Category Archives: representation

Visibility of nazi medical experiments

Visibility and awareness above all.  What are the stakes?  Many German medical professionals gained subjects for experiments from the Nazi murder machine. Take this one example:

The most startling breakthrough comes from German journalist and Tübingen culture professor Hans-Joachim Lang. He has identified all of the Jews selected for gassing by August Hirt, director of the anatomical institute in Strasbourg who had a singularly ghoulish plan for their remains.

Hirt was interested in adding to a collection of skulls at the University of Strasbourg. “Although extensive skulls collections existed from nearly all races and peoples,” the Jews were missing, he wrote to the director of an SS research group established to prove Aryan superiority. “From the Jewish-Bolshevik commissars, who embody a disgusting, but characteristic type of subhuman, we have the opportunity to acquire a tangible scientific document by securing their skulls.”

Hirt was essentially competing with the Natural History Museum in Vienna, which procured Jewish skulls from another anatomist, Hermann Voss. In consultation with the staff of Heinrich Himmler, Hirt received permission to go ahead. Two staff members were sent to Auschwitz to separate out a group of Jews, 30 women and 79 men. They were examined according to the standards for racial typing of the time: Their skin, hair, and eye color were noted and coded using special tables, and the shapes of their heads, foreheads, noses, mouths, and ears measured. Fifty-seven of the men and 29 of the women were chosen. They were gassed in a special chamber and their bodies delivered to Hirt at his anatomical institute.

Hirt stored the bodies in the basement. In the end, he didn’t work on them—he lacked the equipment during the course of the war. At the war’s end, Himmler ordered the bodies destroyed. But in January 1945, after the liberation of Strasbourg, the London Daily Mail reported their discovery in the anatomical institute.

via Nazi anatomy history: The origins of conservatives’ anti-abortion claims that rape can’t cause pregnancy..

Oh yeah, the bogus idea that rape doesn’t lead to conception traces back to some grotesque nazi scientists.

Whether they know it or not, Stieve’s work is the source for their discredited claim. The American College of Obstetricians and Gynecologists warned that saying rape victims rarely get pregnant was “medically inaccurate, offensive, and dangerous.” But the anti-abortion doctor Jack Willke, former head of the National Right to Life Committee, insisted otherwise. \”This goes back 30 and 40 years,” he told the Los Angeles Times in the midst of the Akin furor. “When a woman is assaulted and raped, there\’s a tremendous amount of emotional upset within her body.\” Willke has written that \”one of the most important reasons why a rape victim rarely gets pregnant” is “physical trauma.\”

Where did he get this idea? In 1972, another anti-abortion doctor, Fred Mecklenburg, wrote an essay in a book financed by the group Americans United for Life in which he asserted that women rarely get pregnant from rape. Mecklenburg said that:

The Nazis tested the hypothesis that stress inhibits ovulation by selecting women who were about to ovulate and sending them to the gas chambers, only to bring them back after their realistic mock killing, to see what effects this had on their ovulatory pattern. An extremely high percentage of these women did not ovulate.

via Nazi anatomy history: The origins of conservatives’ anti-abortion claims that rape can’t cause pregnancy..

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Filed under disaster, genocide, human rights, memorial, propaganda, representation, sexual assault

Got privilege? Boston Marathon edition

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Filed under feminism, representation, resistance, sport

Laurie Penny: phenomenal feminist wisdom

Thanks to Laurie Penny (author of Cybersexism: Sex, Gender, Power and the Internet) for a few insightful quotes about fighting sexism on the internets.   I happen to agree about the rising moments of accountability.

Look. The internet makes dicks out of us all, but it means that for a few people, the perceived costs of extreme douchebaggery are far lower than they would be otherwise. But that sense of inviolability is beginning to erode. Men — and I do believe that it’s mainly men, even though I’ve had troll encounters with women and others — are beginning to realize that there are actual consequences to behaving like this. It’s happening in “the real world,” too. Comedians now think twice before making rape jokes. Tech conferences think twice before lining up scads of all-male panels. And it’s happening because of the internet. I think.

via Laurie Penny Vs. Cybersexism: “Not Letting the Fuckers Win” – ANIMAL.

