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.”

A black and white picture of two nurses and a doctor taking care of a patient lying on bed

Tuning In for Public Health: The Promise of Televised Health Education in 1950s America

The Skinny on Back to School

A vintage fork.

The Feminist Fork

Should We #FreeTheNipple? Maybe Male and Female Aren’t That Different After All

By Lara Freidenfelds

When I was little, I copied my dad and took off my shirt on hot summer days. He would be doing yard work, and I would be running around doing something or other that was sweaty and active. It felt great. A cool breeze works much better when it hits your skin directly. He encouraged me to ditch the shirt, and my sister and brother followed suit.

A Lego man standing in his office, seeming to be anxious

On the Verge of a Nervous Breakthrough?: Interpreting Mental Illness

By Mary Elene Wood

A highway patrol officer straddles a woman who lies on her back by the side of a highway. His arm lifts high into the air, then, with what looks like substantial force, he strikes her in the face with his clenched fist. He does this over and over again. Early in July, news programs around the country quickly spread the story of a California Highway Patrol officer caught on videotape violently beating Marlene Pinnock, a 51-year-old homeless, presumably mentally ill, woman, along the side of a freeway in Los Angeles. The California Highway Patrol claimed that the officer was only trying to stop the woman from walking out into traffic, yet journalists across the U.S. decried, in one writer’s words, “the lack of training given to law enforcement officers to handle such people, even though officers all too often are society’s frontline mental health care providers.”

Mom and son hugging in a grassland

If You’re Not My Kid, Please Don’t Call Me “Mom”

By Lara Freidenfelds

The dentist peered in my child’s mouth, then turned to me. “Hey, Mom, you did a good job, no cavities!” I brought my kids for a check-up recently, and our wonderful pediatric dentist warmly complemented me. But why on earth did he call me that? And why did it irk me?

Desertion, Martial Manhood, and Mental Illness: The Case of Sgt. Bergdahl

By Sarah Handley Cousins

Several months ago, when I submitted my first blog post for Nursing Clio, I included a short section about Civil War veterans who had lost their right to a pension because they had deserted the army during the war. But after discussing it with our editors, I decided to remove the section – after all, we thought, desertion isn’t really a current issue, right? I was more than a little surprised when, a few months later, the topic of military desertion became headline news.

Paranoia on the Border: Immigration and Public Health

Marvel’s Fleeting Feminism

by Tony Lewis

The recent announcement of a new creative team for the comic book series Wonder Woman has stirred up some controversy, stemming mainly from an interview in which the artist, David Finch, proved wary of the term “feminist.” His hesitance clearly alarmed people who value the character’s status as an icon of feminism, especially as it came on the heels of Stevie St. John’s article in the Summer 2014 issue of Bitch Magazine that explained how the series’ current creators have undermined the feminist aspects of Wonder Woman’s mythology. What has received less attention is the fact that DC Comics has handed its 75-year-old franchise to Finch’s wife, Meredith, a writer who has very little experience working in comics. But, as we shall see, this situation has a historical precedent.