BUST News http://bust.com/ en-gb no-reply@bust.com (BUST ) Sun, 24 Sep 2017 13:35:33 -0400 JSitemap Pro Betsy DeVos Has Revoked Obama’s Title IX Guidance On Campus Sexual Assault, So What’s Next? http://bust.com/feminism/193504-betsy-devos-has-revoked-obama-s-title-ix-guidance-on-campus-sexual-assault-so-what-s-next.html http://bust.com/feminism/193504-betsy-devos-has-revoked-obama-s-title-ix-guidance-on-campus-sexual-assault-so-what-s-next.html  


Education Secretary Betsy DeVos has followed through on her threat to overhaul the system for dealing with sexual assault on university campuses. Specifically, she has issued a “Dear Colleague” letter withdrawing the 2011 Title IX Guidance (and the 2014 follow up) that discussed the obligations schools have to address campus sexual violence. The 2011 letter was hailed by survivors and advocates as a step towards improving campus culture, but DeVos has taken issue with the fact that it allows for a range of incidents to be considered sexual assault, as she believes too many people are being falsely accused.

"Any perceived offence can become a full-blown Title IX investigation, but if everything is harassment then nothing is,” she said, in a speech at George Mason University earlier this month. With this latest advice, universities are no longer required to use the “preponderance of the evidence” standard of proof, which means the charge should be proven to be more likely true than not, rather than the “beyond reasonable doubt” standard. Now, schools will be free to put in place their own systems for dealing with Title IX complaints. This new advice also affects other aspects of Title IX enforcement, such as the ability to cross-examine witnesses and possible time delays.

If DeVos thought the old system was messy, the new rules are an absolute nightmare when it comes to creating a cohesive system across the country. It also means survivors will not have access to standardized procedures, and could face additional discrimination when attempting to register their complaints. According to the new letter, the Department of Education intends to create a new and more effective system based on public consultation. In the meantime however, survivors, their supporters and universities are left in limbo.

Read the full document here.

Image via The Hunting Ground.

More from BUST


Betsy DeVos Wants To Change Campus Sexual Assault Guidelines To Include “All Perspectives”

Here Are All The Reasons Why Betsy DeVos Is Bad News Bears

How College Students Are Fighting Campus Rape With Art, Humor, And The Guerrilla Girls Broadband

Feminism Fri, 22 Sep 2017 13:26:17 -0400
How Gina Rodriguez Of "Jane The Virgin" Is Changing TV For The Better: BUST Interview http://bust.com/feminism/193502-gina-rodriguez-interview-cover-story.html http://bust.com/feminism/193502-gina-rodriguez-interview-cover-story.html ginagoldskirt

Our Lady Of Prime Time

For her title role on the CW’s comedy hit Jane the Virgin, Gina Rodriguez became one of the first Latinas to win an acting Golden Globe. Here, the trailblazer reveals the real woman behind “the Virgin,” and opens up about masturbation, her man, and finally making it

By Erika W. Smith
Photos by Kat Borchart // Styling by Ashley Avignone
Hair by Kristin Heitkotter // Makeup by Carissa Ferreri // Props by Chelsea Maruskin

It seems impossible, but Gina Rodriguez may be even sweeter in real life than her character is on the CW show Jane the Virgin. Here are a few things that happen in the first five minutes of our interview: As she orders a late breakfast of scrambled eggs, chicken sausage, and avocado, she stops to ask our waitress about the origins of her name (“Silke”), which she proclaims “stunning.” She compliments my long hair, saying that she can’t wait until hers grows out again (she got an undercut to film the action movie Annihilation last year). She takes a quick Facetime call from her boyfriend, actor Joe LoCicero, tells him, “Baby, I’m in an interview, I love you so much,” hangs up, then says, “It took me 32 years to find him, so let’s hope I can hang on to him!” And after all that, she finally launches into describing for me her unbelievably busy schedule promoting the Season 3 finale of Jane the Virgin, which will air just a few days after we meet.

To say she’s been “busy” is an understatement—Rodriguez is still wearing a white Kate Spade dress (which she has to return later, she tells me) from an early morning appearance on Live with Kelly and Ryan, and the day before, she followed up her BUST photo shoot at the Gramercy Park Hotel with an appearance on The Late Show with Stephen Colbert, where she talked about finally paying off her student loans. After our interview, she’s off to train for her next film role, Miss Bala, in which she’ll star as a woman who becomes a CIA agent. “I was a starving artist for so long, and then it hits, and all you do is work,” she says. “My parents are like, ‘For the first 10 years, you were practicing relaxing. Now, you get to work!’”

In fact, Rodriguez, 32, has been acting professionally for half her life; she was admitted to NYU’s Tisch School of the Arts at 16, where she trained with David Mamet and Philip Seymour Hoffman. Her first TV role was in 2004, a one-episode appearance on Law and Order. But it wasn’t until 2012 that her first big break happened: She played an aspiring rapper in the indie film Filly Brown, which was nominated for a Sundance Grand Jury Prize. The movie got her some attention, and two years later, she landed the starring role on Jane the Virgin, an impossible-to-categorize program that can be described as both a satirical romantic comedy and a dramatic telenovela. It is, on the surface, a show about a young, devout Catholic woman saving herself for marriage who, after she becomes accidentally artificially inseminated with her boss’ sperm, decides to have the baby. But along with its soapy plotlines (multiple pairs of secret twins have shown up), Jane the Virgin has made headlines for the way it handles social issues including immigration, abortion, and purity culture, and has received praise from progressive organizations including Planned Parenthood, the ACLU, and the NAACP. And, NBD, it’s won a ton of awards, too—including a Golden Globe for Best Comedy Actress for Rodriguez, which made her only the second Latina to win in that category since the awards began in 1944.

Playing a fictional virgin (Jane finally loses her virginity in Season 3 after marrying her longtime boyfriend Michael) means that Rodriguez is used to fans telling her about their sex lives. “Lots of young girls tell me that they’re saving themselves for marriage, or they want to wait longer, or, ‘I’m 16 and I’m still a virgin!’ And I say to them, ‘You go girl, it’s your body, it’s your ownership, it’s your decision,’” she says. The openness of her fans has also made Rodriguez more ready to talk about her own sex life. “I have no discomfort with sex whatsoever,” she says. But she does admit to feeling a little nervous—after demurring in earlier interviews promoting Jane—about finally sharing her own virginity loss story on comedian Phoebe Robinson’s podcast Sooo Many White Guys this past April. In a nutshell: She was 17, it was to her high school boyfriend of about a year, he was also a virgin, and “it was pretty magical.” After that episode aired, Rodriguez says that she barely got a reaction, which was OK by her. “It was as if my fans were like, ‘Alright, get it girl!’”

Earlier this year, Rodriguez also announced that she’s going to play the most famous virgin ever, the Virgin Mary, in an animated nativity movie called The Star. “All the virgins, I play all the virgins,” she jokes. (BUST readers might be more excited about another animated project—Rodriguez will also be voicing Carmen Sandiego in a Netflix reboot of the ’90s hit kids’ show.) Rodriguez’s own religious views, however, are a little complicated. She grew up in a Catholic, Puerto Rican family in Chicago, has some Jewish extended family, and explored Christianity and Buddhism as an adult. “I think I’ve settled on the all-inclusive religion of love,” she says. “I think God is love.”

ginacasperAudra dress and coat; Chloe Gosselin shoes; Jenny Bird ring

Although Jane is a devout Catholic, Jane the Virgin shows how its main character sometimes suffers under the pressure of a culture that highly prizes sexual purity—including feeling lost after finally losing her virginity within marriage and hesitating to have sex outside of marriage after her husband dies. When I tell her that as a former Catholic, this felt very true to me, Rodriguez answers, “Hell yeah. Guilt, are you kidding? I was definitely raised with that. In all honesty, I used to feel guilty for masturbating. Oh my God, this extreme guilt! And that lasted way too long. Or maybe I masturbated too much!” She adds, “It’s OK to look back in retrospect and be like, it wasn’t good that I felt bad about touching myself. And it isn’t bad that I want to share my love with my boyfriend. I’m 32 years old, I’m an adult, I can do that!’”

Another thing she’s old enough to do is take her politics to the streets to march against inequality, something that Jane also does in response to increasing ICE raids. In January, Rodriguez joined the Women’s March in Los Angeles, wearing a shirt that read, “Torch your bra.” But that wasn’t the only march she’s attended. “I march whenever there’s a march,” she says, adding that she also participated in A Day Without A Woman. “I told the CW that I wasn’t going to come to work,” she says about the national strike day. “You need women, or else this TV show does not exist.” 

ginachairUse Unused dress; Jonathan Cohen coat; H&M crushed velvet slippers; Effy jewelry; Selim Mouzannar rings; Ilana Ariel bracelet; flowers courtesy of Telefora

Considering the kinds of marches she’s been attending recently, Rodriguez’s answer to the question “Are you a feminist?” comes as no surprise. “Hell yeah!” she says. Then adds, “Everybody should be a feminist.” Her definition of feminism, she says, is simple: “Equality.” It’s something she learned growing up in a household with four women—her mother, her grandmother, and her two older sisters. “My grandmother is the biggest feminist,” she says. “She is an activist, she is a voice against injustice. I grew up with that.”

For herself, she considers acting in Jane another form of activism. “I feel so fricking lucky to be part of a project that understands its ability to be a platform for change,” she says, giving credit to “brilliant” showrunner Jennie Snyder Urman. Rodriguez personally has also been using the Jane platform to become an outspoken advocate for putting more people of color, particularly Latinos, both in front of and behind the camera. In her Golden Globes speech in 2015, she said, “This award is so much more than myself. It represents a culture that wants to see themselves as heroes.” Rodriguez has backed that up with her production company, I Can And I Will Productions, which earlier this year signed a deal with CBS. It’s named after a saying from her dad that she quoted in her Golden Globes speech. “My father used to tell me to say every morning, today’s going to be a great day, I can and I will. Well, Dad, today’s a great day, I can and I did.”

“If I didn’t help create opportunities for other Latinos, I would be doing myself a disservice because I am the collection of everyone’s hard work,” she says. “So how can I not do that for others?” She has been vocal before about turning down roles because she was tired of seeing the only Latinas on TV be “the pregnant teen, the maid, or the landscape artist.” But she’s also quick to clarify that there’s nothing wrong with a Latina in the real world being a maid. “There’s nothing wrong with the job, it’s that we’ve seen these roles played,” she says. “We haven’t seen the lead lawyer DA be a Latina, we haven’t seen the President of the United States be a Latina, we haven’t seen the character I’m playing next in Miss Bala, who is a woman in the CIA, be a Latina.”

Rodriguez is also using social media as a form of activism. After the #OscarsSoWhite conversation in early 2016, she began posting a photo and bio about a person of color in the film industry or activist sphere every Monday to her 1.7 million Instagram followers; recent spotlights include Black-ish star Yara Shahidi; comedian Nasim Pedrad; actor John Leguizamo; and Puerto Rican activist and attorney Iris Morales. These posts sometimes prompt dialogue with more conservative fans, and when that happens, she’ll go the distance to engage with them. “I can love a Trump supporter,” she says. “Maybe not a racist, that would be very hard for my heart. But I’m saying that you don’t have to have the same political views as I do in order for me to love you and be kind to you.”

ginaparkCos dress and belt; Malone Soulliers shoes; Ef Collection and Selim Mouzannar rings

It’s impressive how Rodriguez is able to have such a compassionate response in the face of so much social media hate. “I get so much shit,” she says, going on to describe what happened when she interviewed then-President Barack Obama for the Latino web series We Are Mitú, during the 2016 election. “I asked him, ‘What would you tell our undocumented citizens?’ I consider them citizens because of what they contribute to this country. And I had such a sense of joy and pride to interview, to me, the best president we’ve ever had. But I got destroyed, I got hate, I got people telling me they were going to kill me because I was going to throw off the election. It sucked.”

It was Lena Dunham, ultimately, who gave Rodriguez some advice to get over it. “I asked her, I was like, ‘Dude, I am getting destroyed, I am getting hate mail, I am getting attacked, and all I said is that I believe in the inclusivity of people from other cultures and religions and ethnicities coming to our country.’” Dunham’s advice? “She was like, ‘Girl, it’ll be over in a few days. They’ll be on to the next person to destroy. Don’t let them steal your joy.’ And I started to let go of that, because there was also a lot of love. There is always love amidst the negative, even though the negative is always so much louder.”

Rodriguez currently has two great loves in her life: her aforementioned boyfriend, Joe LoCicero, and her eight-year-old dog, Casper (featured in the photos for this story). She rescued Casper in Los Angeles seven years ago, back when his fur was so matted, “his legs could barely stretch.” Rodriguez took him home to groom him and decided to keep him. “He’s been my road dog ever since,” she says.

And as for Rodriguez and LoCicero, they celebrated their one-year anniversary in August. They met when he appeared on Jane the Virgin, playing a stripper dressed as Don Quixote for Jane’s bachelorette party (and he later reappears as a stripper dressed as Prince Charming for Jane’s mother’s bachelorette party). While she says she thought he was hot when she first met him (“He’s so cute, he’s so pretty, his body is ripped for days”), they really connected when they ran into each other at Rodriguez’s boxing gym—she’s been boxing since she was three—six months after his first appearance on Jane. “The second time I saw him, I didn’t realize who he was. He came in through the door and I was like ‘Good God!’ and I fell into his eyeballs.” Rodriguez reintroduced herself, and they ran into each other at the gym for the next four days. “On the fourth day, he asked me out, and I have been dating him ever since,” she says. “Now I know what it means to date your best friend.”

ginablackdressChrles Youssef dress; Lizzie Fortunato earrings, cuff, and belt. Location: Gramercy Park Hotel

It’s a much more stable love life than the one written for Jane, who, in the first season, was caught between her longtime boyfriend Michael and her boss/former crush/baby daddy Rafael, before marrying Michael in the Season 2 finale; Michael dies midway through Season 3, and the Season 3 finale sets up a new love triangle between Jane, Rafael, and a new character named Adam. For her part, Rodriguez says, “Jane with Michael was everything to me, and I really can’t imagine Jane being with anyone else.” But she’s on board with the fans who ship her with Jane’s frenemy (and Rafael’s ex-wife) Petra, with the couple name “Jetra.” Rodriguez says she sees that fantasy pairing online “so often,” adding, “and so many fans ask me if Jane is bisexual. Jane is the furthest from bisexual—maybe Gina’s a little closer than Jane is!—but I love that they want that. And I’m all about ‘Jetra.’ I love ‘Jetra.’” She’s also on board for playing her longtime friend Stephanie Beatriz’s girlfriend on Beatriz’s show Brooklyn Nine-Nine, something fans have suggested for the pair on Twitter. “I want to play her love interest so bad,” says Rodriguez. “I really hope they make that happen.”

Along with her #MovementMondays and volunteering to fictionally pair up with Beatriz, Rodriguez has also used social media to be open about her health, both physical and mental. She was diagnosed with Hashimoto’s—an autoimmune disease affecting the thyroid—right when Jane was beginning to film. One of the symptoms is depression, which Rodriguez says she struggled with while shooting Jane’s third season. “For anyone who deals with depression,” she says, “it’s like, ‘My family’s great, my boyfriend’s great, my career is great, so why can’t I smile? Why don’t I want to get up? Why is this so much harder?’” Another symptom is that it’s difficult to lose weight, which Rodriguez says she has learned to embrace. “It gave me a new fight,” she says, “to change the way I felt about myself. So many girls believe they have to be two fricking pounds to be any kind of success, and that is not the truth. I believed it for so long, and it hurt me. But then at 27, I was like, ‘They say I can’t be a lead because I’m not skinny enough, tall enough, pretty enough, light enough, white enough, Latino enough, whatever enough. That’s bullshit, and I’m going to change that.’” She also names Dunham, Mindy Kaling, and America Ferrera as other women who are inspiring her to fight to bring body diversity to TV.

Whether it’s size, gender, or race, Rodriguez knows that we need to see more diversity in pop culture. And even if you don’t have a hit TV show, your own production company, or millions of social media followers, you can still do something about it. “Don’t consume the products [that don’t represent you],” she says. “Especially Latinos! Latinos make up 38 percent of the box office every weekend. That’s a lot! So if you want to see Latinos in big studio films, and they don’t exist in them, don’t see them, because in this industry, money talks more than anything. If you do not see yourself and your community in the ways that you want, don’t purchase tickets. If you don’t purchase, they’ll stop making [something exclusive]. If you don’t purchase, they’ll start to include.”

Top photo: H&M shirt; Use Unused skirt


This article originally appeared in the August/September 2017 print edition of BUST Magazine. Subscribe today!


More from BUST

Gina Rodriguez Will Produce A New TV Series About An Undocumented Family

Gina Rodriguez Of "Jane the Virgin" On Her Boyfriend, Her Family, And Her Feminism: BUST Sneak Peek

"Jane the Virgin" Just Showed The Best Abortion Episode On TV


Feminism Fri, 22 Sep 2017 11:58:29 -0400
Week Of Women: September 22-28, 2017 http://bust.com/entertainment/193501-week-of-women-september-22-28.html http://bust.com/entertainment/193501-week-of-women-september-22-28.html  


It’s that time of week again! Take a look at our 10 picks for women-centered pop culture in the week ahead. This week's edition features the Battle of the Sexes, the return of Transparent, and new music from The Blow. As a reminder, we haven’t seen, read, or listened to all of these ourselves, so if you hate them, don't blame us! But if we have reviewed them, we’ll include a link to the review, or refer to it if it’s in print but not yet online.


Battle of the Sexes

Emma Stone stars as tennis legend Billie Jean King in this biopic directed by Jonathan Dayton and Valerie Faris. Steve Carell plays Bobby Riggs, the sexist loser of the match. Out Friday, September 22, via Fox Searchlight Pictures. 


Kate and Laura Mulleavy — the sisters behind Rodarte — pulled a Tom Ford and made a movie. Early reviews are...not great, but Kirsten Dunst stars as a weed dealer, and also, that #aesthetic. Out Friday, September 22, via A24.

Bobbi Jene

In this documentary, Danish director Elvira Lind follows dancer Bobbi Jene Smith as she moves from Israel to the United States and begins a new phase of her life and career. Out Friday, September 22, via Oscilloscope Laboratories.




The groundbreaking Amazon series returns with its fourth season, and this time, the Pfeffermanns are going to Israel. Out Friday, September 22, on Amazon.

Star Trek: Discovery

The latest Star Trek installment sounds badass, with Sonequa Martin-Green (the Walking Dead) starring and Anthony Rapp playing the first openly gay character in a Star Trek series. Out Sunday, September 24, on CBS All Access.


Brand New Abyss by The Blow

Electropop duo The Blow return with their seventh full-length album, which BUST says “trades in funkier grooves for a streamlined confessional approach.” Out Friday, September 22, self-released. Read about “The Women You Want Her To Be,” which BUST premiered, here, and see BUST’s October/November 2017 issue for an album review. 

Fool’s Paradise by Cold Specks

Toronto songwriter Ladan Hussein’s third album is “perhaps her most raw work to date,” BUST says, calling it “a gorgeous, sensitive exploration of identity and womanhood.”  Out Friday, September 22, via Arts & Crafts. See BUST’s October/November issue for review.

Hiss Spun by Chelsea Wolfe

Wolfe recorded this distortion-filled album in Salem, so expect witchery of the best kind. BUST calls this “heavily, richly crafted… a dark record for dark times.” Out Friday, September 22 via Sargent House. See BUST’s October/November issue for review.


Like A Dog by Tara Jepsen


Tara Jepsen’s debut novel puts the reader squarely inside the brain of its thirtysomething skateboarder/comedian narrator, Paloma. BUST says it “contains some brilliantly casual radical feminism along with its rising action and denouement.” Out Tuesday, September 26 via City Lights/Sister Spit. See BUST’s October/November issue for review. 

The Not So Subtle Art Of Being A Fat Girl: Loving The Skin You’re In by Tess Holliday


Plus-size model and #effyourbeautystandards creator Tess Holliday shares her personal story and her best tips on learning how to love yourself. Out Tuesday, September 26 via Bluestreak.

Top photo: Battle of the Sexes

More from BUST

Week Of Women: September 15-21, 2017

Week Of Women: September 8-14, 2017

Week Of Women: September 1-7, 2017



Entertainment Thu, 21 Sep 2017 14:22:29 -0400
The Best Piece Of Advice I Was Ever Given http://bust.com/feminism/193500-best-advice.html http://bust.com/feminism/193500-best-advice.html  


This past summer I had the honor of attending Soapbox Inc.’s Feminist Camp, hosted by Jennifer Baumgardner and Amy Richards in New York City. The camp accommodated about thirty people and was focused on how to take our interest in feminism and help translate it into our professional careers. We met with dozens of groups and covered a new theme every day ranging from philanthropy, to women in art, to reproductive justice. We met everyone: female slam poets, nonprofit workers, doulas and even a few lightening rod characters like Merle Hoffman of Choices Medical Center. Each day was jam-packed with more lessons, inspirations, and career advice than my brain could fully process. By the end of the voyage, I was exhausted but exploding with newfound inspiration about how to implement feminism into my daily life.

On the last day of camp, I reflected back on the week and sifted through all of the tips I had been given over the last five days. To my surprise, one piece seemed to stand out above the others, and it was not what I would have expected. On our “careers” theme day, we had had a very short encounter with Elaine Golin, an incredibly successful partner at the Wachtell, Lipton, Rosen & Katz law firm. Given how important she is, she only had a few moments of time to offer us, and her presentation was noticeably briefer than the others. She swiftly presented us with a list of the best lessons that she had learned since entering an incredibly male-dominated industry, and her number one tip was both odd and enlightening.

Elaine pointed out something that had never occurred to me: When women go on work trips, they order room service; when men go on work trips, they go out for dinner and drinks alone. It sounded so strange and simple, even potentially inaccurate. But, then she asked us — a group of strong, vocal, self-identified feminists — to raise our hands if we had ever had a drink alone in a bar. To my surprise, almost no one’s moved…including mine.