When asked about men, Penny responds:

Capitalist patriarchy hurts everyone, not just women. What I really hope is that this explosion of debate and discussion about gender and sexuality, facilitated by the internet, will give men permission to speak honestly about what capitalist patriarchy does to them.

Right now, though, it seems men only feel empowered to speak of how gender affects them when they’re directly attacking women and girls or bawling artlessly at feminists. I meet a lot of MRA’s who genuinely seem to believe that an attempt to make the world fairer for women and freer for everyone is a direct attack on men, and that calling someone sexist is worse than actually being sexist. Those are lies, and we need to stop treating them as adult arguments.

If women are shamed and harassed out of full digital participation online, everyone loses.

via Laurie Penny Vs. Cybersexism: “Not Letting the Fuckers Win” – ANIMAL.

And perhaps one of the greatest approaches to internet trolling:

But none of that is terribly helpful when all you want to do is slam the laptop shut and never look at Twitter again.

At which point I’d advise a long walk, a strong cup of tea, and a healthy dose of spite.

Spite is underrated. Sometimes, on dark days when I believe every awful thing mouth-breathing misogynists say about me online, when all I want to do is give up, I remember how important it is not to let the fuckers win.

via Laurie Penny Vs. Cybersexism: “Not Letting the Fuckers Win” – ANIMAL.

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Honky Tonk Heroes: Willie Nelson is a lot harder than I thought

John Spong has a narrative essay in Texas Monthly describing the rebellious country music scene around Austin Texas in the early seventies.  A few of my favorite quotes:

JERRY JEFF WALKER I had a whole lot of money available, and I knew what people like the Band were doing. You buy the equipment, make your record, and when you’re done, you own the shit! I thought that might be a good thing to do.

BOB LIVINGSTON Someone had gutted the old Rapp Cleaners on Sixth Street, put burlap on the walls, and made it one of Austin’s first recording studios. We’d been with Murphey in a Nashville studio, and now we’re with Jerry Jeff in this funky little place, plugged into a sixteen-track tape recorder in the middle of the room, with no board, no nothing. We’d get there about seven each night, and Jerry Jeff would be standing in the doorway, mixing sangria in this big metal tub.

JERRY JEFF WALKER The sound engineers wanted to bring in this souped-up equipment. I said no. This needed to be like one of those nature shows: [He whispers in an affected English accent]“This is the first time we’ve ever seen the birthing of a Tibetan tiger baby.” I figured if somebody could sneak up on a tiger, we could be recorded where we’re comfortable.

via That 70’s Show | Texas Monthly.

Of course the scene at Willie Nelson’s fourth of July picnics and a nice vignette about Billy Joe Shaver and peyote:

BILLY JOE SHAVER I got into that dang peyote and got to thinking I was Jesus. I was just walking around, healing people. I baptized a bunch of them.

via That 70’s Show | Texas Monthly.

I like this next quote by James White about letting these new country rebels play at his club.  Maybe it’s because he judges everyone so much on their shoes.  And of course — musical integration comes because five hundred hippies will buy a lot of beer.

JAMES WHITE opened the Broken Spoke in 1964. They drew over five hundred people. And I guess about 70 to 80 percent were hippies. Some of them were barefoot or wearing moccasins or tennis shoes, like a PF Flyer. None of them could two-step. They all did a dance I called the Hippie Hop, jumping around like old hoedown dancing. But there were five hundred of them, and I figured anybody who can draw five hundred people is okay.

via That 70’s Show | Texas Monthly

I know that Willie Nelson is fundamentally bad-ass, but this article gives me a whole new perception.  Here he is calming down redneck violence during the transition:

STEVE EARLE I saw Willie play this joint in Pasadena called the Half Dollar. Pasadena was where the Ku Klux Klan clubhouse was in the Houston area. It was as redneck as Texas got, full of refinery workers who went dancing every weekend. But that night, a bunch of us hippies wanted to sit on the floor and watch Willie play. So as the regulars go around the dance floor, they’re kicking us in the back. Willie stopped in the middle of a song and said, “You know what, there’s room enough for some to dance and some to sit.” That chilled it out.

via That 70’s Show | Texas Monthly.

