[gblockquote source=”Zora Neale Hurston, “Sweat” (1926)”]“Sweat, sweat, sweat! Work and sweat, cry and sweat, pray and sweat!”[/gblockquote] The topic of […]
Why I’m a Hillary Supporter
Editor’s Note: The author’s opinions are her own; Nursing Clio does not officially endorse any candidate. In February, the New York […]
Take Back the Knit: A Feminist History of Knitting in the US
On a recent plane ride, I pulled out my knitting needles to finish the scarf I was making. Normally I […]
No Safe Spaces: Missouri, ISIS, and What We Can Do About It
Before the terrorist attacks in Paris and Beirut a few weeks ago, I had begun writing an essay about race, […]
Suffragette, T-Shirtgate, and a Taylor Swift Tweet: Breaking Down the Historical Problem of White Lady Feminism
Can rich, white ladies be effective feminists? In the court of public opinion these days, it seems the answer is […]
What’s on Your Feminist Playlist?
Music played a pretty important role in my life as a kid, but I always listened to what my parents […]
Exploding Myths About Medicine’s Wage Gap: Lessons From the Past and Present
It’s not news that women are paid less than men for comparable work, subject to variation across race, field of […]
How Dusty are Your Baseboards?: The Politics of Domestic Labor
Recently I attended a bridal shower that provided a rare occasion for chatting with girlfriends sans partners and kids. Upon […]
Vagina Dialogues
By Elizabeth Reis
Students at Mt. Holyoke College are protesting the annual performance of Eve Ensler’s feminist classic, The Vagina Monologues. Their gripe with the play is that by focusing on vaginas, the play perpetuates “vagina essentialism,” suggesting that ALL women have vaginas and that ALL people with vaginas are women. Transgender and intersex people have taught us that this seemingly simple “truth” is actually not true. There are women who have penises and there are men who have vaginas. Not to mention women born without vaginas! Hence, these Mt. Holyoke critics imply, the play contributes to the erasure of difference by presenting a “narrow perspective on what it means to be a woman,” and shouldn’t be produced on college campuses.
In Between Cultural Appropriation, Racism, and Sexism: Azealia Banks and the Erasure of Black Women in Rap
By Austin McCoy
Rap artist Azealia Banks, who released her debut album, Broke with Expensive Taste, in November, made the news with her appearance on Hot 97’s radio show, Ebro in the Morning, in December. In her 47 minute interview, Banks railed against white Australian-born pop singer-turned rap artist, Iggy Azalea, Azalea’s boss, rapper, T.I., and against capitalism, slavery, and the appropriation of black culture. Azalea released her debut album, The New Classic in April, which shot up to #1 on Billboard’s R&B/Hip Hop Album and Rap charts. Her song “Fancy” dominated the airwaves. The positive reception even led Forbes to initially declare that Azalea “ran” rap.[1] This declaration, which Forbes eventually dialed back, underscored Banks’s critique about appropriation and black women’s exclusion and erasure in the corporate rap industry. Banks declared, “At the very fucking least, you owe me the right to my fucking identity. And not to exploit that shit. That’s all we’re holding onto with hip-hop and rap.”
