tomato club girl blog

hardcorefornerds:

A very interesting (and long-ish) interview, not in the least because of discussing fashion from a feminist/punk perspective for much of it (as an aside, the question above struck me as odd, since for me hardcore - or at least post-hardcore - is very much about visual aesthetics. But how much that is really typical and is engaged with critically, I can’t say)

when i went to see perfect pussy i was wearing a lolita dress and meredith braided my hair

***Flawless (feat. Chimamanda Ngozi Adiche)

AHHHHHHHHHHH!!!!!!

marieyall:

lol every once in awhile i go through my tumblr posts and delete things/make things private because this blog has existed during unflattering periods of my life. anyway here is a semi-edited (i only took out a few words/ranty sentences) version of That Thing that happened at go bar at dance back the night a few years ago:

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dance back the night is mysteriously always the worst. i wrote something about my shitty experiences a couple years back (a different dance back the night than this one) it involved one of the performers talking about what a bitch his ex-girlfriend was. 

i feel kind of like i have a responsibility to get involved with dance back the night as a women’s studies student who knows a lot of people in bands but i just already have such bad associations with it and i feel like other people do too. that’s a super cop-out reason.

Los Campesinos! - Miserabilia
399 playsDownload

rgr-pop:

katydidnot:

isabelthespy:

nickminichino:

oneweekoneband:

Los Campesinos! - Miserabilia

“SHOUT AT THE WORLD BECAUSE THE WORLD DOESN’T LOVE YOU”

There’s been a post going around tumblr lately about the twee male gaze and let me tell you: I feel you. ‘cos twee, although not a perfect descriptor for Los Campesinos! but certainly close enough, is all mixed up with connotations of emosogyny and mansplaining and a culture of indie elitism. If you’ve read earlier Los Campesinos! interviews, Gareth is fucking rampant with it. Most explicitly on the latter charge, but you gotta wonder about a guy who comes from that scene and his preoccupation with all them girls what done ‘im wrong.

It’s a good thing above author jakec doesn’t contribute to that culture by, say, using katydidnot’s words without proper attribution. 

lol nick beat me to the reblog i was thinking about. but yes: if you’re referencing not just like, ~a broader conversation~, but what you yourself say is a specific post, it’s bad manners, to put it charitably, not to link to that post (or even name the author!). when it’s a dude ostensibly writing about dude grossness, not-naming the woman who at this point has done a fair amount of work intelligently identifying and exploring the particular breed of dude grossness in question? maaaajor side-eye, to say the least.

(also everyone should click the link to read katydidnot talking about the twee male gaze, i don’t even really care about twee but her stuff is great.)

hahahaha, oh my fucking god you guys 

HE FEELS ME

anyway this is irritating because also he is dismissing the entire genre as twee male gaze/twee dude feelings which totally fucking ignores the fact that twee music is much more inviting for women to participate than most scenes. like, did you learn about the twee scene only from reading my twee male gaze posts (and not like, my other posts) my point isn’t “TWEE MUSIC IS INHERENTLY PRETTY SEXIST, ON ACCOUNT OF IT BEING TWEE MUSIC” which you seem to think it is; my point is “twee music thinks it’s not sexist, but unfortunately, like all music it is,” and you are totally undermining my point if you write something that just takes at face value that everyone knows how sexist the twee scene is. 

I loved seeing people defending Katy on my dash, mostly because DEFEND KATY is my #1 political/moral/emotional stance on this earth and I never get to apply it because pretty much everyone is always nice to Katy because she’s the best person in the world. Mostly I get to be mad when people rip her off, or are wrong about twee stuff, so it’s cool to get to be mad about both happening at once. ANYWAY, at first I was like “hey Katy can I reblog that conversation in DEFENSE OF GARETH,” and I was joking but I realized I actually have a lot to say about how Gareth interacts with twee cliches, at least through the second album? So I’m gonna write some stuff about that. A lot of my interface with what Katy writes about—although, like, I have an enviable Krecs stash myself, and paid my Sarah dues, whatever—comes from a punk background, and mostly a pop punk background, and we have a lot of discussions about where what she is talking about meets what I talk about. (So, like, a lot of KRS, a lot of eighties pop punk/bay area punk, MTX especially, nineties alt punk and geek punk, etc.) (A thing I would call a defining quality of Katy is that you can be like “hey do you know any twee songs about x?” she can draw up a giant list like, immediately, with extensive footnotes, and I am the same when it comes to dumb punk and pop punk, and I think that’s one of the reasons we are kindred.) ANYWAY, needless to say, Los Camp is one of the only bands that I have ever called My Favorite Band that could also theoretically be called a Twee Band (although, not really), so I find my unique qualifications to be very useful here, in arguing about Gareth. I just think if you are reading Hold On Now (in particular) in terms of the sensitive dickwad twee archetype—and I am not saying Gareth isn’t a sensitive twee dickwad, at all—then you should also be reading it in terms of what he has to say about that, as an archetype. Which isn’t a sophisticated argument, even? But it’s also a really easy one, soo… Anyway, that’s all I have to say—although I will say more, before long.