While I had certainly gone out to dinner alone before, it was always out of necessity. It had never once struck to me to go out for a drink by myself. Despite the fact that all of my male friends do this constantly, even when they are not out of town, it had never popped into my head that I could go out for a drink alone. Why is that? Simply put, I didn’t want to be harassed by men. It is almost as though I somehow felt I needed permission to take up that space if I wasn’t there for a man’s entertainment.

Elaine went on to say that yes, you will experience some creeps if you try this, but that it is still worth the experience. This is an opportunity to network that women routinely leave themselves out of because we are afraid of men. She finished by stating that you need to act confident and strong in these situations until you actually feel it.

On that final day of camp, our last session finished at around four in the afternoon and I had an early flight out the next morning at ten. I decided to call it a day and take the subway back to my friend’s apartment where I was staying. As I was strolling the Upper West Side looking for a takeout pizza place, it suddenly hit me that I was doing exactly what Elaine had advised against. I didn’t want to deal with men trying to talk to me or stare at me, so I was getting pizza…to eat alone in my bed on my last day in the most exciting city on earth. I was giving up space that I felt I was not entitled to so I could avoid having to potentially be stern with a stranger. It swiftly became clear that that would be the wrong way to end my Feminist Camp experience, so I took a leap that was surprisingly difficult and went out to happy hour by myself. What ensued was one of the most memorable nights of my entire life.

First off, finding a restaurant made me unexpectedly apprehensive, shy even. I am a very strong person who has no difficulty committing to my decisions. I trust my instincts and I am typically very comfortable with the outcome. So why was I wandering around creeping on customers in an attempt to pick up on the restaurant’s vibe before committing to drinking there? This deliberation lasted an embarrassing twenty minutes before I unswervingly entered a small French restaurant that boasted a $7 Malbec happy hour.

I walked in, took a seat at the bar, and waited anxiously for the bartender. I was committed to the idea of skipping out on my iPhone so that I could fully embrace the experience and that choice had certainly left me feeling extra awkward. After ordering, I began to feel like Ricky Bobby in Talladega Nights, constantly wondering “…what do I do with my hands?” I scanned the room and tried not to make eye contact with anyone. I drank way too fast out of nervousness. I picked at my cuticles. I feigned boundless interest in the bottles on the shelves. And as those seconds ticked by and turned into minutes, I began to wonder if this decision was ill formed. Then Joe sat down.

Joe was a jovial man who was immediately friendly with everyone. The staff knew him by name and clearly had a love for him, because they quickly communicated to him that whatever he wanted was on the house. Randomly, we got to talking about how it is impossible to find a good early breakfast in NYC that isn’t bagels, and BOOM! — suddenly I had made a drinking buddy. Turns out Joe was part of one of the nation’s first LGBT choirs, and he gushed when I told him about my experience at Feminist Camp. Though we only shared a few moments together, it was memorable.

After Joe left, I felt my uneasiness return, but only for a moment. The vacant space to my left suddenly opened up to a sweet couple in their mid-sixties named Alfredo and Jacqueline. The two sat down and dove into asking the bartender meticulous questions about the wines on the menu; they even had the bartender check in the back to see the years of select types of wine. Knowing nothing about wine myself (I once described a merlot as “grape-y” at a wine tasting), I decided to strike up a chat and ask the simple question, “How do you know if it was a good year for that wine?” Not only did they answer my question in great detail, they also seemed really excited to chat with me. They asked me about why I was in New York, and then subsequently what the heck Feminist Camp was. I asked them about how they knew so much about wine and if they lived nearby (they thought I was a New Yorker, which still makes me feel way cool). Turns out they are both retired and now own a vineyard in Argentina, but spend their summers on the Upper West Side. Not exaggerating, we ended up talking for two hours about politics, our families, our jobs, and of course, wine. They too were friends with the staff, so we were given free shots of some alcohol I can neither pronounce nor remember, and at the end of our chat, they bought me a $150 bottle of Argentinian wine and paid for all of the appetizers.

To me though, the joy of that evening stretches beyond anything monetary. I was making a real connection, with real people, all on my own. I wasn’t hiding behind my smartphone or my book like I normally do in public; I was uniting with new people outside of work or school or friends-of-a-friend.

Of course, the night didn’t stop there. I meandered around outside and shared a smoke (sorry Mom) with a woman who is the agent for comedian Brian Regan, but eventually, I called it a night. As I went to sleep, I felt smoky, tipsy, alone, and proud that I had tackled a huge fear that turned out to be so minimal in reality. It never ceases to amaze me how afraid we women can be of men and the world in general, and while it of course is with good reason (read the headlines, for heaven’s sake), it still prevents us from experiencing the magic of true human connection. It stops us from talking to that stranger, or applying for that job, or going to that place alone. It keeps us small and scared and "in our place” and without noticing it, we build ourselves into cages. I subconsciously had ruled out an entire realm where I could meet people, just because it could make me uncomfortable.

Since that night, I have gone out by myself on a few occasions and I have had many wonderful experiences, but nothing will ever quite compete with the joy of realizing I could take up a little more space. Also the $150 bottle of wine was really, really good.

Top photo: Flickr Creative Commons/Mohamed Aymen Bettaieb

More from BUST

5 Things All Solo Female Travelers Should Know

These 10 RuPaul Quotes Will Inspire You To Live BoldlyThese 10 RuPaul Quotes Will Inspire You To Live Boldly

How Self-Esteem Transformed The Relationships In My Life



Feminism Thu, 21 Sep 2017 13:01:15 -0400
Linda Sarsour On The Women's March And What's Next For The Resistance: BUST Interview http://bust.com/feminism/193499-linda-sarsour-womens-march-interview.html http://bust.com/feminism/193499-linda-sarsour-womens-march-interview.html lindasarsour

American Woman

Social justice activist and Women’s March co-chair Linda Sarsour gets real about hard conversations with her kids, what’s next for the movement, and why the resistance is female

By Sarah Sophie Flicker // Photo by Kristen Blush

You may not know Linda Sarsour by name, but it’s likely you recognize the 37-year-old civil-rights champion as one of the most visible co-chairs of the Women’s March on Washington. The Brooklyn native, a daughter of Palestinian immigrants, began her career in activism by joining the Arab American Association shortly after 9/11, while her three children were small, eventually becoming their executive director. And advocating for the Muslim community—she was instrumental in getting N.Y.C. public schools to observe two important Islamic holy days—was just the beginning. She’s a defender of women’s rights, a political progressive (she endorsed Bernie Sanders), and a criminal justice reform advocate as well.

As one of the Women’s March national organizers, I spent months working together with Sarsour, and quickly came to see her as the backbone of our movement. At a time when simply wearing a hijab in public is a revolutionary act, she is incredibly outspoken, making her a lightning rod for sensationalized headlines, online trolls, non-stop vitriol, and overblown controversies that try to undermine the work she does. While weathering these storms, she comes through consistently to lead and nurture. I have been enraged by the amount of hateful rhetoric she has been subjected to—she’s been unfairly accused of everything from anti-Semitism to anti-feminism—but even more painful has been witnessing the terrifying level of threat (including death threats) that she and her family have had to face. Sarsour always advocates for vulnerable communities, so it was no surprise that a large group of progressive groups launched an #IMarchWithLinda campaign to show their solidarity.

As our country grapples with extreme Islamophobia (emboldened by our current administration), Sarsour is constantly showing up not only for her own community (she helped raise funds for the burial of Nabra Hassanen, the teen murdered after leaving a Virginia mosque), but also for many others, continuously organizing for fair minimum wage, police accountability, voter engagement, women’s rights, and a myriad of other causes. She is a tireless problem solver and unflagging advocate on behalf of marginalized people. At the Women’s March, we often cited the famous Coretta Scott King quote, “Women, if the soul of the nation is to be saved, I believe that you must become its soul.” In my mind, Sarsour truly embodies this soul. Here, we sat down as friends and fellow mothers, and spoke about things Sarsour rarely gets to talk about in the press. It was a pleasure.

What is something you wish folks knew about you that no one ever asks?

I don’t get to talk about my kids enough in the press. My son is about to go to college, I have a daughter who is a junior in high school, and I have a daughter who is in seventh grade. They are the reasons I do this work. So often, people see me as this activist speaking on behalf of this whole group of people, when in reality, I’m trying to protect my children.

How does being a mom inform the work you do? How do you talk to your kids about this stuff?

Being a mom informs every part of my work. It’s why I come to the movement with a lot of love in my heart. I come to the movement seeing other people’s children as my own children. And the work I do requires a lot of hard conversations with my kids. My daughter asked me many times growing up, “Why do they hate us?” And I say to her, “No, not everybody hates us. They don’t hate you. They just don’t understand a lot of parts of you.” Being able to take how kids are feeling and contextualize that in a way that makes them feel good about themselves is important. Why do I stand up for black lives? Why do I support immigrants who are undocumented? Because it helps my kids understand that these are our neighbors, our family, our community. I invest in those hard conversations. I think it’s important.

So the big burning question is, where do you see the resistance going?

The Women’s March was the catalyst. We brought every single issue to the forefront and showed the whole world that we can say, “Black Lives Matter,” we can support our undocumented brothers and sisters, we can stand up for LGBTQIA rights and women’s rights, and we can protect our Muslim brothers and sisters all at the same time—and we can continue that work moving forward. The resistance is female. It’s led by women. It is full of radical love. It is full of fierceness and it’s gonna be consistent. We’ve already proved that. There is so much more to come.

What does it mean when you say the resistance is female?

Women bring a lot of love and language that brings people together. We have seen the power when women lead. We are always negotiators, consensus builders, storytellers, and those skills are in fact what are fueling the resistance and making it stronger right now.


This article originally appeared in the August/September 2017 print edition of BUST Magazine. Subscribe today!


More from BUST

The Women's March Is Building An Intersectional Movement In Detroit

The Women's March Has Released Their Policy Platform And It's Radical AF

The Organizers Of A Day Without A Woman Were Arrested In An Act Of Civil Disobedience

Feminism Thu, 21 Sep 2017 12:04:55 -0400
"Sabrina: The Teenage Witch" Is Returning — In New, Goth Form http://bust.com/tv/193498-the-chilling-adventures-of-sabrina-the-new-teenage-witch-haunting-you.html http://bust.com/tv/193498-the-chilling-adventures-of-sabrina-the-new-teenage-witch-haunting-you.html  sabrina


Apparently witches are scary, or rather Sabrina the Teenage Witch is about to be. The CW is developing a new show entitled The Chilling Adventures of Sabrina, which is focused on the original Archie Comics version. That version followed a much darker Sabrina then you may remember from your younger years. This adaptation is being compared to the Exorcist and Rosemary’s Baby — um, excuse me, Hilda and Zelda would never let something like that happen.

The new adaptation shares executive producers with other CW dramas Riverdale, The Flash and Supergirl. The new Sabrina will premiere in the 2018-2019 CW schedule. Fans are already excited at the premise of Sabrina showing up in Riverdale’s upcoming season — similar to how they introduced The Flash by cameo in Arrow.  



la et the chilling adventures of sabrina 01 20170920

It is doubtful Melisa Joan Heart will be coming back in this adaptation, so who will star as Sabrina is still up in the air — but if there isn’t an animatronic Salem, I will throw a fit. The OG Sabrina The Teenage Witch aired from 1996-2003, and if this new adaptation can run for half as long, it would be a huge accomplishment. The network is being real hush-hush about this new and exciting adaptation, so unfortunately we’ll have to be patient and cross our fingers that the into credits still involve her outfit changes and classic one-liners.

giphy 8



Header Photo via Sabrina The Teenage Witch 

Photos via Archie Comics 

More from BUST

10 Witch Movies And TV Shows To Watch This Halloween 

The Real Betty Dumped Archie, Regrets Nothing

"Supergirl Being Super" Is The Feminist Comic We Need 


TV Thu, 21 Sep 2017 14:06:59 -0400
"Broad City" Recap: Season 4, Episode 2 — "Twaining Day" http://bust.com/tv/193497-broad-city-season-4-episode-2-twaining-day.html http://bust.com/tv/193497-broad-city-season-4-episode-2-twaining-day.html  


Last week’s episode explored two realities — one true, the other alternate — where Abbi and Ilana still became friends. This week, we’re back to reality.

Abbi accidentally ships a package to her old workplace, Soulstice, and somehow ends up training Shania Twain (for real this time) with not-so-former-lover Trey. Ilana goes through her own work journey by being hired at a high-end, cut-throat sushi restaurant in Manhattan, run by none other than RuPaul.

Here were our reactions.


When they were volunteering at a clinic:

Danielle: Oh my god, they’re blowing weed on the protesters! They really need that.

Lindsay: Christians have so much pent-up anger about PG-13 sex scenes. This will be really good for them.

On Shania Twain:

Danielle: That’s Shania Twain? She’s blonde!

Lindsay: You know if you don’t like your hair color you can make it different.


*Two minutes later*

Danielle: That’s Shania Twain, right? It’s not an actress portraying Shania Twain, right?

*Shania sings “Man, I feel like a smoothie.”*

Danielle: *snaps fingers* That’s the one.

On RuPaul’s restaurant :

Lindsay: SANDRA BERNHARD’S IN HERE TOO? This episode’s star power is unreal.

Danielle: Is this RuPaul’s restaurant or is it cultural commentary? Is it like this because of RuPaul or is it like, a metaphor? You know the restaurant Dick’s? People go there to get yelled at. Is it like that?

On Shania Twain (again):

Danielle: Why would you make up that very specific lie about training Shania Twain though?

Lindsay: Oh my god, Shania’s trying to get them off during her training session.


Lindsay: No, the actress playing her is.

Danielle: Her skin is so clear!

Lindsay: Why did Abbi leave while Shania was singing? THAT WAS A FREE SHANIA TWAIN CONCERT.

Abbi’s big sex scene:


Lindsay: There it is! Everything you wished for!


Lindsay: Wait. Did he have a magnifying glass? Oooooh. It’s a mini fan! Why can’t he just go in the shower instead of using circulated air?

Danielle: Is there something I missed out on in sex ed?

Lindsay: Yeah, I definitely never learned about boner maintenance.

On Shania Twain (we know):

Lindsay: What if "Shania Twain broke my dick" was your party story?

Danielle: One time at a party, my friend told a cute girl his grandpa invented the Glow Stick. I thought he was just trying to impress this girl, but his grandpa really did invent it.

Trying to grasp this episode:

Danielle: She never got her package!

Lindsay: There are so many questions I have about this potato and aluminum foil. For one, what happened to her dinner potato?

Danielle: She ate it.

Lindsay: But wouldn’t she save it for dinner if it was her dinner potato?

Danielle: But she ate it. I don’t know what else to tell you… But is this tin foil some pop culture reference I’m missing out on?

Lindsay: I don’t. I … no.

Danielle: I don’t understand why she put the tin foil in the toilet. Can we agree that we didn’t understand this episode?

Lindsay: Yes.

On Shania Twain (this is the last time, we promise):

Danielle: I still don’t think that’s her.


Images via Broad City/Comedy Central

More from BUST

 "Broad City" Recap: Season 4, Episode 1 — "Sliding Doors" 

These's A "Broad City" Sex Toy Line, And Yep, There's A Pegging Kit For Bae

Look Inside This Dope New Coloring Book From "Broad City"Look Inside This Dope New Coloring Book From "Broad City"


TV Thu, 21 Sep 2017 11:15:31 -0400
Remembering Billie Jean King's Badass Battle Of The Sexes http://bust.com/movies/193496-battle-of-the-sexes-remembering-billie-jean-king-s-badass-battle-of-the-sexes.html http://bust.com/movies/193496-battle-of-the-sexes-remembering-billie-jean-king-s-badass-battle-of-the-sexes.html 5969739467 0dfff1871d o


1973 was a wild year in this country: Roe V. Wade was won, a gallon of gas was 35 cents, and Richard Nixon was the president – oh, how much has changed. And on September 20th, 1973, Billie Jean King beat Bobby Riggs in one of the biggest exhibition matches ever, nicknamed the “Battle of the Sexes.”

After a long winning streak — in which he collected $100,000 by betting on himself — Riggs felt he needed a real challenge: Beating a woman at tennis. After defeating Margaret Court, a match called the “Mother’s Day Massacre” because Riggs eviscerated Court, 6-2 and 6-1, Riggs decided to focus on our queen Billie Jean King. He taunted her, mocked her feminism, and made sure the entire event was taken as a joke. The media loved the two battling, and especially loved how chauvinist and loud Bobby Riggs was. Billie Jean King was famous to true tennis fans, but like most women athletes, her name was not as well-known as Riggs'. For King, this was her chance to take over the spotlight. The event was a highly gender-stereotyped match, focusing on Billie Jean’s proud feminist ideals compared to Riggs’ famous comments like “women belong in the bedroom and kitchen, in that order.” 

battle sexes poster

All us hairy-legged, athletic, loud-mouthed feminists rejoiced together: Billie Jean King destroyed Riggs, and boom, the patriarchy toppled. Well, not entirely, but King did beat Riggs in the smackdown of the century. King is famous for explaining the pressure she felt to win as, "I thought it would set us back 50 years if I didn't win that match...it would ruin the women's tour and affect all women's self-esteem."

Emma Stone and Steve Carell will be taking on the roles of Billie Jean King and Bobby Riggs in the film the Battle of the Sexes, debuting September 22. The film has been receiving decent reviews and tons of anticipation. The campy, desperate comedy of Riggs is portrayed perfectly by Steve Carell, who is perfect for such a physically comedic role. Emma Stone shines as Billie Jean, with great confidence. Billie Jean King is an out and proud lesbian now, but at the time she was not, and Stone’s portrayal of King’s attraction and subtlety is both nuanced and complicated. 



So check out the movie and never forget: Billie Jean King was carried in an ostrich feather-covered platform and beat a guy wearing a “Sugar Daddy” jacket so that you will always go out for the varsity team.


Header Photo via Flickr/Blair 

More from BUST

8 Stunning Illustrations Of The Baddest, Most Kickass Women In Sports 

Serena Williams Is The Greatest Tennis Player Ever, And Andy Murray Knows It 

Billie Jean King's "Battle Of The Sexes" Celebrates 40 Year



Movies Thu, 21 Sep 2017 13:45:24 -0400
Queens Of The Stone Age Will Make You Dance With New Album "Villains": BUST Review http://bust.com/music/193495-queens-stone-age-villains-review.html http://bust.com/music/193495-queens-stone-age-villains-review.html villains

When asked about VILLAINS, the new album from Queens of the Stone Age, frontman Josh Homme said, "I like to dance," and this album proves it. The crisp, funky sound may seem like a departure from the Queens you know and love, but if you go back to their self-titled debut album, you’ll find all the makings of those grooves. That signature hip-shaking sound is most evident in their single “The Way You Used To Do,” which will keep your toes tapping long after the the track ends. If you’re looking for something that rocks harder, listen to "The Evil Has Landed" or "Head Like a Haunted House." The Queens of the Stone Age continue to deliver heavy rock and sultry lyrics fused with insanely catchy guitar riffs. As always, they bring rich, silky vocals, which you’ll find on “Hideaway” and “Fortress." These tracks will make you want to close your eyes and sway. The music has matured without losing any of the grit. On the opening track "Feet Don't Fail Me," Josh sings, "Me and my gang come to bust you loose," and that‘s exactly what I got from this record. 5/5 

By Amy Moore


More from BUST

DJ Gabrielle Kwarteng Talks Inspiration, Identity, And Disco: BUST Interview

10 New Albums To Make The Soundtrack To Your September: Playlist

Princess Nokia's "1992 Deluxe" Album Is A Delicious Rap Gumbo: BUST ReviewPrincess Nokia's "1992 Deluxe" Album Is A Delicious Rap Gumbo: BUST Review

Music Thu, 21 Sep 2017 10:00:00 -0400
Floyd Mayweather And The Problem With Famous Abusers http://bust.com/feminism/193493-floyd-mayweather-domestic-abusers.html http://bust.com/feminism/193493-floyd-mayweather-domestic-abusers.html MayweatherTrumpHollyWoodUnlocked

Let’s face it, men can get away with a lot in the entertainment business, including, but not limited to, domestic violence and/or sexual assault against women. Accusations, allegations and charges can’t seem to stop men from making money and staying in the spotlight — or even becoming president.

Take Floyd Mayweather, arguably the most famous boxer of the 21st century. Last week, he defended Trump’s Access Hollywood “grab ‘em by the pussy” comments. Speaking with Hollywood Unlocked, Mayweather had this to say about Trump’s “locker room talk”:

"People don’t like the truth... He speak like a real man spoke. Real men speak like, 'Man, she had a fat ass. You see her ass? I had to squeeze her ass. I had to grab that fat ass.' Right? So he talking locker room talk. Locker room talk. 'I’m the man, you know what I’m saying? You know who I am. Yeah, I grabbed her by the pussy. And?'"

Now when his comments hit the news, Mayweather got semi-dragged on Twitter. Because luckily some people haven’t forgotten that he’s a serial domestic abuser. That’s what makes Mayweather’s comments all the more distressing. Mayweather served six months in prison in 2010 for beating the mother of three of his children while his ten-year-old son watched. He even got out of prison three months early for good behavior. Years before that attack, he had plead guilty to two counts of battery domestic violence in 2001 and 2002.

At the end of the day, he might get dragged on Twitter, but he still got at least $100 million from his most recent match. And as of this week, his current headline story is the purchase of a $26 million dollar home. So yes, Mayweather the convicted domestic abuser shares his views on “real men” with Trump. And yes, he gets to share these views for an audience and yes, he still gets his giant paychecks.

One of the more horrifying aspects of this kind of story is that it’s not isolated. Mayweather’s comments and status are indicative of our continued acceptance of men who are violent against women. We as a society continue to normalize, accept and celebrate men who have done despicable things to women.

