Ectoplasm refers to a vomit-like substance produced by mediums during seances, supposedly as a manifestation of otherworldly spirits. For this performance salon and accompanying zine, we would like to use the phenomenon of ectoplasm as a way of thinking about the creation of the abject, what for Julia Kristeva constitutes that which has been discharged from the body, rendered excrement. How does the body function as a sight of transactions, of exits and entrances? In what ways is the abject haunted? What ghosts are coming out of you?
GIVE US UR BLOOD UR TEARS UR PUKE.
If you would like to perform in the salon, please email email@example.com a few sentences outlining what you would like to do by the 11th of April, 2014. Performances should be 5-15 minutes long, though we may also consider durational performances.
For the accompanying zine, we are looking for text and images—anything that can be printed—that engage the above themes. Please email zine submissions to firstname.lastname@example.org by the 18th of April 2014.
Sarah interviews Kate Meizner from the band, Arm Candy about musicianship, being a girl in band and the Brooklyn music scene. Kate mentions a ton of bands in the meanwhile, so go forth and follow the links!
Hi, Kate, you’re in the band Arm Candy. Can you tell me a little about how you found your bandmates/formed the band?
A friend of mine from the internet (very millennial) introduced me to Carey (drummer of Arm Candy) at a show in early 2013. I was playing in an indie pop band at the time and was looking for a heavier project, so when Carey mentioned that Arm Candy needed a bassist, I was really jazzed about playing with them. The first demo, which isn’t online anymore, definitely had some ill riffs I could get down with. Emails were exchanged, and I had my first practice with Carey and Nathan where we jammed a few songs and hung out with Carey’s cool dog. Very good vibes. We started practicing every week and I was thrilled to just hang out and write songs, which I hadn’t done a lot of in my other band.
What kind of previous band experiences did you have? How long has this been part of your life?
I’ve been playing guitar since I was 14 - before that I played clarinet and totally sucked at it, so my dad went and exchanged it for a Peavey. Around the same time, I was getting into a bunch of ‘turn of the century’ early 00s pop punk and older punk like X and Black Flag. I remember listening to The Ramones and thinking ‘hey this song is only three notes…I can do this,’ so one night I stole my dad’s guitar and taught myself some chords. Then, when my 9th grade English teacher assigned a project to create a piece of art about a book we were reading, I chose it as an opportunity to write an alarmingly depressing and terrible pop song, which I played on an unamplified electric guitar in front of my class. I recall having a huge zit on my forehead.
I have a really weird band CV ranging from punk/pop punk to like…prog rock. In Western Mass I was in hardcore punk band called Honeysuck with Ally Einbinder (now the bassist in Potty Mouth) Sam Chaplin, and Marc Candilore (Tampered Reels). We put out a tape called All Your Lipsticks Are Bombs to Us where I’m playing guitar. I was in that band until I relocated to New York in 2011.
Most recently, I played in a jangly indie pop band called Gondola. I finished recording an album with them in December, and we released a four track 7” last March.
Like writing shit on bathroom stalls, making messes in grocery and big box stores, trashing hotel rooms, yelling at actual workers about how horrible their capitalist employers are. Stop doing this shit. You are making life harder for those you claim to identify with and want to help.
I started Shabby Doll House because I had recovered from a period of depression and I suddenly had lots of energy. I wanted to do something which I felt could be helpful to myself but also to other people, and doing things with art and writing is the only way that I really know how to do that, I think.
I’m talking about the writers and artists, to some degree, but also about some kid in a small town somewhere who doesn’t have any friends they can really talk to, who might read something in a story or a poem on the internet at home on their own one night and feel like everything’s going to be okay, eventually.
That’s really important to me. I still feel like that kid, often. I didn’t want to make something which felt exclusive or inaccessible or intimidating. I just wanted to make something which felt honest and welcoming, that could make the world feel a little bit less lonely for a few people. And I think that we’ve worked really hard and we’ve sometimes been really lucky, and we have been able to achieve something along those lines, so far. _ Lucy K Shaw
“Blogs are free,” explains Gabby Bess, founder of Illuminati Girl Gang. “Websites are like, $10. Illuminati Girl Gang started out as a Tumblr blog, and if no one had followed it or cared about it, it would have been no loss to me. The internet just provides more in-roads for people that don’t have access to larger publications and outlets.”
