MEN’S STUDIES MONTHLY
English / Deutsch
Emma Thompson on Harvey Weinstein BBC
A System Of „Extreme Masculinity“ Involving „Many“ More Men In Hollywood
„A system of harassment, and belittling, and bullying, and interference and what my mother would have referred to in the olden days as „pestering“. „Is he pestering you?“ […]
What we need to start talking about is the crisis in masculinity, the crisis of extreme masculinity, which is this sort of behaviour and the fact that this is not only OK, but is also represented by th most powerful men in the world at the moment.“
„The more of your data I gather, the more I understand what it means to be human.“
Lush Sux on Mark ‚Data‘ Zuckerberg
„Wall the zuck? Or will I get zucced for painting him?“
The Lost Father Aeon
Finding my dad was an act of self-discovery: it took furtive phone calls, conjured siblings – and the power to transcend death
„I was just wondering, if you might like to… um… have some kind of relationship?“
„No,“ he said.
„OK, bye!“ I squeaked, hanging up the phone as fast as I could.
A few months later, I heard that he’d died. He was 61. Any chance to know or love my father, it seemed, had died with him.
Love Music not the German Musicbiz Hallama
„I wanted to make a change in the German Musicbiz press, this didn’t work out.“
„Germany’s Musicbiz is not ready for the Females. Its just bla bla bla. It will change when all the old dickheads are gone there.
Always the same dudes sitting on panels, talking about totally irrelevant things like will VR change the Musicbiz instead of the real shit musicians need. What are the specs for a distributor, what can I do with my music etc… Keep on doing Germany’s Music Biz, you didn’t change since POPKOMM days back in the 90ies.
Everything will stay the same. Shame on you.“
From 1971: Why Have There Been No Great Women Artists? ArtNews
Implications of the Women’s Lib movement for art history and for the contemporary art scene—or, silly questions deserve long answers; followed by eight replies
„I have tried to deal with one of the perennial questions used to challenge women’s demand for true, rather than token, equality by examining the whole erroneous intellectual substructure upon which the question „Why have there been no great women artists?“ is based; by questioning the validity of the formulation of so-called problems in general and the „problem“ of women specifically; and then, by probing some of the limitations of the discipline of art history itself.“