I will be presenting at the Centre for Digital Humanities Symposium “Mediating Lives & Stories: Mining / Making / Meaning” on Friday, April 25th. I will be giving a short talk entitled “Visualizing Gay Liberation in Canada: Using Digital Tools to Represent People and Places.”
Inspired by a recent article, “Tales of an Indiscriminate Tool Adopter,” in the Chronicle of Higher Education, I decided to evaluate some of the suggested tools and see how easy they would be to implement.
First was RAW, a visualization tool that helps represent the connections and relationships between and within sets of data. Using RAW is as simple as copying a table from Excel and pasting it into a text box. Using data from Lesbian and Gay Liberation in Canada, I tried to visualize the information I have on gay liberation periodicals being published in Canada in the Sixties and Seventies. I pasted in an imperfect CSV file, fully expecting it not to work, and with a few minutes of fiddling I had created this dendrogram showing all the periodicals sorted by the cities in which they were published. In just a glance I could see that Toronto was publishing the most, followed by Montreal and Vancouver. Ottawa was comparatively rather silent on the matter. There was also an unlabeled point on the dendrogram, which has helped me identify some data that requires a bit of additional research to determine publishing location. RAW isn’t the most comprehensive tool and the visualizations it creates can sometimes be a bit muddled, but it certainly was fast, easy to use, and free.
Next I was interested in trying TimeMapper, an open-source web-based tool to create maps and timelines. I had previously used Timemap to build a map and timeline representing the year 1964 in the LGLC data. Building this required quite a bit of fussing with HTML and the creation of a compatible kml file. TimeMapper, on the other hand, requires users to simply input the URL for a Google Spreadsheet. I followed their sample template and created my own with an excerpt of the 1964 data, pasted the link into TimeMapper when prompted, and it generated this:
HOW POETRY SAVED MY LIFE: A HUSTLER’S MEMOIR
[Arsenal Pulp Press]
Midway through How Poetry Saved My Life, Amber Dawn’s memoir of her life as a sex worker, she recalls a client telling her “Now I feel human again.” A few pages later she asks “What would I pay to feel human again?” This collection of stories and poems is harrowing, taking readers on a journey from working class Fort Erie to Vancouver’s notorious “kiddie stroll,” and through the daily violence visited upon the women who make their living on the street. Finding solace in the generosity of her fellow sex workers, the warmth of the butches she takes as lovers, the poetry of Sylvia Plath, and the simple act of a kiss on the cheek, Amber Dawn tells us exactly what she paid to feel human again.
Originally published in Shameless Magazine, 2013.
After attending the XSLT workshop at DHSI 2013, I built this map using a KML file created from the XML representing all the places listed in the LGLC dataset.
We hope to integrate this data with the event data, and place it into one comprehensive map/timeline similar to the prototype for 1964:
GENDER AND SEXUALITY: CANADIAN HISTORY THROUGH THE STORIES OF ACTIVISTS
RESISTING THE STATE: CANADIAN HISTORY THROUGH THE STORIES OF ACTIVISTS
[Fernwood Publishing], http://talkingradical.ca/
History is often described as being written by the victors; a single story in which voices of struggle and resistance are often lost. Scott Neigh’s pair of books, Resisting the State and Gender and Sexuality, work to counteract this dominant account of history, entering “Canadian history-from-below through the words of long-time activists.” Neigh’s books tell the history of opposition, oppression, and struggle. These are the voices of the people that resisted settlement, resisted residential schools, resisted war, resisted the dominant paradigm of racism, sexism, ableism, and heteronormativity.
Each chapter in the books contains the story of a particular activist, told in their own words through interviews conducted with the author. These personal stories are prefaced with thoroughly researched commentaries by Neigh, taking the very specific story of one person and giving it a context within centuries of world history. For instance, the preface to an interview with Lynn Jones, a Black woman who fought for power and respect within the labour movement, contains a history of the African Nova Scotian community going back to 1605, explaining the impact of the slave trade, the destruction of Africville, and the legal struggles of Viola Desmond.
More importantly, Neigh weaves the chapters together, showing the connections between the fights for Indigenous sovereignty, against domestic violence, for immigration reform, for LGBT rights, and against the psychiatry movement. As 2013 kicked off with the rise of Idle No More, the words of Josephine Grey, founder of Low Income Families Together (LIFT), resound: “I may never see another success for as long as I live, but I made a promise… If the seeds that I plant today sprout in six hundred years, I don’t care, I’m going to do it anyway. I’m just going to keep going.”
Originally published in Shameless Magazine, 2013
VENUS WITH BICEPS: A PICTORIAL HISTORY OF MUSCULAR WOMEN
David L. Chapman and Patricia Vertinsky
Arsenal Pulp Press
For David L. Chapman, the bodybuilding women of 1950’s-era Muscle Beach inspired a fascination with muscular women that has lasted for decades. This passion led him to amass a collection of rare postcards, photographs, and broadsides depicting strongwomen, bodybuilders, dancers, and gymnasts. These remarkable women, many of whom lived during the buttoned-up Victorian era, have fantastic names like Vulcana, Madame Herculine, Miss Lala, or Flossie La Blanche, and are shown flexing, posing, wrestling, and lifting, often while wearing feathered headdresses, frilly skirts, or nothing at all. Chapman isn’t satisfied to collect these images as objects, he is also fascinated by the women themselves, seeking out the survivors of Muscle Beach, the inspiration for his years of collecting. Asking them why they dedicated their lives to the pursuit of a body type that is subject to ridicule and rejection, the women tell him that it was all about self- fulfillment—they were doing it only for themselves.