Mostly I just wanted to publicly take issue with this (and like, I WOULD, but stay with me here)

So what if he’s got girls in his band? I grew up with only women for family members and that didn’t stop me being a little asshole in my formative years. Thank god I found NOFX and transferred all my anger towards Bush and THE SYSTEM; if I’d found Los Campesinos! a few years earlier I might’ve just started wearing cardigans, cosy in Gareth’s validation.

Okay, I understand that this is an easy shorthand, and I fully grasp that it’s in reference to “I had a Not My President shirt in 2004,” which, fine. But, like, as a career defender of pop punk as Maybe Not As Sexist As You’d Think, NOFX is WAY MORE SEXIST THAN LOS CAMPESINOS, LIKE ARE YOU SERIOUS. (They might even be more sexist than Belle & Sebastian??)

Listen, I think the twee-cardigan as subcultural-fedora is a good observation and I think it’s pretty cool that indie dudes en masse are starting to unmask that bullshit, but are we really fetishizing FAT MIKE’s unabashed-no-holds-barred-fucking-misogyny as the noble alternative to pretending you’re not sexist? Like, I might have employed this strategy in the past, but I’m a woman??? Like, I am less sexist because I grew up listening to the guy who wrote such classics as

It’s that time of the month,
Again, you’re bitching,
Stop yelling at me.
I know you’ve got to plug yourself up,
But why take it out on me?
Just leave me alone,
Stop yelling at me,
Leave me alone,
When it’s your time to bleed.

and

You’re at a party, the girls are lame
But it’s Friday night, you want to get laid
So you beer bong down, six Meister Brau
And the Girls don’t look so bad to you now
They’re all
Six pack girls
So you pick her up and bring her home
And stick your pop in her slop
Wake up the next morning
and show her the bus stop

Like, ARE YOU FUCKING KIDDING ME. “I’m not sexist because I grew up listening to NOFX.” (*bonus points for the fact that they are a favorite white supremacist band, but w/e.) I guess that knowledge explains this:

I assume everyone, like me, immediately imagines walking in on their most beloved/despised ex and someone prettier making out to the sound of “You! Me! Dancing!”

which, like, no, I think that just makes you creepy as fuck but whatever.

Anyway, I really like the “emosygyny” statement and I wish that could be explored a little more because I think that’s actually where a lot of this stuff originates in Gareth’s work, and I’m fascinated (and baffled) by the choice to source in it Sarah Records or Belle & Sebastian—not to mention the choice to paraphrase someone else’s work on sexism in twee and completely ignore the role of women in those contexts—IE, THE MOST IMPORTANT ORIGINATORS OF THE GENRE.

Like, every time I talk about Los Camp in the context of “twee” Katy gets mad at me because it isn’t really fair. I mean, they’re a lot more like Fall Out Boy, really.

i never listened to los campesinos because louise didn’t like them when they first made music but i am not politically opposed to them, i am way politically opposed to that writer though. 

normandiewilson:

About once a week, I read something on the internet that makes my blood boil. Today it was this article in the Riverfront Times, the St. Louis alternative weekly.

This article reads like instructions on how to spoil a young child beyond all possibility of repair; it sounds like a step-by-step…

this is so bad. y’all should click the link and read it all. the terribleness of the original article is made much better with excellent commentary. relevant to my athens friends, many of which are girls who play music dating boys who play music. 

It’s that time of year again—time to pay attention to the men who rock, FOR A CHANGE! Everyone knows that there is nothing sexier (or more rare) than a man who knows how to rock. Being a gorgeous man in music is one thing, but add talent to the mix? That’s taking it to a whole ‘nother level. With male-fronted bands, male solo acts, and even all-male bands becoming more and more commonplace, 2012 has definitely been the year of fierce men in music. They’re starting to rock all the genres, too: provocative punks, steamy rock ‘n’ rollers, dashing cowboy sweethearts, hiphop hunks—men are even making it in the complicated world of electronic music! Guys everywhere are stepping to the front and demanding to be heard—and we’re ready to listen. And look! To show our appreciation for the strong males who provide us with satisfying doses of ear candy and eye candy, we handpicked six of Seattle’s hottest male musicians to showcase their ability… to turn us on!

omg, the side articles

A dude could write, “I threw up everywhere but there was no toilet paper to wipe my mouth on,” and [guy]’d feel sympathy. We have to fucking bleed every month in order to populate the world and the least men could do is remember the fucking toilet paper.

-K. DREW

In response to how I recently wrote a lil thing for Tom Tom Magazine (on the internets) (find it if you want) and talked about aforementioned experience at punk space with no toilet paper while on my period, and a dude I know commented on a link to it saying “TMI.”