Nineteen years old and rising in popularity, Florida rapper XXXTenacion, real name Jahseh Onfroy, is set to go on trial in October for domestic abuse. Onfroy is accused of assaulting his then-girlfriend, who was pregnant at the time of the alleged beatings. The victim’s testimony to a public defender in Miami was leaked by Pitchfork (warning: graphic descriptions of violence).

The founder and CEO of EMPIRE, the music label Onfory is signed to, Ghazi Shami told Pitchfork, “XXXTentacion is a unique talent and we’re excited to be in partnership with him and helping him bring his vision to life.”

This comment was in response to a Pitchfork article on Onfroy’s release from prison on robbery charges and his upcoming domestic abuse trial!

Another young Floridian rapper is facing sexual assault charges while also gaining major popularity as a musician. Kodak Black, real name Dieuson Octave, is facing sexual assault charges for allegedly raping a South Carolina woman after one of his concerts. Both of the alleged victims of Octave and Onfroy were reportedly fans of the rappers.

As of this week, XXXTenacion holds the sixth spot on the Billboard 200, with Kodak Black coming in at the number 14 spot. These men are rising stars in rap. That both of these popular rappers have allegations of extreme sexual abuse is, and should be, worrying.



And it’s not just athletes and young men facing these types of allegations. Sexual assault allegations against major director Woody Allen have been circulating since 1993. It is alleged Allen molested his and Mia Farrow's daughter Dylan when she was 8 years old. Even though there was public outrage from the Farrow family about Allen’s lifetime achievement award at the 2014 Golden Globes, it seems the allegations continue to be dismissed. Allen is filming a currently-untitled movie with young starlets Selena Gomez and Elle Fanning. His Amazon series with Miley Cyrus, Crisis in Six Scenes, was a major flop, but Amazon paid a reported $80 million to get it made.

Yes, these allegations are allegations — excluding Mayweather’s guilty pleas. However, violence against women is real and pervasive and we need to be careful of who we celebrate. Let’s believe these women who make allegations against famous men. We need to stop sweeping these kinds of crimes and accusations under the rug and talk about them when men like these remain in the spotlight.

We should pay attention to who we are spending our time and money supporting. Support for abusers is prevalent in entertainment, so let’s hold men (and everybody) accountable for their vile, unacceptable actions and think twice before we spend money supporting abusers. Think of the victims who had to live through horrible violence and now watch as their abusers are celebrated.

Top photo via Hollywood Unlocked

Bottom photos via Billboard 200

More from BUST

Donald Trump, The Golf Ball, Hillary Clinton, And Men Who Hate And Abuse Women (And Then Joke About It)

Intimate Partner Homicide Is An Epidemic Killing Thousands: Why Aren' We Fighting It At The Source?

Mel B's Case Shows That Domestic Violence Can Happen To Any Woman




Feminism Wed, 20 Sep 2017 13:32:25 -0400
Honestly, The Honest Trailer For "Wonder Woman" Is Spot On http://bust.com/entertainment/193491-honestly-the-honest-trailer-of-wonder-woman-is-spot-on.html http://bust.com/entertainment/193491-honestly-the-honest-trailer-of-wonder-woman-is-spot-on.html hero Wonder Woman 2017

Wonder Woman is your favorite feminist superhero, duh, but does the 2017 blockbuster hit do this iconic character justice? Unless you’re a huge comic fan, most people would agree the movie does a great job at explaining the back story, the inner struggle, and the extreme badass-ness of Wonder Woman. If you are a huge comic fan, you’re probably upset about the lack of BDSM and how lame Doctor Poison and Ares were – can’t blame you there.

Wonder Woman 2017 film

Luckily for us all, YouTube sensation Honest Trailers has come out with an honest Wonder Woman trailer for us all to agree on. The trailer asks the question: What if a female superhero movie wasn’t absolute garbage from beginning to end? Sorry, Poison Ivy and Cat Woman, there’s been a coup, and Wonder Woman is our queen now. The Honest Trailer hits the nail on the head when it comes to characterizing Wonder Woman as fully feminine and badass, and how the men in the movie still don’t know how to understand that. You mean she’s wearing a dress and a sword — but where’s she hold all the tampons then?

Joking about Wonder Woman’s origin story inside an origin story and the hilarious attempts to cover for Gal Gadot’s accent are right on point and clearly what we were all thinking. All in all, the trailer is indeed honest, but more importantly, it is direct, concise and exactly what we all said to our friends as we exited the theater and hid empty popcorn buckets somewhere. See the movie, watch this trailer, and nod along that yes, Wonder Woman is just the absolute best.

Check out the Honest Trailer below:


More from BUST

How Women Directors Show The Nuanced Reality Of Female Friendship 

Patty Jenkins Will Direct "Wonder Woman 2," Becoming The Highest Paid Female Director Ever 

"Wonder Woman" Director Patty Jenkins Schools James Cameron On "Strong Female Characters" 



Entertainment Wed, 20 Sep 2017 12:46:58 -0400
John Cho, Haley Lu Richardson And Modernist Architecture Make "Columbus" Stand Out: BUST Review http://bust.com/movies/193490-columbus-movie-review.html http://bust.com/movies/193490-columbus-movie-review.html  


Deciding how to balance architecture and the art that accompanies it (or vice versa) is a delicate task. In museums with particularly iconic and idiosyncratic buildings, the task becomes even harder. After all, few people go to the Sistine Chapel to admire the building itself — they’re there for the ceiling, the Last Judgement, or the 15th-century wall frescoes by Italian masters. On the other end of the spectrum, architecture eclipses all else at New York’s Guggenheim Museum; it’s hard to fully appreciate the paintings and sculpture on display because of the overwhelming and seemingly complete nature of the building itself.

I bring up these museum examples because I’d never thought about mise-en-scène in a movie along these lines before — about the need to balance the action of the shot with the overall surroundings; or, even, if that need exists. In many cases, we go to the movie theater for the characters and the actors that portray them, not because the setting is particularly notable or exciting. Despite how many romantic comedies treat New York City like its own character (as the cliché goes), settings usually play a supporting role, functioning as backdrops to what’s going on. Yet Columbus, the remarkable debut film (debut film!) by Kogonada, a film critic known for his video essays, is the first film I’ve seen that really treats its characters and the world around them in a perfectly balanced manner, highlighting their equal (and complementary) impact and significance. Columbus presents the Modernist architecture of the town of Columbus, Indiana, not as scenery where the main characters make their connection and have their revelations, as a co-protagonist in its own right: the surfaces, textures, and layouts of each building (indeed, each individual shot) are given as much focus and loving attention as stars John Cho (Star Trek) and Haley Lu Richardson (Edge of Seventeen).

Aside from Wes Anderson movies (most notably The Grand Budapest Hotel), I’d never seen a movie that took such care in composing each and every shot — emphasizing orthogonal lines and perfectly-aligned one-point perspective, or creating crystalline moments of symmetry and harmony where a character is shot standing in the precise center of a row of windows. Indeed, the approach to mise-en-scène in Columbus is set up by actual dialogue spoken early in the movie: Richardson’s character Casey is introduced to us while murmuring a sort of tour-guide spiel about the Eliel Saarinen First Christian Church — how even though the door and cross on the building’s façade (and the clock on the tower) are purposefully off-center, they still manage to be balanced and beautiful. Columbus dedicates itself to making sure we, the audience, notice and study the architecture and the characters standing in front of (or beside, or within) the buildings by setting up long, long takes that give us time to appreciate the concrete ceiling and array of bookshelves in the I.M. Pei-designed Cleo Rogers Memorial Library, or even the simple way that the inside of Casey’s house is lit, how the furniture and jutting corners play off of one another, or how a car moving across the screen disrupts the serenity of a freshly-mowed field of grass with its straight lines converging towards a distant horizon. We see characters have conversations while reflected in mirrors, or from behind, the camera looking up at them as if hoping to peer over their shoulders, which adds to the dynamism and intrigue of every single shot.

However, what separates how Columbus is shot from a Wes Anderson film is the overall extra-diegetic context of each shot. Specifically, with a movie like The Grand Budapest Hotel, the surroundings are lavish and eye-catching, to be sure, but are largely artificial and created solely for the purpose of making the movie. In Columbus, however, the buildings that we see through Richardson’s and Cho’s eyes are real buildings, and are a real part of history, and have meaning in people’s lives — meaning outside of the world of the movie. When the lights of the theater come back on, Columbus, Indiana, is a real place that you can find on a map — a place that you can visit and appreciate for yourself. And if you’re a fan of Modernist architecture, Columbus is basically Modernism Porn: The Movie. (I’m being facetious, but also pretty serious. It’s a real smorgasbord of straight lines and large glass windows.)

As far as the plot of Columbus goes, it’s a simple one that allows the characters to breathe and feel inhabited and fully real. Jin (Cho), a book translator based in Seoul, comes to Columbus, Indiana when his estranged father, an architecture professor, is taken to the hospital while visiting the town to give a lecture. Meanwhile Casey, a year out from high school, struggles to reconcile her love of learning and her love of architecture — especially the architecture in Columbus, Indiana — with her sense of familial responsibility. Jin and Casey meet across a wrought-iron gate from the garden of the bed-and-breakfast where Jin is finishing a tense phone call. Casey, having finished her work at the library, smokes a cigarette while looking at the Saarinen Church, as she did when we first meet her. She offers him a cigarette, he refuses at first, but soon acquiesces, and a friendship blossoms. The vast majority of the movie, then, consists of Jin and Casey walking around Columbus’ Modernist landmarks, with Casey discussing what each building means to her specifically — even though Jin, who dubs Casey an “architecture nerd,” claims to dislike architecture (owing to his fraught history with his father).

Cho and Richardson are, frankly, sublime in their respective roles, and play off one another naturally and wonderfully. Richardson is luminous and heartbreaking, doing the majority of the emotional heavy lifting, while Cho is an ideal counterpart, his reticence towards the town and its architecture slowly worn down by seeing how much it can mean to someone — and what the absence of cynicism and dispassion can really bring into one’s life. The relationship between them, thankfully, never becomes explicitly romantic; instead, it’s clear that they do love one another, but in a truly platonic way — more spiritual soulmates than anything else. Parker Posey (Best in Show) and Rory Culkin (Scream 4) are strong in supporting roles, playing, respectively, a colleague of Jin’s father’s, and a graduate student working with Casey at the library.

Culkin in particular precisely captures the awkward and geeky vibe of someone who loves learning and thinking — the kind of person who would get an MLS degree. Additionally, Culkin’s character Gabe provides a significant counterpoint to Casey’s in terms of how Columbus questions the all-consuming importance of higher education, and whether higher education is really required in order for someone to be thoughtful and curious and intellectual. Casey, who doesn’t want to leave her single mother behind and thus hasn’t begun college, is just as smart as Gabe (with his bachelor’s and master’s degrees) on an intuitive level, even if she hasn’t done all the readings, and proves herself far more emotionally intelligent than Gabe, who still subconsciously looks down on Casey for not having pursued higher education.

A key scene early on in Jin and Casey’s friendship sees them at the James Polshek-designed Columbus Regional Hospital Mental Health Services building, where Jin reveals that he’s actually read about it, and brings up Polshek’s conception of architecture as a way to heal people (before cynically dismissing it). In a later sequence, Jin and Casey visit her third favorite building — Deborah Berke’s Irwin Union Bank. Bathed in greenish light, Casey slowly and tentatively brings up this building in particular and how she fell in love with it at a difficult time in her life. When Jin brings up the earlier quotation about architecture healing people, Casey responds cuttingly, “Who says I’m healed?”

Yet at the end of the movie, it becomes clear that while architecture didn’t heal Casey’s lingering wounds and soothe her troubles, it gave her the power to change her own life and work towards healing herself. And maybe, in the end, that’s what the best art does. Maybe it’s not supposed to heal you — but change you and how you think and take in the world, and allow you to learn to heal yourself.

Columbus is in theaters now

Photo: Columbus

More from BUST

"The Edge Of Seventeen" Is An Ode To Teen Angst: BUST Review

"The Bronze" Is The Anti Inspirational Sports Movie: BUST Review

How "Unicorn Store" Writer Samantha McIntyre's Magical First Film Got Made: BUST Interview



Movies Wed, 20 Sep 2017 11:27:21 -0400
How Women Directors Show The Nuanced Reality Of Female Friendship http://bust.com/movies/193488-women-directors-friendship-movies.html http://bust.com/movies/193488-women-directors-friendship-movies.html  


My first vivid memory of female friendship portrayed in film comes from Michael Goldenberg’s 1996 rom-com Bed of Roses. Pamela Adlon’s line, directed at her best friend’s love interest — “If you ever hurt her, I’ll kill you” — is, since adolescence, stored in my why-do-I-remember-this drawer. Fortunately, a sidekick in a rom com who is only there to provide relationship advice to the protagonist is not the full extent of how female friendship has been covered on the big screen.

It matters if cinema reflects the complexity of the given universe fictionalized in front of the camera (so that rampant teenage imagination has a better frame of reference than the world of Bed of Roses, for one thing). For the onscreen representation of female friendship, this means showing the intricacy of the relationship, bringing multifaceted characters with wide-ranging emotions to the story, and indicating how characters’ environment shapes them. Viewing female friendship through the work of women directors offers a perspective that steers away from simplification.

Sophie Mayer, the author of Political Animals – The New Feminist Cinema identifies Dorothy Arzner’s The Wild Party (1929) as one of the first examples of women directors depicting female relationships. The film — about an all-female college from the early days of talking pictures — focuses its attention not only on a relationship between a student and a professor, but also on the girls’ “friendship, play, jealousy and loyalty." To this day, high school and college settings remain popular for female friendship (and teenage meanness) stories. Clueless, Mean Girls, Pitch Perfect — the list is long.

wildparty copyThe Wild Party

The ground is, however, covered beyond that premise. Sophie Mayer mentions arthouse cinema directors, who offer a look on female friendship through the lens of political activism of the 1970s. “Diane Kurys’ Peppermint Soda (about teenage sisters) and Agnes Varda’s One Sings, the Other Doesn’t (about two school friends who get involved in the movement for abortion rights in France) both appeared in 1977, and could be said to mark a watershed in women’s cinema, a product of a decade of feminist politics. Sally Potter’s influential film Thriller (1979), which asks what if the women in La Bohème (Puccini’s opera) became friends, and Claudia Weill’s recently rediscovered film Girlfriends (1978) emerge from the same moment – women finding friendship and solidarity with each other, both through more women entering the workplace, and through their involvement in the women’s movement internationally.”


Films with women at the helm in the 21st century show female friendship in a cathartic way that captures the realism of how people interact. Here are the movies that represent self-motivated complex characters. Each of the titles puts a different aspect of the experience of female friendship under the microscope.

PS: Pamela Adlon rocked in Bed of Roses, even though the friendship didn’t.


ME WITHOUT YOU, directed by  Sandra Goldbacher (2001)

Against the backdrop of Margaret Thatcher on television and changing fashions of 1970s and 1980s Britain, Holly (Michelle Williams) and Marina (Anna Friel) are each a constant in each other’s lives. What started as a deep childhood attachment shifts, however, with time, into a minefield of resentments. The struggle of sustaining a friendship that is overshadowed by rivalry over men and accomplishments consumes them. Their university years are especially telling about the nature of their relationship. Each questions her own personality when compared to that of the other. Marina tries to imitate Holly’s intellectualism to impress a professor. Holly emulates Marina’s Madonna-like look and audacious behavior to attract… the same professor. The pain of heartbreaking feuds which never entirely vanished is weighed against the history of a life spent together. “I don’t like what I am with you, we are suffocating each other," Holly finally musters the courage to say. “There is no me without you," cries out Marina.

GIRLHOOD, directed by Celine Sciamma (2014)

Four vigorous young women, tough on the outside, let their guard down in each other’s company. Tenderness comes up to surface when they are alone and free to behave spontaneously. This French coming-of-age film takes a closer look at the influence of a peer group over a developing teenage identity. Becoming the fourth in a girl gang propels Marieme (Karidja Toure) to discover her inner strength and self-determination. Questioning certain aspects of this newly found companionship, she is nevertheless drawn to the charismatic gang leader Lady (Assa Sylla). Her words of advice, “You do what you want,” will continually reverberate in Marieme’s independent life, leading her to the decision of fleeing home to escape her threatening brother.

BREATHE, directed by Melanie Laurent (2014)

The film shows how intense and cruel a friendship can be when confronted with adolescent passion and need for dominance. Shortly after Sarah (Lou de Laage) joins Charlie's (Josephine Japy) class as a new student, the two shift from strangers to best friends. Sleepovers, gossip, giggles, parties, stroking each other’s hair and affectionate embraces – the strong bond develops making the girls inseparable. Sarah enjoys Charlie’s devotion and fascination with her, while Charlie blossoms on the extension of Sarah’s self-confidence. One seemingly irrelevant incident turns the exclusive closeness into a toxic dependency. Charlie introduces Sarah to an old acquaintance as her classmate. Sarah takes offence: “"I would have said you were my friend." From then on, Sarah starts an unpredictable game of push and pull that makes Charlie’s guts wrench.

LOVESONG, directed by So Yong Kim (2016)

Sarah’s (Riley Keough) face beams with tranquility when Mindy’s (Jena Malone) head rests on her shoulder. Attraction is tightly intertwined with comfort and meaning found in each other’s presence. Sarah and Mindy go on a road trip to reconnect after a longer break. After an evening in a hotel and few rounds of “truth or drink” they kiss and... Confusion over the implications of their feelings brings Mindy to buy a bus ticket home the next day. Three years later, Sarah, now separated from her husband, is invited to Mindy’s wedding. She longs for confirmation of their fulfilling bond. While observing Mindy in a new setting during wedding preparations, she patiently and hopefully waits to be alone with her.

ALWAYS SHINE, directed by Sophia Takal (2016)

“It’s a movie about competition between women and how women feel pressured to behave in a particular way in order to be considered feminine and how that can drive us crazy," Sophia Takal sums up the plot on the Lady Problems podcast. Always Shine simultaneously ruminates on what constitutes a friendship and what might bring it to an end. Anna (Mackenzie Davis), vocal, unapologetic, but insecure, and Beth (Caitlin FitzGerald), shy and delicate, both actresses, drive to a remote house for a weekend. Anna tries to control her belligerent behavior, but jealousy over Beth’s progressing acting career (she at least has an agent and did a magazine interview) and delicate, girlish aura is hard to control. Beth has been exercising an inconspicuous form of sabotage by neglecting to mention Anna to her agent. Tension has almost a physical presence fueled by not only initially unvoiced emotions but also the still-present grip of stereotypical perceptions of women.

Top photo: Girlhood

More from BUST

How "Unicorn Store" Writer Samantha McIntyre's Magical First Film Got Made

As A Female Director, My Voice Changes Society

Patty Jenkins Will Direct "Wonder Woman 2," Becoming The Highest-Paid Female Director EverPatty Jenkins Will Direct "Wonder Woman 2," Becoming The Highest-Paid Female Director Ever


Movies Tue, 19 Sep 2017 13:45:00 -0400
Hurricanes Used To Be Named Only After Women — Here's Why That Changed http://bust.com/feminism/193487-hurricanes-or-hericanes-the-sexist-past-of-naming-hurricanes-after-women-and-why-there-needs-to-be-more-himicanes.html http://bust.com/feminism/193487-hurricanes-or-hericanes-the-sexist-past-of-naming-hurricanes-after-women-and-why-there-needs-to-be-more-himicanes.html bust hurricane irma abc screenshot

Irma, Sandy, Katrina and Camille. It’s hard to say if we are talking about a new, all-female pop band or a list of some of the most well-known hurricanes, past and present. Sadly, I have to say it’s the latter (I think we can all agree that a new a female pop band would have been be a lot more fun than a bunch of hurricanes.)

And as Maria is about to strike our shores, we are more than ready to dig into the history of the naming of hurricanes, and why so many of them seem to have been female.

It all started during World War II, when American (male) meteorologists working for the U.S Air Force and the Navy started to name predicted hurricanes after their wives and girlfriends, as a form of tribute only a patriarchy could justify as being a tribute. Because what woman would actually feel flattered by having a devastating, in many cases deadly and life-ruining, natural disaster named after her? It wouldn’t be the top item on my Christmas wish list, at least. By 1953, the National Weather Bureau — now known as the National Weather Service — had embraced this idea, and new hurricanes were given women’s names only. And since many countries looked to the U.S. for new weather technology ideas, there were soon a a ton of female-named hurricanes sweeping away everything in their way all across the globe.

This naming system for hurricanes went on for quite some time — until one fierce feminist, Roxcy Bolton, followed by more feminists during the 1960s, got fed up with this sexist system of naming hurricanes after women. Bolton was involved in the Miami chapter of the National Organization For Women (NOW) and did a ton of amazing things for women during her lifetime of activism, including opening up rape crisis centers, women’s shelters, achieving maternity leave for female flight attendant,s and ending the policy of “men only” dining-rooms (!) in restaurants in Florida.


roxcy bolton bust florida libr 091917 state archives of floridaRoxy Bolton (State Archives of Florida)


“Women are not disasters, destroying life and communities and leaving a lasting and devastating effect,” Bolton told the National Weather Service at the time. Instead, she suggested that they’d be named after Senators, who seem to have, she said, “delight in having things named after them." And after a pledge from NOW to the National Weather Service, hurricanes officially started to be named after both men and women in 1979.

So, where are we in 2017? Well, thanks to Bolton and NOW, amongst all the her-icanes sweeping across our borders, are a whole slew of him-icanes as well. Even though the female named hurricanes still outnumber the ones named after men, with 12 predicted her-icanes and only 8 predicted him-icanes this year, we are slowly (or should we say “hurriedly”?) getting more equal.

