds. His back arched and I paused midstroke, pulsing around him and prolonging my impending climax. “Don’t you dare stop now,” he rasped. “We’re knitting a blanket, not a damn scarf.” I laughed as I slid him in deep, letting him fill me, and I came, the orgasm rolling through me before I collapsed on his chest. “Cut me loose,” Cameron growled in my ear. As soon as his hands were free, he flipped me over and lay on top—the weight of him against my chest turned me on all over again. He entered me once more, his cock still hard as a steel needle. “So what’s the difference between knitting and purling?” “Same steps but slightly different motions,” I said, my legs circling his hips. His hands clasped mine. “Knit one, purl two, baby.” He wound the yarn around my wrists, tying them to the bedpost. This time I’d let him be the instructor.

BUST (ISSN 1089-4713), No. 63, June/July, 2010. BUST is published bi-monthly in Feb/Mar, Apr/May, June/July, Aug/Sept, Oct/Nov, and Dec/Jan by BUST, Inc. 18 West 27th Street, 9th Floor, New York, NY, 10001. Printed in the U.S.A. Periodicals postage paid at New York, NY, and additional mailing ofﬁces. Subscription prices, payable in U.S. funds, are $19.95 for one year (6 issues). Additional postage: In Canada add $10 per year, and in all other foreign countries add $20 per year. POSTMASTER: Send address changes to BUST, P.O. BOX 16775, NORTH HOLLYWOOD, CA, 91615.

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X GAMES [BY DEB AMLEN]

sweet treats 59. “___ the night before Christmas...” 60. Freak out 61. Rams’ ma’ams 62. Gusto 63. Promoted to excess

Down

Across 1. Goes all night, say 6. “Oh, well!” 10. “___ a Woman” (Beatles tune) 14. “That’s quite ___ on your shoulder” 15. Midterm, say 16. Bad thing to blow 17. Baseball team that calls U.S. Cellular Field home 20. Boy toy?

ANSWERS TO “COP A FEEL” FROM THE APR/ MAY ‘10 ISSUE. FOR ANSWERS TO THIS ISSUE’S PUZZLE, SEE NEXT ISSUE OF BUST.

21. Have a novel experience 22. Infamous Kennedy knoll 23. Just manages, with “out” 24. Muslim holy man 25. 1966 Herman’s Hermits song about lost love 29. 2007 Mika song “___ Girl (You Are Beautiful)” 32. Duck 33. Darby Conley’s comic strip “___ Fuzzy” 34. Wait, there’s more... 35. Workbench attachment 36. Actress Hayek 38. Scheherazade specialty 39. Penultimate word in fairy tales 40. Revolutionary Guevara 41. More cunning 42. One end of the spectrum 43. Course that Professor Snape wanted to teach at Hogwarts School (with “Defence Against”) 46. Jon of Mad Men 47. Bribes, with “off” 48. Site of a 1971 prison riot 51. ___ -A-Sketch 52. Kwik-E-Mart clerk on The Simpsons 55. Type of sweet treats I’ve hidden for you in 17-, 25-, and 43-Across 58. Actor ___ Wahlberg of The Lovely Bones

1. Deficiency 2. Long for 3. Ankle-knee connector 4. ___-tac-toe 5. R&B singer who testified against R. Kelly in a child-pornography case 6. Wedding reception words 7. Off-color 8. Blond shade 9. 1999 Patricia Arquette movie about a woman exhibiting otherworldly wounds 10. Pore opener 11. Sound made by a serpent 12. Oscar Wilde poem “The Garden of ___” 13. 1975 Hot Chocolate hit “You ___ Thing” 18. Certain social misfit at William McKinley High School (1999 Judd Apatow sitcom) 19. Cafeteria carrier 23. Pillow filler 24. Footnote word 25. “When hell freezes over!” 26. Martini garnish 27. Meditated (on) 28. Leered lustfully at 29. Speed skater Bonnie 30. Speck in the ocean 31. Followers of film, concert, or theater 34. One with the weight of the world on his shoulders 36. Rendered chicken fat 37. “Excuse me...” 41. 2005 film starring Kelly Preston about a school for the kids of superheroes 43. Fish ___ (euphemism for vagina) 44. Take it for college credit 45. 15-ball cluster 46. 7th Heaven star Catherine ___ 48. Culmination 49. Take out of the freezer 50. Ripped 51. Greek H’s 52. “Pronto!” 53. ___ Le Pew 54. Like hand-me-downs 56. Blow away 57. Sushi sauce // BUST / 111

thelast the lastlaugh laugh {BY ESTHER PEARL WATSON}

112 / BUST // JUNE/JULY