Originally published in Shameless Magazine, 2012
As part of a Web Mapping Applications course in my GIS program, I’ve been testing out various platforms for mapping the LGLC dataset.
First came Google Fusion Tables. Here I used two Fusion Tables, one with the event data from the LGLC dataset and the other which creates the Provincial border polygons using KML coordinates. View full map.
Then came the open source equivalent of Google Fusion Tables, CartoDB, in combination with Stamen’s Toner map style.
Finally, I used Google Maps in combination with TimeMap (built on the Simile Timeline) to create a timeline and map combination showing the actual individual events, publications, and organizations for the year 1964. View full map.
This summer I found myself standing in the narrow aisles of the stacks of New York University’s Fales Library, reaching inside a shallow cardboard box to touch the thin fabric of a musty dress. “That,” exclaimed the excited librarian of the Riot Grrrl Collection, “is the dress from the cover of Bikini Kill’s Pussy Whipped.”
Founded in Olympia, Washington, in 1990 by Kathleen Hanna, Billy Karren, Kathi Wilcox and Tobi Vail, Bikini Kill helped kick off the riot grrrl movement, a feminist punk revolution that quickly swept across North America. Riot grrrl’s DIY ethic encouraged young women to pick up guitars, learn three chords, and take over the clubs that previously only hosted all-male hardcore bands. In those pre-internet days, word travelled via handmade flyers and ‘zines cobbled together with scissors, glue, and illicit late night photocopying. These fragile pieces of paper, like the dress from Pussy Whipped, were the Holy Grail of female empowerment and agency for thousands of teenage girls.
I admit that when I first heard Bikini Kill, and lead singer Kathleen Hanna’s distinctive nasal growl, I thought they were too abrasive, too scary, too hard. I wasn’t ready for their message, which was in direct opposition to everything mainstream culture found acceptable. Bikini Kill didn’t behave like ladies. Bikini Kill didn’t believe in propriety. Kathleen Hanna spit and cursed and owned her sexuality, prowling the very edge of the stage in micro-mini skirts, daring anyone in the audience to try and grab her. Frankly, I found Bikini Kill intimidating.
But as I ventured out of my teenage bedroom and into the real world, I found myself running up against the misogyny and violence that Bikini Kill sang about. Just like I needed feminism to give me strength, I needed Bikini Kill. In three short albums, Bikini Kill managed to cover issues of sexual assault, domestic abuse, incest, eating disorders, and poverty. These thirty minute bursts of noise became my feminist Bible, with each three minute song standing as a psalm of righteous indignation. Now, when rape culture rears its ugly head, I have “I Like Fucking” and its last lines, “I believe in the radical possibilities of pleasure, babe.” When men harass me on the street, leering at me and my girlfriend, I always return to the power chords and defiance of “Rebel Girl,” which marked the first time I ever heard someone express the power that can be found in being queer. Bikini Kill’s rebel girl embodies revolution–a queer revolution, an outcast revolution, a feminist revolution–“in her kiss,” screams Kathleen Hanna, “I taste the revolution.”
The riot grrrl movement was imperfect, often falling into the same trap as the mainstream feminist movement in prioritizing the voices of middle class white women, and eventually ending up co-opted and repackaged as the Spice Girls. Despite these problems, the net result of riot grrrl was a sea change in the music world. Rock clubs and guitar shops never returned to being all-male spaces. Teenage girls kept picking up guitars and learning to play. The space that Bikini Kill helped carve out was permanently occupied by queer and trans and all-girl bands. Women’s voices and self-expression became important enough to be collected by university archives. Kathleen Hanna went on to form Le Tigre with J.D. Samson, and J.D. Samson went on to form MEN, a queer dance band that I saw play at Toronto’s Sneaky Dee’s last year. When J.D. sang the opening lines of Bikini Kill’s “Double Dare Ya,” the crowd went wild. “Hey girlfriend, I got a proposition, it goes something like this: Dare ya to do what you want. Dare ya to be who you will. Dare ya to cry right out loud. You get so emotional baby.” Bikini Kill broke up in 1998, but revolution grrrl style now is forever.
Originally published in Shameless Magazine, 2012.
The Pack a.d.
Unpersons is an unrepentant breakup album, with all of The Pack a.d.’s quieter, gentler tendencies drained away and distilled into tight, angry rock. Drummer Maya Miller bangs out backing rhythms as vocalist Becky Black howls out the pain of a broken heart. But even in their sadness, The Pack have maintained their trademark nerdy humor. The video for “Take,” with its plaintive chorus of “And you take everything I love” was shot, for no discernible reason, as an homage to “Cars” by Gary Numan, a decidedly un-sad song about… a car. Just as improbably for a garage rock album released in 2012, the accompanying press release quotes bubblegum pop king Neil Sedaka’s 1962 song, “Breaking Up is Hard to Do.” Well, yeah, it is, but it’s made so much easier by bluesy songs involving robots.
Originally published in Shameless Magazine, 2012