Top Photo: Screenshot of Hurricane Irma via ABC News

More From BUST

5 Charities To Donate To After Hurricane Irma

6 Ways To Help Houston And Other Areas Affected By Hurricane Harvey

Witchsy's Founders Created A Fake Male Co-Founder — And He Inevitably Got The Gold Star Treatment They Didn’t

Feminism Tue, 19 Sep 2017 13:24:55 -0400
How "Unicorn Store" Writer Samantha McIntyre's Magical First Film Got Made: BUST Interview http://bust.com/movies/193485-unicorn-store-samantha-mcintyre-interview.html http://bust.com/movies/193485-unicorn-store-samantha-mcintyre-interview.html  


A Hollywood success story that doesn’t make you want to barf is rare. When you encounter one, it is like encountering a unicorn. I interviewed ingenious comedy writer and wonderful person, Samantha McIntyre, about her debut feature film, Unicorn Store, which premiered at the 2017 Toronto International Film Festival, for this reason.

Unicorn Store is the whimsical, existential, coming-of-age story of Kit (played by Brie Larson), an artist and a dreamer, who is faced with the painfully boring disappointment that is adulthood. Just as Kit is about to succumb to the mundane, a sprightly salesman (played by Samuel L. Jackson) offers her a chance at making her greatest childhood dream come true.

We met up at a Chipotle in the Valley, because the coffee shop we wanted to go to was closed and this Chipotle had a parking lot. It was destiny. It was also the total eclipse of the sun.

I successfully avoided looking at the eclipsed sun by pretending it was a man wearing khakis and a belt, as I safely made my way inside. There is something mystical about two subtly hilarious women gathering in a Chipotle during a solar eclipse. Even Larry-by-the-napkins noticed. There was a strange magic in the air.

FL: Growing up, did you write in journals and stuff or…?

SM: Well, I don’t want to brag but I was editor of my school paper.

Right off the bat, we struck gold. Samantha, who grew up in Garland, Texas and had a constant perm from 5th-12th grade, was editor-in-chief of her high school newspaper. She had an electric typewriter, a perm, and her own humor column. It’s okay if you fall in love with her a little.

SM: I started letting my perm grow out freshman year of college so I could become my true self.

Her true self majored in theater at Southwestern University, earned her MFA in Acting from Southern Methodist University, and then moved to Los Angeles to be an actor. But her electric typewriter and high school humor column were calling her name. She wrote her first pilot at her office day job, applied for the Warner Brothers Writers Workshop, and got in.

Her television writing career has been successful and steady, writing for comedies like Bored To Death, Married and People of Earth. We talked about the pilots she sold that didn’t get made. How dead pilots are a depressing thing you get used to, but a feature can float around and not die. Samantha wrote the first draft of Unicorn Store in 2009. The script shifted and changed over the eight years it took to make it, but the initial spark of the dream, and much of the original draft, remained the same.

SM: I don’t necessarily write a script in order. I might write my favorite part first. Usually the whole reason I want to write something is there’s a scene I’m excited about. In the original draft of Unicorn Store, Kit (the lead character) has this long monologue to these Care Bears. That was the first thing I wrote. That was my first idea for the whole thing. Before I even knew how the movie ended, I knew I wanted this person who had moved back home to be pouring her heart out to some Care Bears.

Unicorn Store was almost made in 2012, with Miguel Arteta directing and Rebel Wilson playing Kit. The timing never came together for that incarnation of the film, but a foreshadowing shimmer of destiny was introduced.


Now, Unicorn Store marks the directorial debut of the magnetic force that is Brie Larson. Larson stars in the film, alongside an epically talented cast which includes Samuel L. Jackson, Joan Cusack, Bradley Whitford and Mamoudou Athie.

FL: How was working with Brie Larson?

SM: Awesome. Amazing. So collaborative.

FL: When she first…oh yeah, how did she…did she just like read your script and fall in love with it?

SM: It’s funny, she, and you know she will share this story herself, she auditioned for the movie five years ago.

FL: No way.

SM: The director ended up casting someone else. But her and I had lunch, just the two of us, and it was so fun and I loved her. I remember after the lunch I told one of our producers, “Brie Larson is a delightful weirdo.” She’s just…she’s like Kit. I would’ve loved to have had her in that part from day one. Then that version of the movie never got made and when we were looking for another director, we thought of her because I felt like she really connected to the material. Like the way she talked about the script I was like —

FL: She gets it.

SM: Right, she gets it and she is this person already. So we called her and said, “Do you remember this script? Would you want to direct it?” And I think the next day, she said yes.

I can confirm the creative collaboration of Samantha and Brie is an inspiring one because I play a tiny role in the film. At the Unicorn Store table read, I was determined to not mess up the intense role of Female Reader. In addition to reading a bunch of small parts, I was also filling in for a big part. Samuel L. Jackson gave me advice in front of everyone right before we started (!). His advice was to treat the table read as an audition and crush it. So I did. Samantha also crushed the table read. She was filling in for Joan Cusack. Like, Joan Cusack is in her movie. During production, Joan Cusack saw Samantha waiting in line to use the bathroom and was like, “Oh, come use mine!” What is more enchanting than Joan Cusack inviting you to use the bathroom in her trailer? Nothing. You’ve been Cusacked, your life is better now.

Because I was good at the table read, thanks to Samuel L. Jackson and myself, I was cast as "Waitress." On set, I was nervous. If you have one line as a character that is not integral to the story, in a scene that has been going on for a while, you will feel like an alien crashing someone else’s planet when you stumble in. Just look them in the eyes and try to sound and appear human.

While waiting for your cue, you stand in silence looking at your waitress props. You remember how you held your pen when you were an anxious teen waitress in Manhattan. At that awful restaurant where old women with frosted, purple lipstick would rattle their bracelets and shout at you. God, they’re all dead — oh, time to go say my one line to a movie star!

Brie Larson set a positive, powerful tone from the top of the call sheet to below the line. She made diversity a major priority. The film employed a melting pot of people and it made a difference. Her kindness, talent and strength blew me away. When you have one line in a movie or show, people often treat you like walking garbage. She treated me with respect.


FL: Where did the idea for Unicorn Store come from?

SM: Everyone always asks if I was obsessed with unicorns and I actually wasn’t. My deepest, strongest wish as a child, was that Hello Kitty would come to life. It was always this very bittersweet wish because I was a smart enough child to know—

FL: To know that was never gonna happen.

SM: Yes. But the weird thing is that dream still exists for me. I see it in Story (her daughter) too. She really wishes she could fly.

FL: That was mine. I was heartbroken that I couldn’t fly.

SM: Yes, I just like that idea. Like the deepest dream you had as a child, if you still are clinging to that as a grownup. And if someone came to you and said, “Actually, I could make that come true.” what would you think? So the dream became unicorn. It’s symbolic of that magical dream we all have.

FL: I love that.

SM: I mean, not to be too corny but like, through the course of writing the movie and making the movie I feel like I got my unicorn dream.

FL: You kind of did a magical thing. I think you did.*


SM: It’s a very weird movie and I feel like it’s not for everyone.

FL: But it’s for some people. It’s for people who believe in—

SM: Yes, it’s for the dreamers. At one of the unofficial screenings somebody wrote on a comment card, “Maybe if you liked Harry Potter you would like this, but I don’t.”

FL: Cool comment, dude.

SM: Brie and I were like, “Who doesn’t like Harry Potter?!” but I guess our movie is not for people who hate Harry Potter? Sometimes I feel like…adults who like magical things…makes some people mad? Like that person probably won’t like our movie.

FL: Um, but that person probably really hates himself.*

*This made Samantha laugh a lot.

Unicorn Store was in production during the dumbest moment in American history. When the election results poured in, the whole set cried collectively. They lost it, as we all did, as we all still do. They messed up continuity on some shots. The Diet Coke Kit was holding didn’t make sense. Nothing made sense. They had to re-shoot. They had to collect themselves and finish their unicorn movie. One woman dreamed her dream onto some pages, and then another woman picked up the glittering torch of that dream, added her own magic, and daringly brought it on home. I am grateful to these women for reminding me of the tenacity of unicorns.

Unicorn Store premiered at the Toronto International Film Festival September 11th, 2017.

Images via Unicorn Store

More from BUST 

Brie Larson Will Play The First Woman To Run For President

Watching "Room" With PTSD

"Short Term 12": Movie Review



Movies Tue, 19 Sep 2017 12:10:53 -0400
As A Female Director, My Voice Changes Society http://bust.com/movies/193484-female-director-light-leaks.html http://bust.com/movies/193484-female-director-light-leaks.html lightleaks

A rainbow of shotgun homes whipped past the window of our rental car. Maria Marrone, my production designer and honorary DJ, turned up the Beatles as we sped through the battered New Orleans streets and onto the highway. My director of photography, Joshua Herzog, nodded off in the passenger seat. An array of lighting gels and gaff tape jutted out from the backseat and lightly licked his arm. 

The pre-production process, filled with hiccups and sleepless nights, had worn us down before we even began. After locations falling through, our lead actor dropping only a week before production, and watching the money we raised quickly draining from our account, it was a miracle we were there. I sent up a prayer, thanking whatever spiritual unknown that may have helped us along the way.

After many setbacks and hurdles, we finally made it. We pulled up to the equipment rental house as my producer pulled up simultaneously in the box truck. Hopping out, we were greeted by two men who were eager to help a younger generation of students. They generously gifted us far more equipment then our budget could have afforded, much to our appreciation. When it came time to pay the highly-discounted price, the men asked for the director. They raised their eyebrows in amusement as my petite build stepped forward — a reaction that is not uncommon, nor an insult, but simply because as a woman, I was not their usual client.

Let’s play a game. List five male directors. I’ll do the same… Spielberg, Woody Allen, Scorsese, Tarantino, Kubrick, Francis Ford Coppola, Linklater… Have I overshot? Math was never my strong suit. Now, name five famous female directors. I’ll wait. Don’t pull up Google to make sure you’re thinking of the right person… How many did you get? Sofia Coppola? Possibly Kathryn Bigelow? Doesn’t that tell you something?

Gender binary roles are deeply engrained in our society, altering the way we see others and ourselves. From our political leaders to the roles that women portray in films, our society subconsciously feeds us information that men are more suited for the workplace because it’s written in our history. To revoke these conventions, we need courageous leaders who will actively challenge people to stand with women, not against them.

This includes political leaders, like our president, a president who has the support of an overwhelming number of Americans even though he feels entitled to violate another human’s body without their permission. Together, so many of us mourn how our country was — is — now in the hands of a man who has publicly objectified women countless times.

For example, in 1994, our current President blatantly exposed his belief that a wife has no place in the workplace: “I think that putting a wife to work is a very dangerous thing.”

Or when, in August 2015, after a challenging interview with Megyn Kelly, Trump suggested that Kelly’s cutthroat questioning was a result of her menstruation.

Currently, we have the Leader of the Free World teaching our country that his chauvinistic behavior is acceptable. That a woman’s success is not based on her merits, but on her looks. That she is a trophy for men’s visual and physical pleasure, and, at 12 years old, is already being preyed upon by 50-year-old men. Our President and his comments prove that women role models are essential to young girls so they can understand that they are valuable in the workplace.

I was lucky enough to be nurtured by a mother who willed me to pursue a career I was passionate about with a fierce “reach for the stars” mentality. Moreover, she instilled in me a belief that my goals were achievable. At one point I was convinced that my figure skating abilities would lead me to be the next Michelle Kwan. Yet, not all young girls are so lucky to see that their options are just as endless as their brothers.

I am not a statistics major, nor could I list the exact percentages of women directors to male directors without a quick search online.

However, I am a 22-year-old woman speaking from my experiences.

By allowing women to tell our own stories. By seeing women in roles that aren’t rooted in a love story. I want to be clear: Being a feminist is not about one sex overpowering the other. It is about equality. As a director, I do not see my work as simply a means of entertainment. I see film as a medium that can start a conversation.

My thesis film aims to tell a story from a woman’s perspective. It is based on a close friend’s experience. Wren had spontaneously called me up with news that she was in the city. So naturally, we decided to catch up over a $10 bottle of wine. Two glasses deep, we ended the small talk and dug into the hurdles we each encountered over the years. Nearly two decades worth of friendship gave us this freedom of vulnerability.

During her sophomore year of college, Wren sought help for her depression at her university’s health center, and was sent to the nearest psychiatric facility, to a nearby public psychiatric hospital that was different from the private psychiatric rehabilitation center they had originally promised her. By the time she realized she was at the wrong facility, it was too late. She had already signed the forms.

There is often a stigma attached to mental illness that results in the topic being brushed under the rug and ignored. We want to help raise awareness to the under-funded wards and the fact that mental health is constantly being put on the back-burner. There are millions of Americans who cannot afford proper mental health treatment (such as a therapist or a private psychiatric hospital) and go to public psych wards to seek help, yet cannot get the adequate services their mental illness requires.

She is not a heroine, but a mixture of vulnerability, strength, and uncertainty.

“I want [female characters] to be allowed to be weak and stong and happy and sad – human, basically,” Natalie Portman said in a 2013 interview with Elle UK. “The fallacy in Hollywood is that if you’re making a ‘feminist’ story, the woman kicks ass and wins. That’s not feminist, that’s macho. A movie about a weak, vulnerable woman can be feminist if it shows a real person that we can empathize with.”

Therefore, telling women’s stories is necessary to inspire the younger generation. That’s where we start to level the playing field. Empowering both sexes is about equality. That means creating an environment where, no matter your gender, you have the same opportunities, where a person is able to choose their role rather than their anatomy choosing it for them.

Driving down the highway from New Orleans to Jackson, we had 114 long miles to go. Yet, the heat somehow cooled my veins, putting me at ease. Our box truck was several cars ahead of us, and I could feel all the pieces assembling as we moved toward set. Local New Orleans hires, an actor from Texas, a gaffer from Los Angeles, and the team we had brought with us from New York, were all uniting in a small Louisiana town of around 4,000 people. No one was getting paid, except in meals and crafty abound with Little Bites. It was my passion project that became theirs as well. In a country that currently feels so divided, it was beautiful to see a cast and crew working in such harmony. Through our collaboration, we had a voice. Our next step, is getting it heard.

I pressed my foot against the gas pedal. Although the highway stretched out in front of us another 100 miles, I felt my muscles relaxing as we headed in the right direction.

By Charlotte Rose Manning

Charlotte Rose Manning is a New York transplant, having moved from her Los Angeles home after high school to earn her BFA at NYU’s Tisch School of the Arts, majoring in Film and Television Production. A writer, director, and actor, Charlotte is passionate about using film to inspire and empower women by telling their stories. Her short film CAROUSEL received accolades at NYU’s New Visions and Voices Festival for Ensemble Cast. After two years working for legendary film, TV, and theatre producer, Scott Rudin, Charlotte recently transitioned to The Gersh Agency, where she now assists agent Leah Hamos. Her most recent projects include promotional films for the Los Angeles County Museum of Art as well as The Malibu Life, a luxury real estate company founded by Madison Hildebrand of Bravo's Million Dollar Listings. She continues to create content after work hours, while finishing post-production on her thesis film, HELLO, MY FRIEND.


This post was originally published on The Light Leaks and is reprinted here with permission. 


Movies Tue, 19 Sep 2017 11:07:51 -0400
Donald Trump, The Golf Ball, Hillary Clinton, And Men Who Hate And Abuse Women (And Then Joke About It) http://bust.com/feminism/193483-donald-trump-the-golf-ball-hillary-clinton-and-the-history-of-men-who-hate-and-abuse-women-and-then-joke-about-it.html http://bust.com/feminism/193483-donald-trump-the-golf-ball-hillary-clinton-and-the-history-of-men-who-hate-and-abuse-women-and-then-joke-about-it.html  

screenshot d trump golf ball 091917


By now, President Trump’s judgment, or lack thereof, when it comes to his Twitter (and a majority of his public appearances) should come as no surprise to anyone. A myriad of racist, sexist, authoritarian and press-condemning tweets seem to have become the best way way to tell it’s a new week in 2017’s America. But this new week, he has lowered the bar one step further. On Sunday morning, Trump retweeted a fake GIF-montage, created by a supporter, of himself swinging a golf club with the golf ball eventually, violently, hitting Hillary Clinton in the back and making her trip and fall.

And even though the montage itself was fake, the message behind it, and Trump’s encouragement of it by retweeting it to his 38 million Twitter followers, was not. It was a stab in the back (almost literally) not only to a former Secretary of State, a former Presidential Candidate and a former First Lady of the same country he now is the leader of, but to women in general and the violence the female gender faces daily. It was not done by an anonymous Twitter troll, but by the man who currently holds the highest seat of power in this country. It, yet again, showed us that we now have a President who will not only ignore dealing with women’s issues, or remove laws meant to protect women’s rights, but who will encourage violence and abuse of women.


Screen Shot 2017 09 19 at 10.34.59 AM 

Trump’s retweet has been off-handed by many as a “joke," and that indeed seems to have been his intention, which doesn’t make it better. Every nine seconds, a woman will be beaten or assaulted in the United States. Every day, three women are killed, on average, by their current or former boyfriends, husbands, or lovers. Every year, more than four million women will be the victims of physical violence by a partner. I wish I could say that these statistics were meant as a “joke" as well. But, Donald Trump, they are not.

A GIF is a gif, a tweet is a tweet, but when associated with the President of the United States of America, these seemingly trivial things become loaded with oh-so-much power. They get 38 million eyeballs (at least) and might influence young girls and boys who will see the leader of the country they are growing up in promoting a fake animation of himself striking Hillary Clinton (arguably the most powerful woman in America) with a golf ball so violently that she falls over. It will show these children, and their parents, that this kind of violence is not only encouraged by the President, but that we should all laugh about it, too.

Top photo: YouTube capture. 

More from BUST

Hillary Clinton Has Another Message For Trump: “Get Over The Twitter Stuff”

Trump Fails Dreamers By Pledging To Scrap DACA

Hillary Clinton Finally Speaks Out About Getting Creeped On By Trump During The Debate



Feminism Tue, 19 Sep 2017 12:45:47 -0400
9 Moments To Care About From The 69th Emmys http://bust.com/tv/193480-everything-you-missed-69th-emmy-s-got-more-political-feminine-and-melanin.html http://bust.com/tv/193480-everything-you-missed-69th-emmy-s-got-more-political-feminine-and-melanin.html Untitled


The 69th Annual Emmys was last night, and we all know you watched the red carpet but then just checked Twitter for news – the Oscars were dramatic enough, we’re all still a little scarred. In case you live under a rock and haven’t heard the news: the Emmys went pretty well, and considering we’re living in practically apocalyptic times, it was a nice reality break. Celebrities even honored the Dream Act by wearing blue ribbons. Also, from now on we’ll all be referring to RuPaul as Emmy. Here are some other moments you should care about:

1. Donald Glover won Outstanding Director on a Comedy Series for Atlanta

Well, finally! Glover is the first black man to win this award, and completely deserved it because Atlanta is truly a game changer on TV. He also took home Best Lead Actor in a Comedy Series for Atlanta and in his speech thanked Donald Trump for “making black people number one on the most oppressed list. He’s the reason I’m probably up here” – reminding us all that the real Donald will gladly shout you out for your white-washed, racist, loser nonsense. He also spoke directly to his wife, son, and unborn child: “we’re listening to Stevie tonight,” he said as we all wiped away one beautiful tear from our face.

2. Lena Waithe won Outstanding Writing for a Comedy Series for Master of None

exdstill mon 207 208b 161018 231141 r

Photo from "Thanksgiving" on Master of None

Seriously, truly, Lena needs to be everyone’s hustle role model right now, because she worked her butt off to get here and I AM JUST SO PROUD. Waithe is the first black woman and first black queer woman to win this awar,d and she obviously deserves it for the episode “Thanksgiving” on Master of None, which dealt carefully, beautifully, and completely with queerness, family, and coming out as a young queer black girl. “Thank you for embracing a little Indian boy from South Carolina and a queer black girl from the heart of Chicago” – is the #brownboymagic and #blackgirlmagic too much to handle? No, give me more.

3. Julia Louis-Dreyfus cant stop winning Emmys for VEEP


Winning Outstanding Lead Actress in a Comedy Series is impressive enough, but to win six times in a row is just showy. Julia Louis-Dreyfus can’t stop winning Emmys for playing Selina Meyer in VEEP – understandably so, because both she and the show and are pure gold. It is unprecedented for her to she win six Emmys for one role, but who else could do it besides Selina Meyer – in a more perfect world. she would be our real president.

4. The women of Big Little Lies win big

giphy 1

Nicole Kidman, Alexander Skarsgard and Laura Dern made Big Little Lies fans proud by winning Best Actress in a Limited Series, Best Supporting Actor in a Limited Series and Best Supporting Actress in a Limited Series – and don’t get in a tizzy about Kidman and Skarsgard mouth-kiss, it was a warm but totally unromantic moment. The stars took their time of stage to praise the writers for women-focused narratives and strong female characters. Reese Witherspoon, while accepting the award for Best Limited Series with her castmates, said, “Bring women to the front of their own stories and make them the hero of their own stories” – hitting the nail on the head as to why we really loved the show in the first place.


5. Riz Ahmed won Best Actor in a Limited Series, the first Asian man and first Muslim man to do so

giphy 2

Riz Ahmed used his platform to praise the Innocence Project and South Asian Youth Action Organization – proving yet again he is both WOKE and smoking hot. His role in The Night Of was especially amazing and he was obviously deserving of an Emmy, but the fact that he is the first Asian and first Muslim man to win this award is somehow still disappointing. Stephen Colbert congratulated the room in his opening number for being the most diverse Emmys yet, three years in a row, which is cool and all, but why did it take 69 Emmys to finally have an Asian man win this award? Oh right, racism. 

6. Reed Morano became the first woman in 22 years to win the Best Director for a TV Drama award, for the Handmaid's Tale.

Reed Morano

Two other female directors were also nominated: Kate Dennis, also for the Handmaid's Tale, and Lesli Linka Glatter for Homeland — another record. The Handmaid's Tale also won big in other categories, including Best Actress in a TV Drama for Elisabeth Moss, Best Supporting Actress in a TV Drama for Ann Dowd, Best Guest Actress in a TV Drama for Alexis Bledel, and Best Writing for Bruce Miller.