For Bess, blogging is a way of subverting commercial publications and galleries, the traditional gatekeepers of culture, which tend to be dominated by white men. “Personally, I cannot control who owns the major publications and galleries,” she says. “I can only start my own magazine and my own gallery.”
“When Madonna came out with her hit Vogue you knew it was over. She had taken a very specifically queer, transgendered, Latino and African-American phenomenon and totally erased that context with her lyrics, “It makes no difference if you’re black or white, if you’re a boy or girl.” Madonna was taking in tons of money, while the Queen who actually taught her how to Vogue sat before me in the club, strung out, depressed and broke. So if anybody requested Vogue or any other Madonna track, I told them, “No, this is a Madonna free zone! And as long as I’m DJ-ing you will not be allowed to Vogue to the decontextualized, reified, corporatized, liberalized, neutralized, asexualized, re-genderized, pop reflection of this dancefloor’s reality!”—DJ Sprinkles, “Ball’r (Madonna-Free Zone)” from Midtown 120 Blues, 2008
“There is little precedent for fat androgyny. Generally our androgynous icons are svelte and lacking in secondary sex characteristics. David Bowie, Tilda Swinton, Katherine Hepburn; these small-bodied, predominately white figures of androgyny have created an aesthetic with little room for deviation. This means that for those of us with bodies that do not conform to traditional standards of androgyny, we are often misread and misunderstood, even in queer spaces.”—Fat Queer Tells All: On Fatness and Gender Flatness - By Allie Shyer (via cassket)
Blablarism is a solo project of twenty year old, Oksana Zmorovytch, based in Kyiv, Ukraine, whose overall sound has dark, baroque-sounding synths with this fuzzy nagging bassline. Sometimes comfortably shoe-gazing, and sometimes very cold-wavey and harsh. Most of the tracks gives me a feeling of being inside a foggy typhoon and slowly going down, down, down. Chimera is based on beautiful eerie synthmelodies, and like Oksana, I also share a love for the dark 80’s.
I’ve had some interesting conversations with Oksana about how to make music and tools etc - she really knows her stuff! I recently asked her about her experience on being a woman who makes music, in which she replied: “I think I don’t let myself be a woman whilst making music - and yet, my music is full of femininity.”
I often hear black girls complain that their hair is difficult to control, and it’s precisely because we are not meant to control it.
I have always found that jeans hurt my body with waistlines digging into my stomach as I try to exhale.
T shirts that cut into my arms, bras that dig into my flesh leaving scars that remain today.
We were not the architects of this system, of course these things won’t fit us when they come from people who refuse to acknowledge that we exist. We know this because we see their runways, their print ads, their magazines. We are not wrong.
Beige is not the definition of ‘nude’, my hair does not need to be restrained, it needs to be liberated. My hair isn’t so thick, I didn’t go through puberty too early, my mama is not ‘plus sized’ - these statement all use an invented standard of whiteness and then define me in relation to that standard.
Fuck mainstream. Fuck counter culture and sub culture. We are our own mainstream. We are our own culture.
Fuck standards and constructions of normal. Nothing ever grew by being measured. We grow by being nurtured and affirmed for who we are as we are. Standards are always relative.
“Just appearing as a woman online, it seems, can be enough to inspire abuse. In 2006, researchers from the University of Maryland set up a bunch of fake online accounts and then dispatched them into chat rooms. Accounts with feminine usernames incurred an average of 100 sexually explicit or threatening messages a day. Masculine names received 3.7.”—The Next Civil Rights Issue: Why Women Aren’t Welcome on the Internet by Amanda Hess (via ceedling)
“As a transgender person it’s shocking to find out how many people in the press are willing to euphemistically or directly try to talk about your anatomy, in a way that you never would another person, in this really degrading way.”—Antony Hegarty (via sirrealism)