Austin gave Tom T. Hall a lesson in gender politics.  Visible here is the understanding that the power/disempowerment of gender dynamics is the pleasurable thing for male-dominant sex:

TOM T. HALL My show at the Armadillo was the first time I was ever propositioned by a woman. I came out of Kentucky and had this naive notion that men were supposed to chase women. That was the sport of it. So this beautiful, blond-haired girl came out of the audience looking like one of the Dallas Cowboys Cheerleaders. She said, “Hey, you want to go screw?” I said, “Oh, I don’t think so.” The charm had gone out of the thing.

via That 70’s Show | Texas Monthly.

I’ve got to search for the first season of Austin City Limits.

BILL ARHOS That first year of Austin City Limits was crazy. Doug Sahm was on, and the air in the studio turned purple from marijuana smoke. I had to throw a guy out for spraying silver paint up his nose. Seriously. And God, Jerry Jeff was supposed to tape one night, but he’d gone to Miami to see the Cowboys play in the Super Bowl. If they’d won, he would’ve never shown up. But they lost, and he came, walking onstage while the Gonzos were singing “London Homesick Blues,” just grinning like an idiot. I said, “What the hell?” And someone said, “There’s a guy in the audience wearing a gorilla suit.” There was.

via That 70’s Show | Texas Monthly.

Perhaps the best musical defense against a drug charge by Waylon Jennings:

RICHIE ALBRIGHT The next day Waylon was booked for possession, and that was big news in Nashville. And it was funny because Willie played in Nashville that night and had Waylon come out onstage. The place went nuts. The day after that, we were at the lawyer’s office, and Waylon said, “You got a guitar around here?” They did. He said, “You’ve got to hear this new song.” He started playing “Don’t You Think This Outlaw Bit’s Done Got Out of Hand.” He got to the part where he says, “They got me for possession of something that was gone, long gone,” and the lawyers faces all drained. They said, “You can’t say that.” Waylon goes, “Hell, it is gone.”

via That 70’s Show | Texas Monthly.

Interesting how common gun play was at this point:

RAY BENSON We were filming a show at the Alliance Wagon Yard, and I’m in the video truck with a guy from CBS Records named Herschel. I put my hand on the board and suddenly go, “Ow! Was I just shocked?” and then Herschel goes, “Ow! My leg!” and I turn and see his jeans going dark with blood. One of Willie’s guys had shot at Joe Gracey’s brother with a .22, and the bullet went through the side of the van, grazed my left hand, and then went into Herschel’s leg. But when CBS found out who shot him, they decided not to press charges. They didn’t want to alienate Willie.

LEON RUSSELL That was my video truck. But I figured that if you send your million-dollar truck down to Austin, you’ve got to expect to get a bullet hole or two in it.

via That 70’s Show | Texas Monthly.

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Fela Kuti: Music is the weapon documentary

Consider this a juxtaposition to the clip about Paul McCartney and Fela.  Here is Fela narrating a portion of his life.  Included in this film are some great musical moments and some insights about what made Fela so dangerous.

In my opinion the liberated space he embodied and willingness to share risks make him a poignant anti-colonial force.   Of course I have problems with Fela’s sexism, but the quotes from the queens in this film give us some insight into their experience.

Of course when you google “Fela’s queens” you get western women reprising the roles of the women who married and risked with Fela.  Perhaps this is colonialism, that I can’t find any interviews with the “queens,” but I can find interviews with Americans playing Fela’s wives on broadway.  Some communications pushes out other communications.

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Filed under colonialism, communication, documentary, feminism, funk & soul, human rights, juxtaposition, music, protest, race, representation

The only white people there: Paul McCartney plays Fela Kuti

If you are interested in culture and race then your ears perk up any time anyone says: “we were the only white people there!”