7. Stephen Colbert jokes about Donald Trump and it was a little too real

giphy 3

Colbert joked that if only Trump had won an Emmy for The Apprentice, he probably wouldn’t of run for president, saying, “So in a way, this is all your fault” to the crowd before calling Trump “Walter Much Whiter” to thunderous applause. He even reminded us all that Trump not winning an Emmy came up during a one of the presidential debates, and we all remembered the cloud of doom over our heads. There is a fine line between joking about politics/politicians and trivializing politics/politicians, and Colbert danced that line all night.

8. Oh yeah, Sean Spicer is doing cameos now

giphy 4

Sean Spicer took the stage of the 69th Emmys to joke about crowd size, and it would be funny if he hadn’t, ya know, worked for and helped Donald Trump who is literally tearing families, communities, and the country as a whole apart. 

9. The best response to  Spicer doing cameo work is Melissa McCarthy and Anna Chlumsky’s faces

giphy 5

Just look at these two jewels realizing we’re all in the matrix and nothing is normal. Both McCarthy and Chlumsky seemed shocked and comically confused about Spicer being on stage, riding McCarthy’s famous wheelie-podium. The only thing that could have made it better is if McCarthy charged the stage and literally took her podium back. Feel free to use these gifs for every reaction you have ever again.  

Also, let us never forget Issa Rae 

giphy 6


Header Screenshot via NBC

More from BUST

I Will Never Stop Watching Melissa McCarthy-As-Sean-Spicer Driving Her Podium and Eating Old Gum 

Women of Color Get Major Golden Globes Nominations, But Let's Take A Closer Look 

11 Political Moments From The SAG Awards You Should Pay Attention To 


TV Mon, 18 Sep 2017 13:48:16 -0400
Amber Tamblyn Says, "I'm Done With Not Being Believed" http://bust.com/feminism/193479-amber-tamblyn-james-woods-and-when-will-women-stop-being-disbelieved.html http://bust.com/feminism/193479-amber-tamblyn-james-woods-and-when-will-women-stop-being-disbelieved.html  

amber tamblyn bust 091817

“What’s the point, if you won’t be believed?” actress Amber Tamblyn wrote in an op-ed published in the New York Times on Saturday. In it, she talks about the sexism she’s faced as a young woman in Hollywood, which (not surprisingly) is mirroring the sexism any girl or woman is faced with in any part of society — yes, even still, in 2017. After all, what comes out of Hollywood is mostly a reflection of what comes out of the world at the moment, and, as is being made more than visible by Tamblyn, we sadly still live in a man’s world: where men will tell a woman, no matter how accurate (and, in many cases, proof-stacked) her truth, accusation, or court case is, that “there are always two sides to every story.”

By recounting her own experiences, Tamblyn makes it clear that while men will always get the benefit of the doubt, women will be left with an over-pouring stockpot of insecurity, shame, and even disbelief in their own truths and memories.

Tamblyn recounts a recent Twitter debate she engaged in with the actor James Woods. Woods was criticizing Armie Hammer’s upcoming movie, Call Me By Your Name, which depicts a story of a 24-year old in a relationship with a 17-year-old. Hammer called out Woods' criticism and pointed to the double-standard of it — Woods himself is known for dating women who are significantly younger than he is. When this happened, Tamblyn tweeted that she remembered Woods trying to pick herself and a friend up from an LA diner when she was 16, and when she had reminded him of her age, he had told her that “it was even better." Woods was 52 at the time. Shortly after Tamblyn tweeted this, Woods tweeted back, saying, “the first is illegal. The second is a lie.”


bust amber tamblyn tweet 091817 bust amber tamblyn tweet 091817


Amber Tamblyn is far from the first woman with a story like this, she won’t be the last. Her op-ed is incredibly important as it brings attention and gives a voice to so many of us who have been similarly shut down, silenced and disbelieved by the men and the system we tell them to. Something that, when it keeps reoccurring (which it almost always does) eventually makes us all start to disbelieve in ourselves, too. Because, as Tamblyn so eloquently states, what is the point if you won’t be believed? Well, there might not be one. But the more we are, the louder we become, the harder it will be to shut us up and tell us we are wrong. A sexist and misogynist world might be able to silence one of us, but it won’t be able to silence us all. 

Tamblyn writes:


I have been afraid of speaking out or asking things of men in positions of power for years. What I have experienced as an actress working in a business whose business is to objectify women is frightening. It is the deep end of a pool where I cannot swim. It is a famous man telling you that you are a liar for what you have remembered. For what you must have misremembered, unless you have proof.

The women I know, myself included, are done, though, playing the credentials game. We are learning that the more we open our mouths, the more we become a choir. And the more we are a choir, the more the tune is forced to change.



Read the full essay at the New York Times


Top photo of Amber Tamblyn by Michael Levine for BUST. 

More from BUST

Amber Tamblyn Takes A Stand Against Hollywood’s (And America’s) Sexist Double Standards

Amber Tamblyn's Directorial Debut "Paint It Black" Is A Visually Stunning Exploration Of Grief: BUST Review

This Woman Got Fired For Getting Her Period At Work — Now She And The ACLU Are Fighting Back


Feminism Mon, 18 Sep 2017 13:24:00 -0400
Reflecting On Princess Diana, The Disrupter http://bust.com/movies/193478-princess-diana-disrupter.html http://bust.com/movies/193478-princess-diana-disrupter.html  dianaourmotherhbo


This year marks the 20th anniversary of the death of Diana, Princess of Wales, and we have been blessed with not one but FIVE original documentaries about her life and death. If you know who Princess Diana is, then you probably know that she and the media were frenemies of the worst kind. This complicated relationship put me in a pickle. Would watching these documentaries make me complicit in her exploitation? Probably. Would she have wanted this media blitz on the anniversary of her death? I don’t know, but it seems like her children and family thought she would…so off I went!

I started my Lady Di Diet with the modest Diana: Our Mother HBO documentary. In a first class move from her sons, this doc doesn’t make a peep about any controversy (the name Camilla is literally never said). Instead, the two princes focus on Diana’s humanitarian work and her influence on them to not grow up as spoiled aristocrats. Keep your tissues handy: Prince William has lunch with homeless old men and opens up about wishing his mum could see the rosy-cheeked Prince George.

Making a sharp left turn are two docs that have so much overlap, you could do with just one: Diana: In Her Own Words for National Geographic and Diana: Her Story for PBS. Both lean hard into scandal, but illuminate a social revolution that was occurring in the '90s. Diana wanted people to know how she felt about her private life, tears and all. In the Instagram era, this desire to be understood on your own terms is universal. When Diana did it, it was shocking enough to disrupt a monarchy. Okay, maybe watch both.


Next up was NBC’s Diana, 7 Days. NBC splits the difference between tender and gritty. Like the HBO doc, this has the personal touches from both princes, though Prince Harry steals the show with a very honest interview. Waterproof mascara only on this one.

Then came the double serving of The Story of Diana, offered to me guilt-free by Diana’s brother, Charles the Earl of Spencer and ABC. Spencer begins with his thesis that twenty years is the ripening period from contemporary to historical figure, and spends the next three hours dictating exactly what those history books ought to say. He doesn’t omit the difficult moments, nor does he pretend that Diana handled her trials “gracefully." The Story of Diana celebrates that Diana didn’t just struggle to accept a bad situation and marriage; she straight up failed at it. Not sterile or sticky, this one was worth the time.

Somewhere between commercial breaks, I became enlightened. Lady Diana was the post-feminist Anne Boleyn I had been waiting for. Diana endured and destigmatized scandals. She admitted to having lovers, an eating disorder, depression, and still kept on trucking with her public life. With each plastic wrapped bouquet she accepted, Princess Diana helped take the currency of shame off the table for women everywhere. There are still many more docs and specials to watch, but to all the networks, well-intentioned or just plain greedy, thank you for giving me 8+ hours of Diana the Disrupter.

princess diana

Top photo from HBO's "Diana, Our Mother" 

More from BUST

Meet The 87-Year-Old Duchess Who Was Married 3 Times,, Said "No" To Picasso, And Is More Badass Than You

What Would Lafayette Say?

Is Katie Couric Seriously Talking About Kate Middleton's Weight?Is Katie Couric Seriously Talking About Kate Middleton's Weight?

Movies Mon, 18 Sep 2017 12:35:34 -0400
Celebrating The Life And Legacy Of Marsha P. Johnson, Badass Of Stonewall http://bust.com/feminism/193477-marsha-p-johnson-stonewall.html http://bust.com/feminism/193477-marsha-p-johnson-stonewall.html  



Marsha P Johnson was a fucking badass. A badass with a big heart, a creative sense of style, and a fearless attitude. She was a veteran of the Stonewall riots in the late '60s, she campaigned for Queer rights, and she set up a charity to help disadvantaged Queer youth.

The influence Marsha and other Trans women of colour had on bringing Queer rights into the mainstream, as well as the creation of Pride, protests, and change in laws is often ignored or whitewashed by mainstream culture.

marshapj1Marsha never missed a protest

Marsha was a child of poverty. She grew up in a rough neighbourhood and moved to New York City from New Jersey when she was 18. Once in New York, she legally changed her name to Marsha and started getting a reputation for being the Queen with a big heart. She was often homeless, hustled to make money (as many Trans women had to), and was always getting picked up by police.

The thing I love most about Marsha is her creativity. She was a street queen who could turn any junk into treasure — she was known to put Christmas tree lights in her hair and use bits and pieces she found in the trash to make her outfits. And if someone complimented her outfit, she was inclined to give it to them. That’s just how she was.

Marsha P JohnsonOur babe Marsha Via Giphy

Marsha was at the Stonewall Inn celebrating her birthday with friends when police raided the bar at 1:40am. The police treated the Queer community like shit and were constantly raiding and arresting people in some of the only available safe spaces they had. So tensions were already high. Marsha fought back against the police that night and threw a shot glass into a mirror, stating she knew her rights and thus instigating the riots and protests against their treatment by police that lasted THREE FUCKING DAYS! This became known as the:


You don’t come to fuck up Marsha’s party and leave without an ass kicking.

marshaDamn right bitch! Via Giphy

After the riots, Marsha and her friend Sylvia Rivera (another Trans activist) founded STAR (Street Transvestite Action Revolutionaries), and they used every penny they had to set up a halfway house for runaway LGBT youth. Seriously, EVERYTHING they made went into clothing and food for the "children" they supported. They were utterly selfless. They were still often homeless and went without themselves to help their kids. Marsha became known as the "Queen Mother" of the house.

marshaMy kinda Queen Mother

Marsha and Sylvia are heroes and should be lauded as such, right? But during one of the first gay pride marches in New York, Sylvia took to the stage to make a speech AND THE AUDIENCE TRIED TO BOO HER OFF THE STAGE! No, I don’t see the logic her either…but Sylvia wasn’t going to just walk off stage. Bitch turned that crowd around and by the end was leading a mammoth chant of "GAY POWER!"

Marsha was also often dismissed by other gay rights activists at the time because of her appearance and "kooky" demeanor. She struggled with mental health issues and was in and out of prisons and mental health facilities throughout her life. Once when she was in court a judge, asked her what the P stood for and she replied, "PAY IT NO MIND."

gifSame. Via Giphy

LEGEND! The judge totally let her off.

Marsha had a varied and incredible life despite her shitty living conditions. In 1975, Marsha was photographed by Andy Warhol for his Ladies and Gentlemen series. He painted a beautiful picture of Marsha that captured her essence perfectly; our girl looks fucking radiant!

marshawarholMarsha and her Warhol portrait.

As if that wasn’t cool enough, she started performing in the mid '70s with Hot Peaches, an experimental queer cabaret group. She was super popular with the audiences and loved being on the stage. She played up to being tone deaf, so she screamed rather than sang her numbers, AND EVERYONE LOVED IT!

marshaMarsha scream/singing. Via Giphy

Now, guys I’m really sorry but….Marsha’s story has a really shitty ending. She was found dead in the Hudson River not long after the 1992 New York Pride march. The death was dismissed as a suicide by the police, but her friends were adamant that there had been foul play. There’d been sightings of Marsha being harassed in the street the night she went missing. But hey, she was black, gay and Trans, so they didn’t give a toss.

Marsha’s case was finally reopened in 2012, which was 20 WHOLE YEARS after her death, thanks to a campaign by transgender activist Mariah Lopez (another total badass, who opened the first transgender housing unit for Rikers Island, the largest American Prison in 2014).

Marsha’s funeral had hundreds of mourners and they threw her ashes in the river along with bunches of bright flowers. She was known for having flowers in her hair, so this gesture gets us right in the feels.

aliceVia Giphy

Her friend Sylvia was bereft without Marsha, but this bitch was tough. She carried on campaigning and helping disadvantaged LGBT youth until her death from liver cancer in 2002.

We love Marsha, she was an incredible woman who was full of life and love for everyone. We could all do with being a bit more like her, tbh.

marshaBeautiful Marsha. Via Giphy
This was really interesting! Where can I find out more? The documentary Pay it No Mind: The Life and Times of Marsha P Johnson is on Youtube and it is much-watch stuff! Plus, a Netflix documentary about Johnson's life is coming out in October 2017, and it looks promising. But please, we beg you…DO NOT USE THE HOLLYWOOD FILM STONEWALL AS A REFERENCE! The film is a whitewashed steaming turd of a mess (obvs our opinion, but…)

This post originally appeared on F Yeah History and is reprinted here with permission.

More from BUST

What Makes Art Feminist? Janet Mock And The Brooklyn Museum Weigh In

Drunk History Coverd The Stonewall Riots More Accurately Than A Whole Movie About It

This Caitlyn Jenner Costume Is Super Transphobic





Feminism Mon, 18 Sep 2017 11:39:49 -0400
The 15th Annual NY Burlesque Festival Is Here And We Have 2 Free Tickets For You! http://bust.com/entertainment/193476-the-15th-annual-ny-burlesque-fair-is-here-and-we-have-2-free-tickets-for-you.html http://bust.com/entertainment/193476-the-15th-annual-ny-burlesque-fair-is-here-and-we-have-2-free-tickets-for-you.html raquel reid orig
Raquel Reed

Are you ready?!

The NY Burlesque Fest will be celebrating 15 years of glitter and glamour in Gotham from September 21-24, and we have two free tickets to give away! Share/comment on this link, and you will be entered into our random drawing for free passes.

portia control orig
Portia Control

This annual festival has been showcasing sold-out performances by big-name acts since 2003, with Potani Productions and Thirsty Girl Productions combining their burlesque expertise to create an unforgettable event. Potani Productions is run by Angie Pontani, a burlesque legend known for her performances alongside Lady Gaga and Snoop Dog whereas Thirsty Girl Productions is run by Jen Gapay, who was voted the #1 most influential nonperforming woman in burlesque two years in a row.


To get the scoop on the upcoming feast, we interviewed Gapay. And as to be expected, her answers were very revealing... 

What inspired you to enter the world of burlesque?

When I lived in Seattle in the late '90s, I produced this lesbian party called Soiree De Femme and there was this dance troupe that I used to book that was mostly made up of strippers from the Lusty Lady. They would do these sexy cat numbers, and I didn’t know it at the time, but this was definitely burlesque and I was definitely into it! Then in 2000, I moved to N.Y.C. and I started going to The Slipper Room and discovered that burlesque was an actual thing that was happening and I loved it! So I started booking more burlesque performers for parties and live music shows and then it just seemed like there should be a New York Burlesque Festival, so I contacted Angie Pontani to see if she’d be interested in starting a festival with me. She said yes, and the rest is HERstory!


I see that you were voted the #1 most influential non-performing woman in burlesque in 2013 and 2014.  What about burlesque made you want to become so involved?

Live music and the circus were an inspiration to me when I was growing up, and finding a new genre as an adult that could put a big grin on my face or even bring me to tears was inspiring. I like to work with people and art forms that both inspire and exhilarate me.

This Burlesque Festival is the 15th one you’ve hosted. What changes have you seen over the years, in both performances and guests?

This year, we had more "boylesque" performers apply to the festival then we’ve ever have had in the past, so the boylesque scene is definitely growing. Also, there are a lot more variety acts than there used to be (acrobats, aerialists, singers, hula hoopers etc.), which is helping keep the scene interesting and fresh.

Burlesque can be an intimidating form of art for those who haven’t explored it much. What advice do you have for newcomers? Is it an experience that is just as empowering for the audience as it is for the performers?

Burlesque is known for accepting all body shapes and sizes and it’s incredibly empowering for both the performers and the audience. Newcomers should come with an open mind and open heart.

N.Y.C. burlesque is a culture within itself, thriving in the city notorious for never sleeping. But some of the fest's performers are coming from other cities and countries: San Diego, Switzerland, France, South Carolina, and Nashville.  What can we expect from these visiting acts? Will this diversity be reflected in their performances?

Yes, there is always a lot of diversity when you bring in performers from all over the world, and we have an amazing line-up for year 15 with five shows in four days that will feature over 100 performers—Don’t miss it!  www.thenewyorkburlesquefestival.com

This 4-day festival has numerous experiences, and we've listed them all below for you:


Thursday: September 21st:

Brooklyn based Bell House will be holding the Teaser Party, where host World Famous *BOB* will show you how to shake into over 20 performances, featuring performers like Stache Novak and Jezebel Express. This opening event will have various vendors, so after the shows awake your curiosity, don't hesitate to shop through businesses like Beauty Butler and Booty & the Geek!

boo bess and jenny cest quoi orig

Boo Bess and Jenny C'est Quoi

Friday: September 22nd:

Roll on into Brooklyn Bowl, for NYC-based Albert Cadabra and Shelly Watson will be hosting The Premiere Party! Come bump n' grind to jams from Jane Lee Hooker and DJ Fresh Prince of Darkness as San Diego-based Sassy Stiletto, NYC-based The Painted Ladies, Shelly Watson, Switzerland-based Silly Thanh, and many more take the stage to bring you over 25 performances! Brooklyn Bowl has a delicious menu available to fill your desires, and vendors will be ready to fulfill all your shopping wishes!

peekaboo pointe orig
Peekaboo Pointe

Saturday, September 23rd:

Saunter on into BB Kings on Saturday, for Murray Hill will be hosting The Saturday Spectacular, and Brian Newman, an international musical sensation, will be providing a special cameo for just this night to accentuate the heart-stopping performances from international burlesque stars: Bella Blue from NOLA, NYC-based Maine Attraction, Dirty Martini, Mara DeNude coming from France, and countless more, so step out in your Saturday best: there's a dance after-party in the adjacent Lucille's Bar!

Kitten n' Lou

Sunday, September 24th:

Shimmy into the Meatpacking District Sunday afternoon: from 2-6pm. The Tippler will be holding The Burlesque Bazaar, Legend Panel, and Showcase, where you can browse vendors, watch a burlesque showcase, and partake in a question-and-answer panel with South Carolina-based Burlesque legend Gabriella Maze.

After 6, make sure you have your tickets out as you prepare for the final "twirl of the tassels" for Scotty the Blue Bunny, from Berlin, will be hosting the sultry Golden Pasties Awards featuring over a dozen performers such as NYC-based Mr. Gorgeous, The House of Noire, Nashville-based Evelyn Vinyl, and more. These performers won't be close to being pasties: attendees will participate in an awards ceremony: performers will tassel among themselves to see who is most worthy of infamous titles such as "Most Likely to Ride a Broomstick," "The Rear of the Year," and "Most likely to Get Blocked By Trump on Twitter!"

The House of Noire


4-DAY VIP Passes includes several perks such as access to all events, exclusive merchandise discounts, prime seating, and much more! Purchase tickets at www.thenewyorkburlesquefestival.com

If it’s a busy weekend for you, don’t worry, it’s no tassel: individual tickets are also available, and can be found on each vendor’s personal websites listed below.

zyra lee vanity orig
Zyra Lee Vanity
For a complete lineup and information visit:


stormy leather orig
Stormy Leather


More from BUST


"Vibrator Nation" Explores The History Of Feminist Sex-Toy Stores: Review  

Felicia Day's Comic Book "The Guild: Library Edition" Is A Love Letter To Gaming: BUST Interview

Baking The Resistance, One Protest Cake At A Time 


Entertainment Fri, 15 Sep 2017 16:21:07 -0400
The Mudd Club Comes To Life In A Fascinating Tell-All Memoir http://bust.com/books/193475-the-mudd-club-richard-boch-review.html http://bust.com/books/193475-the-mudd-club-richard-boch-review.html  Marianne Faithfull Mudd Feb 80 Bob Gruen


Back in the late 1970s, New York City was still an affordable, gritty, and edgy place to live — very different from the shopping mall New York has morphed into. Influenced by the prevailing Warholian concept of High Art meets Low Trash, The Mudd Club was the happening place to dance and hang out. Artists, writers, musicians, actors, performance artists, and scensters of all persuasions created a mix that has been emulated by downtown denizens to this day. It was the anti-Studio 54, but had an even stricter door policy.