(via marieyall)

i tried to find this to go into facebook girl gang mode but i couldn’t find it. good work though all involved.

sure. if you have a critique you’d like me to address publicly, message me and i’ll try to get to it in a timely manner.

Spoonboy 

this is important

1,077 plays

rgr-pop:

iloveyouthisisarobbery:

recklesschants:

what’s with the slut-shaming in this song? I was the person in the leopard print skirt, the person having lots of sex, starting at a fairly young age, and it wasn’t a ‘waste of my youth,’ fuckers.

it was recently pointed out to me that the max levine ensemble song “leopard print girl,” could be read as slut shaming, and i wanted to apologize to anyone who read it that way.  i know intentions are only worth so much, but i can only offer that it was never how i meant for that song to be interpreted.  to be clear, i wrote the song when i was 17 years old (over 11 years ago), my entire feminist education consisted of bikini kill and propagandhi records, and i didn’t really put that much thought into my lyrics.  it was intended to be a condemnation of what i saw as the predatory sexual attitudes of some of my peers in high school, not a judgement of the choices of the “leopard print girl.”  but i can see now how it could be read that way, so i’m sorry for that.

a couple of years ago we re-recorded the song for a record we made for our tenth anniversary as a band, because it had been one of our best received songs during our first few years as a band, and i’d always felt like people i’d talked to had taken the same meaning out of it that i’d intended.  in re-recording some of our older songs, i was really tempted to revisit the lyrics to some of our early songs but decided to leave them how they were for documentation’s sake.  honestly though, until someone pointed it out, i was never able to step outside the head space i was in when i originally wrote the song to see if it could be interpreted another way.

anyway, i don’t believe in slut shaming, i think all people should fully explore their sexualities (consensually), and i’m sorry if the song came off otherwise.  all i can do is hope people are able to see the original intention of the song, but i want to say that i’m sorry to anyone who found it to be hurtful.

xo

wait are you responding to public critiques publicly now?

marieyall:

pretty sure all the bands tonight have girls in them too. at least three outta four.

what if you are all menstruating 

menstrual riot

marieyall:

marieyall:

I was gonna post about how this place is exactly like the squirrel (basementy thing, guy who runs it lives here and his name has the same syllable pattern, mannequin parts, garage door, art, bikes, same furniture, dopplegangers of athens people and even a guy wearing an athens…

Yeah I know, that’s why I posted it. I’m just on my phone though so I’m trying to be brief (fail). The dude invited us to stay here which NO

APPRECIATED! you should totally stay there and just leave all your bloody tampons everywhere

marieyall:

I was gonna post about how this place is exactly like the squirrel (basementy thing, guy who runs it lives here and his name has the same syllable pattern, mannequin parts, garage door, art, bikes, same furniture, dopplegangers of athens people and even a guy wearing an athens band tshirt, etc) but then I went to the bathroom and there is no toilet paper (I searched hxc) and not even a fucking trash can. Maybe it’s cause I’m bleeding but this sent me into a blind rage. I don’t normally use tampons (sea sponges yall) but I’m on tour so whatever but what the fuck am I supposed to do? Carry around a bloody tampon in my back pocket? Smear it all over the shower? Hide it in the ceiling?

SUPER RELEVANT TO PREVIOUS DISCUSSION 

if they do not give you a place to put yr bloody tampons that is them giving you permission to put yr bloody tampons anywhere you want. 

FOR EXAMPLE, I HATE ANDREW JACKSON JIHAD BECAUSE I GOT FELT UP AT ONE OF THEIR SHOWS, RIGHT WHEN THEY SANG THE PART ABOUT HOW THERE’S A RAPIST INSIDE ALL OF OUR HEARTS

rgr-pop:

LIKE, WHO AM I SUPPOSED TO BE MAD AT? HOW AM I SUPPOSED TO ENGAGE?

this is such an eloquently succinct example of “the problems with punk and sexism”

oh come on let’s get real nowadays it would be way more accurate if it were “A SONG ABOUT HOW MEN ARE TERRIBLE, WRITTEN BASED ON MY OWN EXPERIENCES (OF DATING TERRIBLE DUDES)” 
anyways you’re not doing a very good job of stopping girl hate when you call taylor swift out on girl hate and then proceed to not take her seriously because sparkly dresses and interest in boys

oh come on let’s get real nowadays it would be way more accurate if it were “A SONG ABOUT HOW MEN ARE TERRIBLE, WRITTEN BASED ON MY OWN EXPERIENCES (OF DATING TERRIBLE DUDES)” 

anyways you’re not doing a very good job of stopping girl hate when you call taylor swift out on girl hate and then proceed to not take her seriously because sparkly dresses and interest in boys

50 plays

"there’s just something about a girl with a bass guitar"

(more explorations into the twee male gaze)