How these kinds of things sound to ANYONE who isn’t WHITE?   It sort of embodies the kind of toxic insider racist/sexist/colonialist commentary of one insider to another.  I imagine one rich white bank guy leaning over to another rich white banker at a swank lunch to mock people starving in Bangladesh.

But to assume that everyone on the other side of the camera . . .or that everyone listening sympathizes with your own privileged skin color is so toxic that it can only be understood through the sad awareness that much of mass mediated story-telling has been narrated through a particularly white and colonial lens.

It is honestly hard to notice colonialism from the location of the privileged.  So I appreciate whenever an artist or politician, or a hip hop pioneer explains that they were the only white person at a key point in history.

Also an important clip because of the explicit conversation about jacking African music and perhaps the single greatest responses to the accusation of colonialism: “hey man, c’mon!  I’m not doing that.”

Thanks to OkayAfrica for the video.

 

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Challenging representation about violence in Chicago

I’m impressed with the arguments presented criticizing the moral panic about gun violence in Chicago.  I don’t live in Chicago, but I’ve certainly read a number of heavily negative media stories in the last year.   Prison Culture blog has the critique and it seems persuasive to me.

It’s certainly true that in some parts of the city, you are more likely to be shot or physically harmed than in others. However, on the whole, Chicago is actually “safer” in terms of public shootings and homicides than it’s been in decades. The city is in fact nowhere close to being the so-called “Murder Capital” of the country. Check the statistics, you’ll see that I’m right.

But you notice that I said “safer” in terms of public shootings and homicides, not “safer” in terms of “violence.” Because in very real ways, in terms of structural and institutional violence and overall oppression, things are pretty terrible for a lot of people. But we don’t discuss this with nearly the frequency or sensationalism that we do when we catalog the dead and the injured (as important as it is to memorialize those precious lives).

via Prison Culture » Can We Please Bury “Stop the Violence” as a Slogan? It’s Meaningless.

I also like that they address the militarized language that influences the way we understand poverty and policing in Chicago.

When we use these terms (which may or may not accurately describe how we live based on our own subjective experiences), we inadvertently legitimate a military response from the state (though the state needs no excuse to crackdown on the marginalized).

I would suggest that even more insidious is the way that these terms condition our own thinking about ourselves and each other. We trap ourselves into responding to these structural problems with a punishment mindset and a war footing. And this has devastating consequences for communities that are already over-policed, militarized, under-resourced and ravaged through decades of disinvestment. Using this terminology ultimately contributes nothing to ending interpersonal violence & may in fact exacerbate it.

via Prison Culture » Can We Please Bury “Stop the Violence” as a Slogan? It’s Meaningless.

 Thanks to Feministing for the suggestion via their Weekly Feminist Reader.

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Waka and Gucci fall 2013

Waka Flocka Flame has a diss track for the currently-incarcerated Gucci Mane.  Having been friends and label-mates, this schism seems pretty interesting.   Nice beat and a particularly scathing criticism.   Drug use, question of authenticity (“I’ve been shooting pistols since seventh grade.”) number of goons willing to shoot for them, and attacking Gucci for causing strife solely for attention.

“P.S. Don’t get caught in that/Dissin’ for promotion/All in your feelings/all in your emotions/Just for attention/you cause all this commotion/Ni**a you just talking/you don’t really want all your business in the ocean. “

– Waka Flocka Flame “Ice Cream” Oct 2013.

I actually think Waka has some good points.

He also has the status to call out Gucci like no one else can.  Waka has taken the Snoop Dogg path to success.  Astounding tour concerts.  Relentless affection for his fans, and a consistent ability to stay out of gossip blogs.

Remember Waka volunteering to go naked for PETA?  Like Snoop, Waka seems “like a grown-ass rock star” as one of his buddies puts it in a video.  He is a taylor made celebrity — with toxic violent raps and a Fozzy Bear sized lovable personality.  Waka, like Snoop before him has chosen a particularly thin road to walk for fame.   Playing cute in morning shows and rapping about shooting people at the same time.

If Waka releases videos full of debauchery and destruction, he loses a significant portion of his buying public.  Something Gucci is now facing — perhaps the myriad offenses cease to be explainable.  Fans desert you and your albums are not purchased.