Now, former Mudd Club doorman Richard Boch has written a stellar tell-all memoir — called The Mudd Club — about his tenure as a doorman at this quintessential meeting ground of the coolest of the cool. It’s a real page-turner from beginning to end. Check out some of the photos from the book here, and New Yorkers, you can attend the the book launch on September 19 at Powerhouse Arena in Brooklyn

MUDD CLUB A 121 copyRichard Boch and Richard Ottens at the Howl! Happening party, photo by Jolene Siana

25 Fred Fab 5 Brathwaite Debbie Harry Bobby GrossmanFab 5 Freddy and Debbie Harry, photo by Bobby Grossman

10 Bowie DeeDee Ramone 79 Mudd Bobby GrossmanDavid Bowie and DeeDee Ramone in '79, photo by Bobby Grossman 44 Klaus Nomi Mudd Club Door Scene 79 Alan Kelinberg copyKlaus Nomi, photo by Alan Kelinberg

77 Nico 79 Dark Ebet Roberts copy Nico in '79, photo by Ebet Roberts

47 Lydia Lunch 80 Lisa Genet copy copy Lydia Lunch in '80, photo by Lisa Genet

79 Pat Place Cynthia Sley Bush Tetras 81 Lisa Genet copyPat Place and Cynthia Sley of Bush Tetras, photo by Lisa Genet

95 Richard Sohl Teri Toye Mudd Second Floor 80 Marcia Resnick copyRichard Sohl and Teri Toye Mudd in '80, photo by Marcia Resnick

114 X Full Band Summer 80 NYC Eugene Merinov copyX in summer 1980, photo by Eugene Merinov

Miguel, Klaus Nomi, Joey Arias (far right) in '79Miguel, Klaus Nomi, Joey Arias (far right) in '79


Top photo: Marianne Faithfull, February '80, photo by Bob Gruen

More from BUST

"Vibrator Nation" Explores The History Of Feminist Sex-Toy Stores: Review 

11 New Books By Women To Read Right Now

3 Books About The Secret Lives Of Women

Books Fri, 15 Sep 2017 14:55:17 -0400
"Vibrator Nation" Explores The History Of Feminist Sex-Toy Stores: BUST Review http://bust.com/books/193474-vibrator-nation-lynn-cormella-review.html http://bust.com/books/193474-vibrator-nation-lynn-cormella-review.html  


I had a fraught relationship with feminism growing up as a young adult in the early 2000s. Although I was drawn to many of feminism’s tenets, I felt disconnected deeply from its general view on sex and pornography. Unlike many of my fellow teenage feminists, I trusted (and still do) that women can make the active choice to enjoy and engage in sex work, whether that’s watching pornography or acting as a dominatrix. I thought (and still do) that we have the power to turn a historically patriarchal and misogynist adult industry into a deep well of feminist fantasy. Being a New York native, I have to thank Babeland for influencing that sex-positive belief. The Lower East Side feminist-owned sex-toy shop represents a side of feminism that centered my desires. It was a place where anyone who wasn’t a white, straight, cisgender male could explore their needs and desires while also having decidedly intellectual conversations about those needs and desires. And no book better traces this coming-of-age experience than Lynn Comella’s Vibrator Nation: How Feminist Sex-Toy Changed the Business of Pleasure (Duke University Press, Sep. 8, 2017) .

Comella’s new offering is a deep, multi-year look at how Babeland and similar businesses such as Good Vibrations and Self Serve Toys renegotiated feminism’s relationship with sex, gender and race — and the intersections thereof. Within the four walls of these shops emerged a sex-positive ethos that not only tapped into our deep, hedonistic urges, but also challenged us to think about how those impulses existed in the world. As Comella’s expertly captures in Vibrator Nation, places like Babeland challenged our ideas on not only sex and pornography, but how we treated sex and pornography through the lens of gender, race and ability. They used education, community-building and social activism to push feminism way beyond its comfort zone into this mutable progressive space, where gender is nonbinary and pleasure is not a solely white, able-bodied experience — all while navigating the murky waters of capitalism and competition. Of course, no one version of feminism is perfect, and even within these stores exist chasms between what is preached and what actually occurs. But, if nothing else, Comella’s Vibrator Nation shows how feminist sex-toy shops freed us from the confines of the patriarchy — rather than reinforced our role within it — and gave us the power to feel powerful using “one conversation, vibrator, and orgasm at a time.”

More from BUST

There's A "Broad City" Sex Toy Line, And Yep, There's A Pegging Kit For Bae

How To Introduce Sex Toys In A Queer-On-Hetero Relationship

What It Was Like To Finally Try A Vibrator — In My Late 20sWhat It Was Like To Finally Try A Vibrator — In My Late 20s


Books Fri, 15 Sep 2017 13:36:34 -0400
Chile Is No Longer The Toughest Country To Get An Abortion In, Thanks To President Michelle Bachelet http://bust.com/feminism/193470-chilean-president-michelle-bachelet-enacts-law-decriminalizing-abortion-after-years-of-campaigning.html http://bust.com/feminism/193470-chilean-president-michelle-bachelet-enacts-law-decriminalizing-abortion-after-years-of-campaigning.html  


Until recently, Chile was one of the toughest countries in the world to get an abortion. Along with El Salvador, Malta, the Vatican, the Dominican Republic, and Nicaragua, Chile's laws stated that women were not able to voluntarily terminate a pregnancy for any reason. However, Chilean president Michelle Bachelet has been at the forefront of a campaign to decriminalize therapeutic abortion (abortion after diagnosed medical necessity), and after two and a half years of discussion and debate, she enacted a law on Thursday that allows pregnancies to be terminated in three cases: Danger to the health of the mother, rape, and fetal infeasibility. 

The law was passed by Chilean Congress in August under a cloud of controversy, but the Constitutional Court dismissed challenges from conservative lawmakers. At the enactment ceremony at the Palace of La Moneda in Santiago, Bachelet spoke about some aspects of the law in detail, explaining that the law implies adequate confidentiality and the procedure will be carried out under safe conditions. Similarly, if the case involves minors, there will be adults who help them decide, but they will be chosen by the girl herself. Women must receive medical attention in a timely manner, and if a woman's life is at risk, a conscientious objector can not excuse themselves from interrupting the pregnancy.

b0v7KJQoTsu3dJmscchvew thumb 4021

Therapeutic abortion was first legalized in Chile in 1931, but dictator Augusto Pinochet forbade it shortly before the end of his reign of terror in 1990. Chilean society has been governed by many of the laws left over from the Pinochet dictatorship for the past 3 decades, but the socialist Bachelet government has been attempting to update these outdated and conservative regulations. Her government has also passed the civil union agreement, which included homosexual couples, and reforms to the educational system to ensure thousands of young people have access to free education. She now has her sights on the discussion of marriage equality before the end of her term in 2018.

The biggest challenge for the future of reproductive freedom in Chile will be to ensure that women all over the country have access to adequate medical care, an issue which is exacerbated by the social and geographical complexities of a a nation that is heavily divided between the big cities in the centre, and the countryside to the north and south. Bachelet is optimistic: “The women of Chile have conquered, or reconquered, a basic right, the power to decide for ourselves in the face of extreme cases," she said. “There is no more powerful and humanistic doctrine than learning to respect people's private choices and decisions."

Header image by Alex Proimos via Wikimedia Commons, body image via Twitter

More from BUST

A Sensitive Girl Who Had An Abortion

30 Years Of Abortion In Film, From 'Dirty Dancing' To 'Obvious Child'

Amber Tamblyn Takes A Stand Against Hollywood’s (And America’s) Sexist Double Standards

Feminism Fri, 15 Sep 2017 13:54:56 -0400
BUST's "Poptarts" Podcast Zooms In On Self-Help Celebs http://bust.com/books/193469-bust-s-poptarts-podcast-zooms-in-on-self-help-celebs.html http://bust.com/books/193469-bust-s-poptarts-podcast-zooms-in-on-self-help-celebs.html oprah live your best life by johnnyfilmmaker copy


Poptarts is a twice-monthly podcast hosted by BUST Magazine editors Emily Rems and Callie Watts that celebrates women in pop culture. The first half of each episode is devoted to a hot topic in entertainment, and in the second half, a segment called "Whatcha Watchin'?," Callie and Emily dig into all the shows, movies, books, music, videos, and podcasts they've enjoyed since the last episode, and either praise or pan each experience.

In the latest episode, Callie and Emily are joined by the hilarious hosts of the podcast "By The Book," Jolenta Greenberg and Kristen Meinzer, to discuss the curious intersection of celebs and self-help. Why are women so keen on taking life, health, and even medical advice from stars like Oprah, Gwyneth Paltrow, and (oy vey!) Jenny McCarthy? We get into it in a way only funny feminists can.

Check out every episode on iTunes for free, and don't forget to rate and review!

This podcast was produced for BUST by Rachel Withers.



Books Fri, 15 Sep 2017 17:05:01 -0400
This New Book From The "Guys We Fucked" Gals Has No Time For Your Slut-Shaming Nonsense: BUST Review http://bust.com/books/193468-this-new-book-from-the-guys-we-f-cked-gals-has-no-time-for-your-slut-shaming-nonsense-bust-review.html http://bust.com/books/193468-this-new-book-from-the-guys-we-f-cked-gals-has-no-time-for-your-slut-shaming-nonsense-bust-review.html  


If you’ve been living under a rock and haven’t heard of "Guys We Fucked: The Anti Slut-Shaming Podcast," you are in for a wild ride. The hosts, comedians Corinne Fisher and Krystyna Hutchinson, started out by — you guessed it — interviewing guys they’d slept with about sex and relationships. The podcast became so popular that listeners began emailing in their own questions and stories about sex, which ranged from funny to heartbreaking and everything in between. Eventually, Fisher and Hutchinson branched out into discussing these emails and interviewing listeners and experts on the show, and now around a million listeners tune in each week to hear it.

What sets Fisher and Hutchinson apart is their frank and funny approach to taboo topics, and they have brought this same fresh attitude to their new book F*CKED: Being Sexually Explorative and Self-Confident in a World That’s Screwed. The book is part manual, part confessional and part stand-up comedy. But it is all honest as fuck. They cover the origins of shame and explain why it should absolutely not be a thing, and provide essential information about bodies, different types of sexual acts, safe sex, rape and relationships. More structured than the podcast, F*CKED lays out the anti slut-shaming philosophy in detail for the rest of the world.


The "Guys We Fucked" podcast is not just hosted by two women, it is made up of a whole community of listeners (or "fuckers") as well. The book is written in a similar conversational tone, playing the role of an older sister, or that more sexually-experienced friend you always turn to for advice. The authors are not experts, just two women with life experience. In some sections this can wear thin, because it feels like most people in the book’s target audience know and intellectually understand the things that Fisher and Hutchinson discuss. We know we shouldn’t feel bad about masturbation, or having sex with multiple people. We know that sexual fetishes are not something to be ashamed of, and that abortion is a woman’s choice. But most people don’t talk about it, and this is the key to Fisher and Hutchinson’s appeal. Knowing something, and being comfortable talking about it, are two very different concepts, and breaking down the taboo and shame around sex for women requires both. Judging by the trolling and online hate these two women are subjected to, there is still a long way to go before everyone is as open and accepting as they are. 

And so the emails continue to flood the "Guys We Fucked" inbox, and Fisher and Hutchinson continue to dispense the best advice they can. One of their most common exhortations: Talk about it with your partner/s. Another: Get to know yourself. According to Fisher and Hutchinson, open communication is one of the most important aspects of sexual satisfaction. Oh, and never fake an orgasm.

Header image via Guys We Fucked: The Anti Slut-Shaming Podcast, body image via Amazon.

More from BUST 

7 Comedy Podcasts That Will Make You Spit Your Coffee On The Subway

"Almost Adults" Is A Women-Made Comedy About Coming Out: BUST Review

11 Unique Gifts You'll Just Want To Keep For Yourself



Books Fri, 22 Sep 2017 11:15:00 -0400
Week of Women: September 15-21, 2017 http://bust.com/entertainment/193467-week-of-women-september-15-21.html http://bust.com/entertainment/193467-week-of-women-september-15-21.html  


Our weekly roundup of women-centered pop culture is back! Scroll down to read about 10 movies, albums, TV shows, and books coming out this week. As a reminder, we haven’t seen, read, or listened to all of these ourselves, so if they're bad, don't blame us! But if we have reviewed them, we’ll include a link to the review, or refer to it if it’s in print. This week’s highlights include the Emmys; JLaw's latest movie, mother!; and new books by Toni Morrison and Ellen Pao.



Jennifer Lawrence, Javier Bardem and Michelle Pfeiffer star in a new horror film directed by Darren Aronofsky that’s causing all kinds of conversation. Out Friday, September 15, Paramount Pictures.

  First They Killed My Father

Angelina Jolie’s fifth film as a director is a biographical historical thriller, based on a memoir by Cambodian human rights activist Loung Ung. Out Friday, September 15, on Netflix.

  Strong Island

In a documentary that won the Special Jury Prize at Sundance, director Yance Ford tells the story of her brother’s murder in 1992, exploring grief, racism, and justice. Out Friday, September 15, Louverture Films.


  The 69th Primetime Emmy Awards


So many great actresses and TV series are nominated this year that it’s hard to choose who to root for! Airs Sunday, September 17 on CBS.

  The Good Place

Kristen Bell plays a recently dead woman who is mistakenly sent to “the Good Place” and has to try to fit in. Season 2 premieres on Wednesday, September 20 on NBC.


  Choir of Mind by Emily Haines

Emily Haines, of Metric and Broken Social Scene, releases her second solo album, which BUST’s reviewer says “will leave you feeling refreshed.” See review in August/September 2017 issue. Out September 15, Last Gang Records.

  "Everything Is Never Enough" by Goldfrapp

London electronic duo Goldfrapp is back with a new music video and a tour kicking off on September 16. Out now, Mute Records.



The Origin of Others by Toni Morrison


 The always incredible Toni Morrison releases a rare book of nonfiction, blending memoir and analysis. Out Monday, September 18, Harvard University Press.

Reset: My Fight For Inclusion And Lasting Change by Ellen Pao


In 2015, Ellen Pao became famous for suing her Silicon Valley venture capital firm for discrimination. Here, she tells her story for the first time. Out Tuesday, September 19, Spiegel & Grau. See BUST’s review here.

Nomadland by Jessica Brunder


Journalist Jessica Bruder explores the lives of transient older Americans who live in RVs and trailers and travel around the country, following low-paid, seasonal jobs. Out Tuesday, September 19, W. W. Norton & Company.

Top photo: mother!

More from BUST

Week Of Women: September 8-14, 2017

Week Of Women: September 1-7, 2017

Week Of Women: August 25-31, 2017 


Entertainment Thu, 14 Sep 2017 14:31:31 -0400
These 8 Books Explain Where Feminism Is In 2017, And Where It's Going http://bust.com/sponsored/these-8-books-explain-where-feminism-is-in-2017-and-where-it-s-going.html http://bust.com/sponsored/these-8-books-explain-where-feminism-is-in-2017-and-where-it-s-going.html womensmarch 

Feminism is changing. With the rise of social media, feminist discourse moves at breakneck pace, broadening the movement and embracing new quesitons and criticisms. And yet, the essential preoccupations of women fighting for equality remain the same: reproductive rights, economic freedom, education, and personal safety, to name just a few. From searing critiques of power and wealth, to in-depth investigations of race, gender, and class, these books offer new perspectives on gender in the twenty-first century.


How All Politics Became Reproductive Politics: From Welfare Reform to Foreclosure to Trump

By Laura Briggs 

Today, all politics are reproductive politics, argues esteemed feminist critic Laura Briggs. From longer work hours to the election of Donald Trump, our current political crisis is above all about reproduction. Households are where we face our economic realities as social safety nets get cut and wages decline. Briggs brilliantly outlines how politicians’ racist accounts of reproduction — stories of Black “welfare queens” and Latina “breeding machines" — were the leading wedge in the government and business disinvestment in families. With decreasing wages, rising McJobs, and no resources for family care, our households have grown ever more precarious over the past forty years in sharply race-and class-stratified ways. This crisis, argues Briggs, fuels all others — from immigration to gay marriage, anti-feminism to the rise of the Tea Party.


Reproductive Justice: An Introduction

By Loretta Ross and Rickie Solinger 

Written by two legendary scholar-activists, Reproductive Justice introduces students to an intersectional analysis of race, class, and gender politics. Loretta J. Ross and Rickie Solinger put the lives and lived experience of women of color at the center of the book and use a human rights analysis to show how the discussion around reproductive justice differs significantly from the pro-choice/anti-abortion debates that have long dominated the headlines and mainstream political conflict. In a period in which women’s reproductive lives are imperiled, Reproductive Justice provides an essential guide to understanding and mobilizing around women’s human rights in the twenty-first century.


Trans: A Quick and Quirky Account of Gender Variability

By Jack Halberstam

In the last decade, public discussions of transgender issues have increased exponentially. However, with this increased visibility has come not just power, but regulation, both in favor of and against trans people. What happened in the last few decades to prompt such an extensive rethinking of our understanding of gendered embodiment? How did a stigmatized identity become so central to U.S. and European articulations of self? And how have people responded to the new definitions and understanding of sex and the gendered body? In Trans*, Jack Halberstam explores these recent shifts in the meaning of the gendered body and representation, and explores the possibilities of a nongendered, gender-optional, or gender-queer future.


The Big Push: Exposing and Challenging the Persistence of Patriarchy

By Cynthia Enloe

For over a century and in scores of countries, patriarchal presumptions and practices have been challenged by women and their male allies. “Sexual harassment” has entered common parlance; police departments are equipped with rape kits; more than half of the national legislators in Bolivia and Rwanda are women; and a woman candidate won the plurality of the popular votes in the 2016 United States presidential election. But have we really reached equality and overthrown a patriarchal point of view?  The Big Push exposes how patriarchal ideas and relationships continue to be modernized to this day. Timely and globally conscious, The Big Push is a call for feminist self-reflection and strategic action with a belief that exposure complements resistance.


Cohabitation Nation: Gender, Class, and the Remaking of Relationships

By Sharon Sassler and Amanda Miller 

Living together is a typical romantic rite of passage in the United States today. In fact, census data shows a 37 percent increase in couples who choose to commit to and live with one another, forgoing marriage. And yet we know very little about this new “normal” in romantic life. When do people decide to move in together, why do they do so, and what happens to them over time? Drawing on in-depth interviews and delving into hot-button issues, such as housework, birth control, finances, and expectations for the future, Sassler and Miller deliver surprising insights about the impact of class and education on how relationships unfold. 


Smart Girls: Success, School, and the Myth of Post-Feminism

By Shauna Pomerantz and Rebecca Raby 

Are girls taking over the world? It would appear so, based on magazine covers, news headlines, and popular books touting girls’ academic success. Girls are said to outperform boys in high school exams, university entrance and graduation rates, and professional certification. As a result, many in Western society assume that girls no longer need support. But in spite of the messages of post-feminism and neoliberal individualism that tell girls they can have it all, the reality is far more complicated. Smart Girls investigates how academically successful girls deal with stress, the “supergirl” drive for perfection, race and class issues, and the sexism that is still present in schools. 

9780520286399 2

The Girl Effect: Capitalism, Feminism and the Corporate Politics of Ending Poverty

By Kathryn Moeller

How and why are U.S. transnational corporations investing in the lives, educations, and futures of poor, racialized girls and women in the Global South? Is it a solution to ending poverty? Or is it a pursuit of economic growth and corporate profit? Drawing on more than a decade of research in the United States and Brazil, this book focuses on how the philanthropic, social responsibility, and business practices of various corporations use a logic of development that positions girls and women as instruments of poverty alleviation and new frontiers for capitalist accumulation. These practices, in turn, enable corporations to expand their legitimacy, authority, and reach while sidestepping contradictions in their business practices that often exacerbate conditions of vulnerability for girls and women. With a keen eye towards justice, author Kathryn Moeller concludes that these corporatized development practices de-politicize girls’ and women’s demands for fair labor practices and a just global economy.


The Zero Trimester: Pre-Pregnancy Care and the Politics of Reproductive Health

By Miranda Waggoner 

In the United States, a healthy pregnancy is now defined well before pregnancy begins. Public health messages encourage women of reproductive age to anticipate motherhood and prepare their bodies for healthy reproduction — even when pregnancy is not on the horizon. Some experts believe that this pre-pregnancy care model will reduce risk and ensure better birth outcomes than the prenatal care model. Others believe it represents yet another attempt to control women’s bodies. Miranda R. Waggoner shows how the zero trimester rose alongside shifts in medical and public health priorities, contentious reproductive politics, and the changing realities of women’s lives in the twenty-first century. Waggoner argues that the emergence of the zero trimester is not simply related to medical and health concerns; it also reflects the power of culture and social ideologies to shape both population health imperatives and women’s bodily experiences.


Top photo: Photo taken in Washington D.C. by Kristen BlushOther images via University of California Press

Sponsored by University of California Press


Sponsored Fri, 15 Sep 2017 11:45:00 -0400
Jane Austen Is The New Face of UK's £10, So Make It Rain Austens http://bust.com/feminism/193465-make-it-rain-austens-jane-austen-is-the-new-face-of-uk-s-10.html http://bust.com/feminism/193465-make-it-rain-austens-jane-austen-is-the-new-face-of-uk-s-10.html new 10

Jane Austen is gracing the £10 in UK today – Mr. Darcy can just GTFO. BBC reports today that Austen will be replacing Charles Darwin and will be the exclusively accepted £10 by Spring 2018. Austen was born July 18, 1775 and it only took about 200 years for the UK to put her face on currency! Earlier this year, on the anniversary of her birth, it was announced she will adorn the newest £10 to huge support and excitement from various feminist/Austen-ist organizations.

Austen is considered a proto-feminist author, most famous for Pride and Prejudice and Sense and Sensibility. Her novels focus on the lives of women who are trying to marry, the newly married, and the unhappily married. She published her novels anonymously originally, but now her name is on the tongue of every high school English teacher every day.

 97798318 noteannotatedv2

The note looks fantastic, showcasing a famous sketch of Austen as well as the Queen Elizabeth, with golden foliage around the transparent window was designed to stop counterfeiting. The note was made with a polymer plastic, chosen for its durability and the difficulty to counterfeit compared to paper. More importantly the new note will have risen dots in the top corner to assist blind or sight-impaired spenders.

Elizabeth Fry, a prison reformist in England, is the face of the £5. The US has heard rumblings of a bill with a female leader on it, Harriet Tubman has been accepted as the obvious best choice – but no such currency exists yet, and no real plan has been set to create it. Hopefully the US, and every other country, will get the memo that female faced currency is feminist, cool and bound to happen. So if you’re in the UK, keep an eye out for these, and the next time you go to the corner store, you can spend an Austen on some great snacks and coconut water.

