We Were Feminists Once: From Riot Grrrl to to Covergirl, the Buying and Selling of a Political Movement by Andi Zeisler

indexBook–Andi Zeisler, co-founder of feminist nonprofit Bitch Media, has spent her career examining popular culture through a feminist lens. Zeisler argues that lately feminist has become a coveted ‘cool’ label. In contrast to the 1980s retrenchment of conservative values that repudiated feminism, now it’s a label that everyone wants to claim. Popular celebrities regularly affirm that they are feminist, brands like Dove are embracing body positivity as a marketing technique, and even innocuous products like underwear are being marketed using empowerment jargon. According to Zeisler, if everything is suddenly feminist, than it’s as if nothing is feminist. Using feminism to categorize everything from pop music to sanitary pads dilutes the meaning of the word and sidesteps the systemic inequalites that feminism should rightly address. Because people face an unequal range of opportunities, feminism is not as simple as people just making the choices they would have made anyway then calling themselves feminist for it. Zeisler calls this “Marketplace Feminism,” though others have called it choice feminism.

While I did enjoy this book, I thought it suffered from too many examples and observations and not enough solutions and conclusions. Any reader who frequents the feminist blogosphere will be more than familiar with most of the examples that Zeisler uses to illustrate her points. We Were Feminists Once would be a great read for someone just getting interested in feminism or who just wants a brief overview of the quasi-feminist listicle-generating culture that Zeisler critiques.

Samsara (2011)

SamsaraMovie – If you are in the mood for something different, or want to do a bit of armchair traveling via stunning visuals from distant locations, Samsara may interest you. It is a movie that is experienced rather than simply watched because of the impact of the graphic imagery of landscapes and human culture that are presented without a defined context. Filmed over four years, the images were photographed entirely in 70mm and transferred to 4K digital projection format. I’ve read recommendations for seeing this film on as large a screen as possible because of the splendid visuals, and I completely agree. Amazing real-time and time-lapse images that are as diverse as natural landscapes, spiritual sites, and industrial settings are accompanied only by ambient sound and music, and no dialog accompanies the film. This enriching film alternates between soothing meditative scenes of aesthetic grace and thought-provoking, slightly disturbing, scenes evoking social commentary. Samsara follows in the footsteps of two award-winning predecessors Baraka and Koyaanisqatsi (which was accompanied by the music of Philip Glass).