But Waka (and Gucci Mane and a million other roughneck emcees) still have to articulate an image of outlaw anti-social behavior.  In most cases, they choose to emphasize their wealth (suggesting that it was garnered through drug sales and not through regular work, music, savings or investing.)  In other cases, they mark their own perpetual return to the criminal life.

Of course telling a couple of hundred thousand fans (and increasingly interested cops) about your criminal behavior has potential consequences.  It seems like cops listened to Waka and Gucci when they raided Deb Antney — Waka Flocka Flame’s manager and mom.

Antney, who heads up Mizay Entertainment, was frustrated because her company is scheduled to host a toy drive Thursday. She said when she arrived on the scene, police called her “the Candy Lady” and suggested she was the ring leader of the prostitution operation.

“Of course I’m not gonna sit back and be called ‘the Candy Lady,’ ” she said. “There was no prostitution. And we’re not gang-affiliated.”

via Waka Flocka Flame’s Mom Denies That Prostitution Was Behind Raid – Music, Celebrity, Artist News | MTV.com.

(Pause for a minute to ask ANY of you how you would do with the cops raiding your mom’s house?)

I’m not blaming musicians for rhyming about criminality.  I’m interested in how Waka stayed famous, rich and out of jail, while Gucci is alienating everyone and in prison for the next six months (at least).

Part of it has to be Waka noting that those who commit crimes when trying to rhyme are “hustling backwards.”

“Why would I try to rap and then street gangbang?” he added. “That’s hustling backwards. I’m good. I dropped the album Flockaveli, and it’s doing numbers. I think ‘No Hands’ is platinum or on the road to be. I’m in the top three albums of the year…I’m going in, man.”

via Waka Flocka Flame Addresses Police Raid | Get The Latest Hip Hop News, Rap News & Hip Hop Album Sales | HipHop DX.

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Surveillance as fame: Chief Keef

Ben Austin in Wired:

We naturally associate criminal activity with secrecy, with conspiracies hatched in alleyways or back rooms. Today, though, foolish as it may be in practice, street gangs have adopted a level of transparency that might impress even the most fervent Silicon Valley futurist. Every day on Facebook and Twitter, on Instagram and YouTube, you can find unabashed teens flashing hand signs, brandishing guns, splaying out drugs and wads of cash. If we live in an era of openness, no segment of the population is more surprisingly open than 21st-century gang members, as they simultaneously document and roil the streets of America’s toughest neighborhoods.

via Public Enemies: Social Media Is Fueling Gang Wars in Chicago | Underwire | Wired.com.

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The last meals of condemned prisoners

Brent Cunningham has a fascinating write up about last meals in Lapham’s Quarterly.   Consider some of the distancing methods articulated during the execution phase:

The last meal as a cultural phenomenon grew even as capital punishment faded from public view, and in less than two centuries the country has gone from grisly public hangings, in which the prisoner was sometimes unintentionally decapitated or left to suffocate, to lethal injection, the most common form of execution in America today, in which death is “administered.” The condemned are often sedated before execution. They are generally not allowed to listen to music, lest it induce an emotional reaction. Last words are sometimes delivered in writing, rather than spoken; if they are spoken, it might be to prison personnel rather than the witnesses. The detachment is so complete that when scholar Robert Johnson, for his 1998 book Death Work, asked an execution-team officer what his job was, the officer replied: “the right leg.”

via Last Meals – Lapham’s Quarterly.

Good observation that the act of eating the food provided by one’s killer is really a kind of communication to justify the act.

What unites these customs is an emphasis on the needs of the living, not just the dead; so too with last meals before an execution. When Susanna Margarethe Brandt sat down to the Hangman’s Meal, she signaled that she was cooperating in her own death—that she forgave those who judged her and was reconciled to her fate. Whether she actually made those concessions or not is beside the point; the officials who rendered and carried out her sentence could fall asleep that night with a clear conscience.

via Last Meals – Lapham’s Quarterly.

Thanks to Longreads for the suggestion.

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