Photo 1 and 2 from Bank of England 

More from BUST

Why Are Miniature Portraits Everywhere In Books By Jane Austen and Charlottle Bronte?

This Jane Austen Adult Coloring Book Lets You Doodle Mr. Darcy

 A History of Women On American Money 






Feminism Thu, 14 Sep 2017 14:45:04 -0400
Common Holly Is The Innovative Indie Artist You Need to Hear: BUST Interview http://bust.com/music/193464-common-holly-is-the-innovative-indie-artist-you-need-to-hear-bust-interview.html http://bust.com/music/193464-common-holly-is-the-innovative-indie-artist-you-need-to-hear-bust-interview.html Common Holly

With the recent surge in accessible music streaming services, discovering noteworthy artists among the hordes of daily recommendations thrust upon us (we’re looking at you, Spotify) can be a dauntingly tedious task, to say the least. A fortunate few may have the spare hours required to rifle through the seemingly infinite indie abyss, but most of us don’t. So, allow me to lend you a hand, and believe me when I tell you: Montreal-based singer/songwriter Common Holly (AKA Brigitte Naggar) is an up-and-coming artist you don’t want to sleep on. Having shared a stage with notable indie artists like Julia Jacklin, Land of Talk, and Half Waif (before releasing a record, might I add) this young Canadian musician exudes promise.

Her forthcoming debut album, Playing House, is, as its title and endearing cover art suggest (see: two young girls bearing knobby knees beneath layered tutus), doused in nostalgia. It is a diary gathering dust in a childhood bedroom,  yanked from its slot on the shelf to be cracked open for the first time in years. It is as lyrically bound to the intimate as are pages to a diary’s spine, as compositionally intricate as the doodles in the margins. It navigates heartbreak in a model manner, demonstrating the grace, poise and intelligence that most of us mere mortals can only ever wish to embody in such circumstances. In other words, Common Holly’s Playing House is required listening, and luckily for all of us, it is set to release via Solitaire Recordings on September 25th. Until then, do yourself a favor and check out this exclusive interview with Naggar, and stream the album’s striking single, “If After All,” below.



Your forthcoming album, Playing House, will be released on September 25th (via Solitaire Records). I imagine the anticipation is grueling – how are you feeling? What are you doing to prepare?

Well, the songs [on the album] have existed for a long time, so I guess at this point I’m just ready for them to be out there in the world. To prepare, I’m mostly just focusing finding an adequate live representation of the sound. I think that’s the classic struggle of a solo artist who spends a lot of time in the production space, just working out what the best live version would be. Obviously, it won’t be exactly the same as the recorded version, but I’m trying to make something that stays true to it.

Is there a driving emotion or overarching theme to Playing House? Or is there a thought or feeling that you hope this record will provoke in a listener?

Thematically, the album is a traditional Taylor Swift style breakup album [laughs]… It’s pretty monolithic in that way. It’s about the relationship I had with one person and the healing process after that relationship. I guess I just hope that it will reach the listeners in a sincere way and that they’ll find the music interesting, but also find it to be something they can relate to somehow, you know?

While listening to your single, “If After All” (below), I noticed the song is divided into three distinct sounding sections… The intro is ambient and soft around the edges. Then, it transitions sharply to a crunching guitar, and concludes in a forceful math rock manner. In other words, the structure is complex, and it works. What did the songwriting process look like, here? Would you say this structure was intentional, or did it develop organically?

It was a combined effort between myself and my producer, Devon Bate. Basically, what happened is I wrote the whole song, I brought it to him, we thought about it, and recognized that the way in which the song progresses required that three-part production. The only thing that changed during that production process was the concluding section. I had something else initially, but he [Bate] suggested that I try a math rock thing, so I went home and rewrote the ending to fit that aesthetic. Then I had my friend Steven come in and do some math rocky guitar and just go all out on it. When we started working on the song, we had no idea that it would be the primordial song of the album. I think it ended up being the statement piece, and that’s why we put it first. It is the high-energy point of the album, and then, in a way, it unravels. It crawls into a more introverted state following that.

When I was younger, I remember being stricken by certain musicians I watched (which consisted of a weird Styx/Britney Spears combo) who lit a fire under me to pursue music and performance, in general. Can you recall a specific moment where you thought to yourself, “Yeah, I wanna do THAT?” This question bleeds into “When did you start making music/who are your inspirations?” etc.

When I was 14, I was a huge fan of Avril Lavigne… I was the ultimate fan. I used to wear the mesh armbands and the black nail polish. [Her album] Let Go is actually incredible. She was, what, 16 when she released that? I think that was a huge part of my inspiration, but I don’t think there was ever a single monumental moment where I was like, "This is what I wanna do with my life," because I think that happened organically. I’m a pretty big fan of No Doubt, as well. But I think the first CDs I ever owned were Britney Spears’ Oops!... I Did It Again and The Offspring. I inherited that one from my brother [laughs].

This may be a bit of a trite question in 2017 – but hopefully you understand what I’m getting at, because I think it’s still a relevant conversation to be had. Do you think your perceived gender (i.e. people look at you and think “that’s a woman”) impacts how audiences listen to and interpret your music and/or you as an artist?

Hm, that’s a really interesting question. I believe so. One of the things I try to do as a female artist is to write music that is unpredictable or kind of atonal, especially in the newer stuff I’ve been doing. It’s a little edgier. I find oftentimes that, especially in the realm of guitar music, audiences expect less complexity in terms of composition, and that really bothers me. Someone at a show recently brought it up, and said they really admired women making complex guitar music. And to be honest, it kinda sucks that still even needs to be said. So, it’s kind of a way to debunk the myth that women and non-men have to play soft or vulnerable music. I mean, in a lot of ways, my music is sensitive [to an extent], but, like I said, I’m trying to do something different that expresses a world that exists outside of male-fronted music. I have another band, Rose Bush, and when we were forming we were like, we don’t want to be a “cute femme punk” band… We want to make music that is powerful, impactful and that combats negative notions about non-men in music.

On a similar note, do you think your gender identity inherently impacts the work that you produce and/or how you navigate the music world? If so, in what ways does it manifest itself?

Yes, I think so. I feel incredibly privileged to be a part of the community of women and non-males in music, because I do feel that there is a strong movement for us happening in the scene right now, even though it comes with certain battles. Like, I recently went guitar shopping with a male friend, and the store owner was asking questions and was shocked when he found out he guitar was for me… In situations like that, I could take offense, or I could be like “Yeah it is for me, now look how good I am at playing guitar.” Like, women, femmes and non-males are really fucking good at this, and there is a whole load of them doing amazing things right now. I feel really inspired being a part of that community.

I love that mindset, and I love the confidence. When did you start playing guitar?

My dad gave me my first lesson when I was 13, and I got my own guitar when I was 16. I’m turning 25 now, so… 9 years? 12 years? [laughs] Quite a while.

I think it’s fair to say that the music scene has improved [recently] in terms of gender inclusivity, but there is still plenty of progress to be made. How do you think the scene can work to displace the emphasis on cis-men and evolve into a more welcoming space for everyone?

I think a crucial step is for promoters to be hyper aware of lineups that they’re putting on. I think it is really easy to say, “I know this band, and this band, and this band and they should all be on this bill together.” And, oftentimes, they do that without inspecting the demographics of each band, and as a result, bills are oftentimes made-up entirely of cis-gendered, white males. My other band [Rose Bush] has started to vow that anytime we do a show, there must be diversity in the bill. We want to see intersectionality: different sexualities, genders, races, etc. And, you know, sometimes that might also include bands with white males in them. That'll happen. I don’t think the answer is trying to totally gate them, either; I just think the focus should be displaced. 

Similarly, bills and festivals need to look at lineups and think critically about who belongs to them and what voices they choose to amplify. There needs to be a change in thought – I guess that’s the main thing. I think there is this widespread assumption that diverse artists are hard to find, or that they hardly exist, and that is perpetuating this vicious cycle. Like, these artists don’t make themselves known because there isn’t space for them. So, the first step is carving out that space and saying, “This show is for you.” That’s a way to encourage them – that’s a good place to start. 

Stream "If After All" by Common Holly here, and be sure to download Playing House via Bandcamp on Sept. 25th. 

 Images via Common Holly/Bandcamp

More From BUST

10 New Albums To Make The Soundtrack To Your September: Playlist

Princess Nokia's "1992 Deluxe" Album Is A Delicious Rap Gumbo: BUST Review

DJ Gabrielle Kwarteng Talks Musical Inspiration, Identity, And Disco: BUST Interview



Music Fri, 22 Sep 2017 12:22:57 -0400
Trump Demands An Apology From ESPN's Jemele Hill For #ReverseRacism http://bust.com/entertainment/193462-the-white-house-spokesperson-thinks-espn-should-fire-jemele-hill-for-reverse-racism.html http://bust.com/entertainment/193462-the-white-house-spokesperson-thinks-espn-should-fire-jemele-hill-for-reverse-racism.html jemelehill

It appears that the White House has failed at keeping Donald Trump abreast of all the current and necessary issues. It was not until this morning that he finally and officially responded to SportsCenter’s Jemele Hill’s initial tweets from five days prior. He tweeted, “ESPN is paying a really big price for its politics (and bad programming). People are dumping it in RECORD numbers. Apologize for untruth!”

Back on Monday night (Sept. 11), what started out as a criticism of some Facebook comments Kid Rock (yeah, girl, I know) made in regards to his affection for black people, ESPN’s Jemele Hill tweeted out, “He loves black people so much the he pandered to racists by using a flag that unquestionably stands for dehumanizing black people.” Of course, a long back and forth between some Twitter users and Hill followed. And then it happened. The tweets transitioned to Donald Trump.

Hill stated the obvious. She called him “a white supremacist who has largely surrounded himself with other white supremacists.” She then went on to call him “the most ignorant, offensive president of my lifetime” and a “bigot.” Hill essentially echoed the thoughts of many American and practically every opening monologue of any late night comedy show for the past year.

ESPN, in a statement after the first tweets, said that the “comments … do not represent the position of ESPN. We have addressed this with Jemele and she recognizes her actions were inappropriate.”

To no surprise to anyone, The White House had a response. On Wednesday (Sept. 13), The Hill reported, when asked about the tweets, White House press speaker Sarah Huckabee Sanders declared Hill’s accuracy as “One of the more outrageous comments that anyone could make and certainly something I think is a fireable offense by ESPN.”

Really? Fireable? Is it that outrageous to call Trump a white supremacist? The same Trump who still thinks the Central Park 5, who are Black men, are guilty of raping a white woman despite DNA evidence exonerating them? The same Trump who was sued by the feds, not once, but twice, for housing discrimination after investigators found he refused to rent apartments to African-Americans? And also, most recently, the same Trump who initially failed to denounce Neo-Nazis after their violent protest in Charlottesville, noting that people on “both sides” were at fault? (Seriously, I could go on for days...)

For the days following the controversial tweets, many of Hill’s colleagues over at ESPN, other journalists, sports stars, and fellow Americans spoke out in her defense. However, shortly after Sander’s call for Hill’s dismissal at ESPN, Hill issued an official semi apology, via Twitter:


And ESPN seemingly accepted in their own Twitter statement:


Following the tweets, Jemele Hill appeared on air with fellow co-host Michael Smith on their show SportsCenter. No harm, no foul, right?

Nope. Over the last two nights, rumors have been swirling that ESPN actually did try to keep Jemele Hill of the air. It’s also alleged that her co-host refused to do the show without her. According to The Washington Post, ESPN has since denied those claims, however no confirmation from either Hill or Smith.

There are so many serious conversations that we’re not having as a country. This is not the highest on the list but this is definitely up there. Whenever celebrities or public figures speak out on any controversial topic, the consensus is that they should not dabble into politics and stick to whatever industry or field they are known for. Why? Especially given our current socio-political climate. Not to mention, our current president is a millionaire best known for his reality tv fame.

ESPN has been faced with a lot of negative criticism for their coverage and the discussions of race and politics, mostly ignited by Colin Kaepernick’s silent protest of the national anthem. But for all this, you’d think Jemele Hill said her tweets on air at ESPN during a SC6 segment about the current football season or something. She did not. She was not at work. Does she represent ESPN at ever wakening moment of her life now? But above all else, what did she say that was inaccurate? Has Donald Trump not done all that she said?

Literally everything is about profit and big corporations need to draw the line clearly as to what they can and cannot accept from their employees beforehand. So often they prefer to appease their audiences instead of aligning their business with having some sort of moral standing. The backpedaling and half ass defending afterwards is phoney and confusing.

It is socially irresponsible to expect Jemele Hill or any other tax paying American to be uninvolved in any political matters, because well she’s a sports journalist. This issue is definitely not going to wrap up any time soon. Trump will continue to criticize ESPN and Jemele Hill until she is fired or until she apologizes. Hill hasn’t deleted the tweets yet, so the latter is looking slim.

Image: ESPN SportCenter6

More from BUST



Trump Fails Dreamers By Pledging To Scrap DACA

What The Trump Presidency Has Taught Me About America

You Can’t “Both Sides” Things WHEN ONE SIDE IS NAZIS



Entertainment Fri, 15 Sep 2017 13:54:26 -0400
"Meanwhile, Elsewhere" Is A Stunning Collection Of Sci-Fi Short Stories By Trans Writers http://bust.com/books/193461-meanwhile-elsewhere-review.html http://bust.com/books/193461-meanwhile-elsewhere-review.html meanwhileelsewhere

It’s not every day you get a post-reality generation device delivered to your home. It’s even rarer to find a list of product features included with the device (everyone knows that most post-reality generation devices come without any owner’s manual other than a sheet of paper that reads “Use At Your Own Risk”). Product features, according to Topside Press, vendors of this device, include “Twenty-Five (25) Science Fiction and Fantasy Short Stories,” and “430+ Pages of Fresh Work from Trans Writers.”

That’s right, these are the features of Meanwhile, Elsewhere, a wonderfully marketed anthology of sci-fi/fantasy fiction from trans writers, edited by Cat Fitzpatrick and Casey Plett. But there’s more to it than a quirky premise for how to get people excited about the book (if they weren’t already). The stories in this anthology are all worth reading, though somewhat uneven in quality. Some of the writers were clearly having a lot of fun and/or feelings with the realities they were putting together, putting the writing itself second, which is a shame.

Yet the ideas communicated and the realities described all work on two levels: There is the level of the text itself, the stories as sci-fi and fantasy shorts; and the level of the subtext, the stories as resistance, as proof of the current reality, a reality in which trans people exist and refuse to be invisiblized. Whether this subtext is intentional or not surely depends on each particular writer and each particular story, but regardless, it is always there, simply by virtue of this book’s existence in our current political climate.

For example, the first story in the anthology, “No Comment” by Ayse Devrim, features Maryam, a trans woman receiving the very first womb transplant. When she finds out that the womb she received was somehow pregnant when she received it (or was it immaculate conception?), the media become obsessed with her when she decides she wants to terminate the pregnancy. The sticky political and ethical questions become clear quickly: Is it Maryam’s baby to terminate or does it belong to the family of the dead woman whose womb was transplanted to Maryam? Is Maryam’s womb even her own or is she carrying around proprietary intellectual technology? If a woman has a right to choose, how come Maryam doesn’t? The questions go on, and Maryam is a fierce protagonist wielding her own answers and decisions.

Another story, “Rent, Don’t Sell” by Calvin Glimplevich, involves dysphoria of a whole different kind: at SciFit, a new gym, Nok’s consciousness is transferred into the bodies of rich clients who don’t want to work out, and so she, in their bodies, works out for them. A veteran with one arm, Nok’s time in other people’s bodies is her only way to get out of her own. Natasha, another woman who works at the gym, managed to get a new body, a cis body, and is now suing to get her old body back — “I feel like myself, but when I look in the mirror it’s someone else’s reflection,” she tells Nok. “I want to start over, do it old fashioned: estrogen pills twice a day.” (86) This is one of the themes that tends to jump between stories: a rejection of cissexist notions of what gendered bodies are “supposed” to look like.

Other stories are less overtly political, like “Satan, Are You There? It’s Me, Laura” by Aisling Fae, which features a surprising trans figure, or “Delicate Bodies” by Bridget Liang, a zombie outbreak romp. It’s fantastic that they sit among other, more complex stories, because they allow both for a breath of fresh air for the emotionally impacted reader, as well as proof that this isn’t, at its core, a political project. It is, rather, a necessary one, one that has a right to exist, and one whose politics shouldn’t need to in the spotlight.

In other words, Meanwhile, Elsewhere is a worthy investment, though Topside Press does remind you that side effects may include “Headaches, inability to get out of bed, writing, hope, alcoholism, horror, romance, wearing plaid and/or breast growth, removal, et cetra” and that “The post-realities portrayed in this book may or may not exist, ever. Manufacturer is not responsible for any personal catharsis.” Read at your own risk (but take the risk).

More from BUST

In "Bombshells United: American Soil," Wonder Woman Fights To Free Japanese Americans From Internment Camps

11 New Books By Women To Read Right Now

3 Books About The Secret Lives Of Women3 Books About The Secret Lives Of Women

Books Thu, 14 Sep 2017 12:46:56 -0400
This Artist Turns Weird State Laws Into Mind-Boggling Photos http://bust.com/arts/193459-photographer-olivia-locher-fought-the-law-and-the-law-lost.html http://bust.com/arts/193459-photographer-olivia-locher-fought-the-law-and-the-law-lost.html  I Fought the Law Delaware

Did you know that in Delaware it is illegal to consume perfume? Well, that’s what people say anyway. New York-based photographer Olivia Locher’s book I Fought The Law is not concerned with technicalites. In fact, quite the opposite. She has selected her “fifty favourite alleged state laws” and photographed them in her trademark colourful, intriguing, pop-art style. Some of the laws are true, some were true once and some have been passed along as fact so many times they might as well be.

I Fought the Law flat cover

Locher is a young photographer who has garnered a huge following for her work on social media, and her photos have appeared in the New York Times Magazine, W, Glamour, to name a few. With this project, she has demonstrated a talent for blurring the murky lines between the personal and the political, in a visually stunning combination. Her point is that there is no point to many of these laws, and that the legal system and our established social conventions should always be up for debate. The law professes to be definite, hard and unwavering, even when it is wrong. Locher’s photos are the exact opposite of that, drawing attention to the contrived nature of the legal system through art.

There is a darker side to these playful photographs, as many of the laws in the United States today can be used to disproportionately target women and minorities. These “silly, little laws” are used to force abortion clinics to close their doors, to regulate the lives of the queer community and to prosecute people of color for comparatively minor infringements. By questioning established social conventions and the bias in the legal system through her photographs, Locher reminds us that the law is not inherently good or right, and sometimes it's even funny. For example:

I Fought the Law California

In California nobody is allowed to ride a bicycle in a swimming pool.

I Fought the Law Connecticut

In Connecticut pickles must bounce to be officially considered pickes.

I Fought the Law Kansas

It Kansas it is illegal to serve wine in teacups.

I Fought the Law Nevada

In Nevada it is illegal to put an American flag on a bar of soap.

I Fought the Law Ohio

In Ohio it is illegal to disrobe in front of a portrait of a man.

I Fought the Law Texas

In Texas it is illegal for children to have unusual haircuts. 

I Fought the Law Utah

In Utah no-one may walk down the street carrying a paper bag containing a violin.

I Fought the Law Virginia

In Virginia spitting on a sea gull is punishable by a fine.

I Fought The Law is on sale now, and an exhibit of photos from the book will be on display at Steven Kasher Gallery in New York September 14 through October 21, 2017.

Images from I Fought the Law: Photographs by Olivia Locher of the Strangest Laws from Each of the 50 States, published by Chronicle Books 2017.

 More from BUST

40 Vintage Photos Of Frida Kahlo To Get Lost In Today

This Incredible Exhibit Celebrates Women Of Color In Skate Culture

This Woman Got Fired For Getting Her Period At Work — Now She And The ACLU Are Fighting Back 

Arts Fri, 15 Sep 2017 10:00:00 -0400
"Broad City" Recap: Season 4, Episode 1 — "Sliding Doors" http://bust.com/tv/193458-broad-city-recap-4-1-sliding-doors.html http://bust.com/tv/193458-broad-city-recap-4-1-sliding-doors.html  


The Broad City season 3 finale, “Jews on a Plane,” left us with Abbi and Ilana being tackled to the ground and accused of terrorism on an Israel-bound plane. In reality, Abbi unexpectedly got her period and Ilana attempted to discreetly crowdsource for a light-flow tampon. (Now we know who uses those.)

But in season 4, we have no idea if they’re alive. If they got deported back to the United States. If their bags got lost. Or if they're enjoying their Birthmark trip. That’s because the premiere episode, “Sliding Doors,” goes back in time to a simpler time.

New York City 2011. Four Loko. “Forget You” by Cee Lo Green. On an iPod nano. #Winning. An Obama presidency. Donald Trump was only yelling at celebrity apprentices instead of literally everyone.

The train is coming, but Abbi’s metrocard doesn’t have a sufficient fare. Ilana, to the rescue, swipes her in, only to jump over the turnstile because she didn’t have enough on her card for two rides.

In the style of the Gwyneth Paltrow movie Sliding Doors, the season 4 premiere, “Sliding Doors,” follows two realities. One reality entertains Abbi and Ilana getting on the train and going on with their lives, and the other entertains the duo’s first day of stoned hijinks. Fortunately, in both realities, Abbi and Ilana become best friends.

broad city

Here are some of our reactions, which you can find every week of season 4.

On the coffee shop scene:

Lindsay: How upset would you be if someone cut off your hair? Like, at least I wasn’t murdered?

Danielle: I mean, I wouldn’t chase the person who did that. What am I going to do with my hair at that point anyway? You can’t glue it back onto your head.

Lindsay: I could do a GoFundMe for a really good haircut and maybe get enough sympathy money to add in some styling tools. I mean, I’d be OK if that were my haircut. That’s not bad.

broad city

On the creepy guy selling bubble blowers:

Lindsay: Abbi had to pee really bad. Do you think she ever did that or if she wet herself while she was running after her ponytail? THE BUBBLE GUY TOLD HER SHE’D BE WET LATER. IS BUBBLE GUY THE ACTUAL PSYCHIC IN THIS EPISODE?


broad city

On Ilana’s spontaneous presentation at NYU:

Danielle: Is she going to break out into song? Oh my God, this is turning into a musical.

Lindsay: This reminds me of the time I watched my fellow geology students hand in 100-page, bound reports and I had 10 pieces of paper stapled together.

On the suite meeting with all three Madisons:

Lindsay: LMAO THE AUDREY HEPBURN SCREENSAVER. But they are total Madisons tho. OK, which white-girl name do you hate the most? Mine’s Ainsley.

Danielle: MELISSA!

Lindsay: This cut deep. I was once the problem roommate in college. Were you the Ilana or were you the Madisons?

Danielle: See, I was an RA, so I was none of them. I would appear later if they needed a roommate intervention.

Lindsay: What would you do if you walked into a… tenant? What do you call the students when you’re an RA? Students? ANYWAY, what if you walked into a room and saw a porn wall like Ilana’s?

Danielle: I really like the wall. Real creative expression going on there and I’d be for it. No beastality though, that sounds pretty graphic.

Lindsay: Always off the table.

broad city

On thinking Abbi and Ilana might not be friends:

Lindsay: How unhappy do you think they’d be without each other? But they could be really driven and financially stable.

Danielle: Ilana would not be living in New York. She would be living at home.

Lindsay: What do you think Abbi would be like? Do you think she would have a cat?


On the plot twist:


*two minutes pass*


broad city

Images via Broad City/Comedy Central

More from BUST

There's A Broad City Sex Toy Line, And Yep, There's A Pegging Kit

"Broad City" Is Back For Season 4 With A "Fuck You, Trump""Broad City" Is Back For Season 4 With A "Fuck You, Trump"

"Broad City," Sarah Silverman, Janet Mock And More: BUST's Best Bets For September 2017


TV Thu, 14 Sep 2017 11:18:33 -0400
These Feminist Embroidery Artists Are Breaking Boundaries http://bust.com/arts/193456-she-saw-the-world-brighten-and-catch-fire-point-green-art-exhibit.html http://bust.com/arts/193456-she-saw-the-world-brighten-and-catch-fire-point-green-art-exhibit.html  

point green


Point Green is a big, hip and irresistibly cool art gallery tucked away on Java St. in Brooklyn, NY – their newest exhibition, She Saw the World Brighten and Catch Fire, will feature seven artists who experiment with Ray Bradbury’s short story "Embroidery" and, well, embroidery. The short story by Bradbury focuses on the destructive power of men compared to the creative powers of women, seen through the lens of women sitting in a sewing circle waiting for what turns out to be the end of the world — and it is not exactly subtle.

The art isn’t either.

The art focuses on destruction and resurrection, both caused and stopped by femininity. By experimenting with one of the oldest forms of art, one which is always exclusively seen as “women’s work,” Point Green is attempting to break boundaries and open our eyes as to what is feminine, what is art, and how do the two things come together.

greenpoiint fb copy

The artists are mainly but not exclusively New York based, and have a reputation for art that breaks boundaries and questions the world we live in. Opening the show during New York’s Fashion Week was no accident – rather, the timing is supposed “to inspire a wider audience, and hopefully a broader conversation amongst our creative peers,” as explained in their press release. At the end of the day, art is for everyone that enjoys creativity, and if it's feminist and experimental, it's even better! 

Check out the gallery at 260 Jave St, Brooklyn, NY every Wednesday through Friday from 11am-6pm (or by appointment if you're really fancy)


dultery instagram copy

By Jesse Stien, Instagram/dultery 


s audino instagram copy

By Sam Audino, Instagram/s.audino


dultry instagram

By Jesse Stien, Instagram/dultery 


point green press release pic

Jason Whisker's "The Second Coming" wearable collar


Danica Pantic 244

"Women's March" by Danica Pantic  

Emma Berg 2017 1

"We See You" by Emma Berg 

The Second Coming Domino Whisker 2017 1 copy

The Second Coming by Domino Whisker


Photos courtesy Point Green 

More From BUST 

This incredible Exhibit Celebrates Women Of Color in Skate Culture 

How Meredith Lyman Turns Sex and Angst Into Colorful Art 

A New Exhibit Will Showcase The Art of Fearless Feminist Carolee Schneemann 




Arts Thu, 14 Sep 2017 14:40:00 -0400
5 Things All Solo Female Travelers Should Know http://bust.com/books/193455-5-things-all-solo-female-travelers-should-know-according-to-travel-writer-torre-deroche.html http://bust.com/books/193455-5-things-all-solo-female-travelers-should-know-according-to-travel-writer-torre-deroche.html gilmoregirlswild

Traveling is an experience that should be open to everyone, but often women are told that it is “too dangerous” for us to go into the world alone. (Which is ironic, because walking the streets in our own cities is also dangerous when it comes to sexual harassment and assault, as is literally staying inside our homes.) And that's not even taking into account the additional obstacles women of color and minorities can face while traveling. Despite this, women are increasingly embarking on their own adventures

Blogger and author Torre DeRoche’s latest book,The Worrier’s Guide To The End Of The World, traces her experiences walking the last leg of the Via Francigena pilgrimage in Italy, and then following the route of Ghandi’s Salt March in India. While this might sound like the work of a fearless adventurer, Torre admits that she has always been a very fearful person, and that travel is, in part, an attempt to conquer her anxiety. She writes about her compulsive fear of danger to herself or her family, the difficulty of building relationships while living a transient lifestyle, and her fear of missing out on important milestones at home while she is out seeing the world. This memoir is driven by her friendship with another female traveler, Masha, and the lessons they learn on the road. 



Here are a couple of the most important lessons:


1.) “You’ll work it out.”

Solo traveling teaches resilience and self dependence, because there is no one else there to solve your problems except you (and there will definitely be problems!). Torre is initially hesitant to begin the pilgrimage with Masha, worrying about whether she has the right gear and about the weather. But she has confidence in herself and her ability to be able to handle it one step at a time, and ends up having one of the most amazing experiences of her life.

2.) “Trust brings back trust, which can only mean that fear yields fear.”

While Torre is constantly preparing for the end of the world, Masha has a completely different traveling style. She believes in the good in people, practices positive visualization and trusts that the universe will provide. Torre eventually manages to let go of her fear, and this is validated by the generous people they encounter along their way.

3.) “There is nothing in this world that exists outside you, the you don’t already have within you.”

This is the advice Torre’s grandmother passed on to her when she was growing up, and it can be applied to basically any situation, on the road or and at home. Whether you’re dealing with romantic relationships, mansplainers, FOMO or low self-esteem, it is important to remember that we are all in control of our own actions, and no-one knows better than us what is right.

4.) “Surrender to the magic of a single moment.”

Studies have shown that three-second patterns are found everywhere, from poetry to the habits of wild animals. By breaking down complicated situations into three second sections, they can become simpler and more manageable. When you’re truly being present in what Torre calls “the feeling of nowness," you can get through just about anything.

5.) “Life is beautiful and then you die.”

Torre’s parents always had a fridge magnet that said "life’s a bitch, and then you die," and she almost believed it. In India, she gained a new perspective, realizing that the futility of existence and the joy of existence are not mutually exclusive. Traveling is a way to see the world and appreciate the beauty in everything, even in the presence of suffering. Life is a contradiction, and we just have to live with that.

The Worrier’s Guide To The End Of The World is full of relatable, funny and moving advice for anyone who has longed to see the world but felt that niggling feeling that wants to hold them back. Best of all, it demonstrates that the best way to confront fear is to meet it head on, and to laugh at it along the journey.

Header image via Gilmore Girls: A Year In The Life. Images via the author and Amazon. 

More from BUST 

What It's Like To Travel Alone As A 20-Year-Old Woman

How To Travel Around The World For Almost Free

11 New Books By Women To Read Right Now

Books Thu, 14 Sep 2017 12:55:00 -0400
DJ Gabrielle Kwarteng Talks Musical Inspiration, Identity, And Disco: BUST Interview http://bust.com/music/193433-badass-dj-gabrielle-kwarteng-talks-musical-inspirations-identity-and-disco-bust-interview.html http://bust.com/music/193433-badass-dj-gabrielle-kwarteng-talks-musical-inspirations-identity-and-disco-bust-interview.html  

image2 copy

Gabrielle Kwarteng is an award-winning DJ based here in Brooklyn, NY. Soul, funk, and disco are her areas of expertise and she seriously knows how to make you forget about your troubles and transport you to a nightclub in the '70s. I was lucky enough to ask her a few questions about her musical background and experiences breaking into the DJ scene.

Gabrielle, you’ve been DJing professionally all over NYC for a few years now. First off, how did you first get into records?

Admittedly, I didn’t begin DJing with vinyl. I had amassed a digital library of over 10,000 songs and felt more confident jumping into DJing with that library. I’ve been collecting records for some years now, but initially it was just for my own listening purposes. I’d come across so many venues where DJs were just playing off of their laptops or on CDJS, so I naively believed that spinning analog was waning. But I always felt this jolt, this rush whenever I found a track that I loved on wax. That feeling is incomparable. So it was only a natural progression for me that I’d return to the OG form of DJing. I only recently began spinning vinyl outside of the comfort of my apartment this past year. I believe it’s the highest homage every self-proclaimed DJ can pay to the art form.

image3 copy

Were there any female figures in your life that inspired you musically?

Oh, God, that list would be endless. As a female DJ, especially a black female DJ, I have to acknowledge that I wouldn't have this profession without the countless female soul, funk, disco, and house singers and musicians who paved the path for artists today. I'd definitely say my top three queens are Diana Ross, Chaka Khan, and Sade — mind you, I have no singing ability… without shower acoustics. These women have some of the most phenomenal discographies to date. And not to mention Chaka Khan and Sade were the sole frontwomen of what would have otherwise been all-male bands. And for Chaka, that was during the '70s. Despite the strides we know women's rights took then with the peak of the sexual revolution in the '60s and music genres like disco, funk, and rock'n'roll allowing women to express these newfound liberations, we have to also acknowledge that it couldn't have been easy. Only a handful of women were lucky to be in that position.


How has your taste in music changed over the years?

My taste has dramatically shifted as I've embraced the old soul I've always known I had, which explains my strong connection to funk, disco, and house. I'm definitely not interested in playing music that doesn't send out positivity and isn't all around feel-good music. Music that vibrates the higher chakras, especially the heart chakra. Admittedly, I did the opposite years ago when I was DJing in college. And I don't regret it or knock anyone for playing what they play – to each their own. But when you look at the biggest hits in music history, they're either about love or heartbreak. Those are the songs that stand against time. Whitney Houston's rendition of Dolly Parton's, "I Will Always Love You" immediately comes to mind. I guarantee that song will forever be a classic and you can't fake the power in that type of message.

image1 2

Are there certain records that are timeless?

I always find this question a bit difficult to answer because there are just so many timeless tunes. I would say every anything off of Michael Jackson's discography. He was one of the most inspiring artists to ever live. Pointer Sisters "Automatic" and Alicia Myers "I Want To Thank You" are two records that without fail will result in people stopping mid-conversation to join the dance floor.

As a woman in a typically male dominated field, how do you feel this has shaped your outlook and experiences in the DJ world?

It’s definitely been an eye-opener experience facing the sexism that continues to occur today. Men don’t even realize that their back-handed compliments are sexist. “You DJ really good for a girl.” “Oh, I didn’t know girls knew how to DJ.” You’d be surprised at what some guys have said. One guy jokingly asked if I was actually spinning vinyl or if my turntables were connected to an iPod. A joke I don’t think he would’ve delivered to a male DJ. And because DJing was initially male-dominated for decades, it sometimes feels as if women DJs are still viewed as the underdogs and have to prove themselves a little more. But I’ve also met and know that there are a lot of men who simply respect DJs based on their merit, irrespective of their gender. And I have faith as a society, we’ll eventually arrive at the point where a woman DJ is just a DJ and not a “girl who’s really good at DJing.”


Do you have any advice for young artists, specifically DJs who are trying to make it?

Have faith that your hard work will find its due and pay off. Passion and drive combined will take you a very long way, and it’s a huge plus having a strong support system beside you. It’s important to surround yourself around like-minded individuals who share common goals that should hopefully point towards being the best version of yourself.


Photos: Gabrielle's Instagram

More From BUST

Princess Nokia's "1992 Delux" Albumm Is A Delicious Rap Gumbo: BUST Review

Cult Party Is Brooklyn's Newest Girl Gang Get Away

Solange Is Going To Direct SZA's Next Music Video And We Can't Wait


Music Mon, 18 Sep 2017 12:53:28 -0400
10 New Albums To Make The Soundtrack To Your September: Playlist http://bust.com/music/193372-music-reviews-need-images-editing.html http://bust.com/music/193372-music-reviews-need-images-editing.html  albumsaugsept2

Here at BUST, we bring you music reviews every issue. Peep the most recent releases from our August/September 2017 issue right here, featuring new music from L.A. Witch, Zola Jesus, Domino Kirke and more. Plus, scroll down to find our Spotify playlist, and check out the rest of our August/September issue album reviews right here.

Zola Jesus

(Sacred Bones Records)

Okovi means “shackles” in Slovak, and the latest album from electronic phenom Zola Jesus (aka Nika Roza Danilova), is a wild, spiritual reckoning with all those things that keep us bound: bodies, duty, and death. Album opener “Doma” features a soothing, nearly New Age chorus of voices harmonizing over subtle synths that quickly throws listeners into the emotional tumult of the thunderous “Exhumed.” The album rarely takes a moment’s rest from there. Okovi marks Danilova’s return to the always-excellent Sacred Bones label, where she released much of her earlier work, also signaling a resurrection of her darker, heavier sound. The result is pure exhilaration. (5/5) – Melynda Fuller



Reservoir, the first full-length release from Sophie Payten (the Aussie singer/songwriter also known as Gordi) is an album full of dreamy and dramatic songs with rich, resonant arrangements. Payten’s own home-brewed blend of indie rock, placid folk, and mellow electronic pop provides an appropriately eccentric backdrop for her exceptionally deep and dynamic voice. Songs feature unexpected flourishes, like a whispered voice counting off the rhythm throughout “Heaven I Know,” and vocoder-manipulated backing vocals on “Myriad.” Reservoir is an impressive debut album, a work of raw self-expression and honest emotion. Payten’s stories are worth telling—and hearing. (4/5) – Cindy Yogmas


Choir of the Mind
(Last Gang Records)

Emily Haines, of Metric and Broken Social Scene, releases her second solo album with Choir of the Mind. The sound is shaped by Haines’ goal “to express...a pure feminine spirit.” Is it a feminine thread that makes the lightly Bossa Nova-tinged “Statuette” wash over you like a soothing wave? Either way, it works. Other numbers, like “Perfect on the Surface,” dive into the ethereal, making for the ideal soundtrack to a sleepy summer afternoon. While some songs (“Legend of the Wild Horse”) may drift from dreamy to snoozy, overall, Haines’ debut will leave you feeling refreshed. (3/5) — Camille Collins

Domino Kirke

Beyond Waves

Domino Kirke might just be one of 2017’s breakout artists. The Brooklyn-based singer/songwriter gives birth to new music on her first full-length album, Beyond Waves. This collection of folk-pop melodies takes inspiration from the experience of motherhood, both her own (Kirke has an eight-year-old son), and those she’s encountered in her work as a professional doula. On “Happy No Happy,” Kirke croons, “She’s stuck on the edge of the world,” against a dark, haunting melody. Yet, despite the sorrowful tone, you’ll be eager to hear more. Kirke’s newest record is not always upbeat, but it’s well worth a listen. (4/5) – Stephanie Nolasco


A Sentimental Education
(Double Feature Records)

Good news for fans of ’90s indie-pop: Luna has put out their first new material in over a decade, with a new LP of covers (as well as a simultaneously released EP of instrumental music). The album’s title, Sentimental Education, seems to refer to the band’s musical education, with covers of songs from acts like the Rolling Stones, Mercury Rev, and Bob Dylan. Luna’s bittersweet cover of Fleetwood Mac’s “One Together” is endearing, and the refrain “Happy all the while/Now that we’re one” seems reflective of the band’s unexpected reunion, as does their dramatic cover of the Velvet Underground’s “Friends.” We hope it’s a reunion that sticks. (4/5) – Adrienne Urbanski

Shelby Lynne Allison Moorer

Not Dark Yet
(Silver Cross Records/Thirty Tigers)

After years of promising to collaborate, sibling musicians Shelby Lynne and Allison Moorer have finally recorded an album together. The Moorer sisters have chosen songs that complement their individual musical tastes, solo vocal talents, and harmonies. Their eclectic choice of writers ranges from the traditional Americana country of the Louvin Brothers’ “Every Time You Leave,” and Merle Haggard’s “Silver Wings,” to Nick Cave’s classic love ballad “Into My Arms,” to Nirvana’s “Lithium,” and back to outlaw country queen Jessie Colter’s “I’m Looking For Blue Eyes.” This fabulous and long overdue collaboration is hopefully the first of many for this stellar sister act. (4/5) –Michael Levine

LA Witch

L.A. Witch
(Suicide Squeeze Records)

Ever since they released their three-song EP in 2014, we’ve been wanting more from L.A. Witch, and the trio’s self-titled debut album is deeply satisfying. The all-female band is, naturally, based in Los Angeles, and their music is pure desert rock, equal parts spaghetti western and Black Sabbath, and loud enough to fill a canyon. The previously released “You Love Nothing” is tighter here, and just as gritty an ode to a no-good lover. Meanwhile, new tracks like the sprawling “Baby in Blue Jeans” and the slow-burning “Brian” display a new depth of songwriting. Let L.A. Witch take you on a trip. (5/5) –Liz Galvao


In Search of Lost Time
(You’ve Changed Records)

Partner’s debut album In Search of Lost Time is a Canadian home run. Describing themselves as “part musical act, part teenage diary, and 100 percent queer,” Josée Caron and Lucy Niles take a wild adventure into ’90s rock with a collection of robust, tightly polished songs interspersed with funny skits. The first obvious comparison is to Veruca Salt, though there are many to draw, from Tom Petty on “Gross Secret,” to Melissa Etheridge on “Sex Object.” Partner goes hard on “Ambassador to Ecstasy” and gets soulful on “Creature in the Sun.” Another standout is the excellent “Play the Field,” though the album is outstanding from start to finish. (5/5) – Whitney Dwire

Rainer Maria

(Polyvinyl Records)

While the world has changed quite a bit in the 11 years since Rainer Maria’s last album, the band’s ability to create bar-setting emo rock has remained the same. The trio returns with S/T, an album whose title has a playful double meaning; the record both is and isn’t self-titled. All nine tracks were worth the wait. Highlights include “Lower Worlds,” “Possession,” and superb opener “Broke Open Love.” The band has modernized their sound slightly, but has overall stayed true to their roots, making S/T an album that manages to be simultaneously nostalgic and brand new. That’s a duplicity we can support. (5/5) –Kathryn Hensch

Soccer Mommy 

(Fat Possum Records)

Soccer Mommy, aka Sophie Allison, is not a girl, not yet a woman, on her mini-album Collection. In just 30 minutes, the 19-year-old NYU student gets to the heart of the emotional crossroads of her late teens, when everything feels bigger than one’s self. That’s paralleled by Allison’s music, which was recorded in her bedroom, yet sounds ready for a much grander setting. On “Death By Chocolate,” she gets at the sinfulness of desire, while on sad strummer “3 AM at a Party,” she lets the one who got away know he deserves better: her. Soccer Mommy’s bittersweet pop deserves a bigger audience. (4/5) –Shannon Carlin

More from BUST

Princess Nokia's "1992 Deluxe" Is A Delicious Rap Gumbo: BUST Review

11 New Albums To Put On Repeat This Summer

Lizzo's "Water Me" Is Your New Self-Love Anthem

Music Fri, 15 Sep 2017 12:17:26 -0400
How Much Do You Know About Shirley MacLaine? http://bust.com/movies/193367-shirley-maclaine-quiz.html http://bust.com/movies/193367-shirley-maclaine-quiz.html ShirleyMacLaine2

Shirley MacLaine Has Still Got Game!

A legendary actor, singer, dancer, activist, author, and spiritual seeker, Shirley MacLaine has spent the last 60 years in the spotlight. Think you know what makes this 83-year-old dynamo go, go, go? Then take the quiz!

1. Born on April 24, 1934, in Richmond, VA, Shirley was named after what performer?

a. Shirley Temple
b. Shirley Bassey
c. Shirley Hemphill
d. Shirley Jones

2. The oldest of two kids, Shirley’s younger brother is also a star. Name him.

a. Willie Nelson
b. Jack Nicholson
c. Warren Beatty
d. Richard Simmons

3. Shirley has written __ autobiographies, in which she describes her experiences with reincarnation, aliens, out-of-body cosmic travel, and more.

a. 4
b. 9
c. 14
d .20

4. Shirley has been nominated for six Academy Awards but only won once, for _____.

a. The Apartment
b. Terms of Endearment
c. Irma la Douce
d. The Turning Point

5. Complete the following Shirley Quote: “I’ve made so many movies playing a hooker that they don’t pay me in the regular way anymore. They ____.”

a. stick it in my g-string
b. pay my pimp
c. have to pay me before I’ll act
d. leave it on the dresser

By Emily Rems

Answers: 1. a, 2. c, 3. c, 4. b, 5. d

More from BUST

18 Movies Starring Women To Watch On Netflix

"The Disaster Trailer" Artist Is Out And James Franco IS Tommy Wiseau

Patty Jenkins Will Direct "Wonder Woman 2," Becoming The Highest-Paid Female Director EVER

Movies Mon, 18 Sep 2017 11:01:00 -0400