#Everywoman's Magazine

[thefugitivesaint]

''Everywoman's Magazine'', Vol. 6, #10, 1945 Source

[basicallyanotherwitchesthing]

EVERYWOMAN'S DAILY HOROSCOPE, Popular Library, June 1974

[gogandmagog]

Sorry to pester your ask box so frequently but given that last post re: Anne and her feelings towards women’s suffrage, what do you think LMM’s own opinion was?

“In regard to women, I do not expect that the war and its outcome will affect their interests, apart from the general influence upon the race. But I do hope that it will in some measure open the eyes of humanity to the truth that the women who bear and train the nation’s sons should have some voice in the political issues that may send those sons to die on battlefields…”

— Lucy Maud Montgomery, circa 1915 Everywoman’s World Magazine.

This statement is one that Dr. Mary Rubio (in Gift of Wings) called a ‘hint of a quiet call for women’s suffrage.’ And I big agree; I really don’t suppose it can be better summarised than that… ‘a quiet call.’ Lucy Maud was never terribly explicit with her feelings on the matter (if she had been, I bet it would have been of broad interest and phrased in such a spectacular and cogent way that it would still be being frequently recycled and quoted today), but there are these kinds of subtle encouragements to be found if you only squint a little… which is maybe even the best one could hope for when we remember that Maud had a stringent image to uphold as both a ministers wife, and a very public person.

(P.S. You are neverrrr a pest, and I owe you an apology because I see there are still two more of your asks to get to! You send great asks, by the way! So, sorry for jumping on this one first, it was just so easy to draw up this answer from Rubio’s book! 🫶🏻)

[monkeyssalad-blog]

1955 illustration by Pearl Falconer by totallymystified Via Flickr: For the story I’ve Been Meaning To Ring You by Roland Blackburn. From Everywoman magazine.

[fortressofserenity]

Superheroines and male civilians

I suspect one possible reason why it's more common to pair male superheroes with female civilians than the reverse is that I feel some writers don't see superheroines as anything other than a sexual fantasy of sorts, even if it's not always what they think they are or something like that. With the male superhero, they can imagine him settling into a married life by going after an everywoman.

Part of the problem is that many superheroines are rarely ever actual everywomen, not helped by that they're either audience surrogates for a really narrow audience (as pointed out by Kalinara), sexual fantasies (especially Wonder Woman, though she actually has a civilian for a boyfriend, I think), derivative of their male counterparts and are out of normal people's leagues that they're out of most women's leagues too.

The way they write superheroines is that they're attractive, but they're not women they bring to their parents or feel they do. Sort of like how Ossiana Tepfenhart said about alternative men not getting into lifelong relationships with alternative women, it's probably no different with how superhero writers feel about superheroines. That's why male superheroes are free to date civilians, but the reverse rarely happens. One such example would be Wonder Woman and Steve Trevor.

She might not be the only example, but she's something of an anomaly. Not just because she's the best known superheroine who's not based on an existing male counterpart, but also keeps her own magazine series for long and even dates a male civilian. The way she's written over the years has kept her from becoming a big draw for DC the way Batman and Superman are, which is saying. Not that she's always badly written.

But the way her stories are written precludes strong popularity with geeks and especially straight male geeks, this may not always be the case but it does come off this way. The fact that superhero stories are often written by cishet men so they tend to reflect those writers' sensibilities more, which explains why superheroines are written the way they do.

[is-she-suffering]

8 April 2000 -Telegraph Magazine

Disturbed and disturbing, Katie Jane Garside fronted the band Daisy Chainsaw, prophesied the end of the world - and then disappeared. Seven years later she’s back, ready to shock again.

QUEEN ADREENA were on stage for only half an hour or so. The audience at London’s Hammersmith Palais had come to see Bush and the collected youths did not know what to make of this support act. It’s lead singer, Katie Jane Garside, is thin, provocative and confrontational. She has uncut Miss Havisham hair and wears pervy Victorian underwear. Twisting and squirming in the dark, often screaming, often prostrate, often turning her back to the audience, she is a performance artist rather than some chart-lipsticked Everywoman. Sexual in a very weird way, she looks as if she is lap-dancing in a gas-chamber. The blokes stare in disbelief. They shuffle about. Then, as the mike goes between her legs, they jump up and down.

Backstage afterwards the band squash into one of those huddles of Marlboro Lights and flushed analysis. There is a sign saying that CCTV is in operation and anyone taking drugs will be handed over to the police immediately. Orson, the bass guitarist, is wearing a long burgundy evening dress and complaining that his shoulder hurts because he fell off his horse. In Surrey. Very rock'n'roll. An individual wearing a jacket which looks as if it was made out of Wombles turns out to be Katie Jane’s boyfriend. She points to a huge man wearing black lipstick.

“That’s Billy Freedom,” she says. “He’s one of the weirdest people I have ever met.”

The lead guitarist, Crispin Gray, turns up. All eye-shadowed and Glam, Gray is from Islington and both his parents were West End actors. He understands theatre and has worn make-up for years, though not so much when he was signing on because he couldn’t face the hassle in the dole office.

“Quite a lot of girls seem to be attracted to the band and I’m sure it is because of Katie rather than me,” he says modestly. “Most guitar bands are still fronted by tough rock chicks trying to beat men at their own game, but Katie is not trying to be tough and I think girls like that.”

Katie Jane, ripped stocking, long lace bloomers, shoes that she has dyed herself, drinks quite a lot of red wine from the bottle and agrees that yes, she has come a long way since the days that she drilled babies’ heads

She used to shave her head. In 1992 she went around as Daisy Chainsaw, a short-lived, explosive act distinguished by the dramatic theatre of self-battery. In seizure to a megaphonic fuzz of electric guitar, she sang I Feel Insane and other loud angry songs coloured by dervish dancing and props - a doll, red paint, stained wedding dresses, wigs and dead flowers.

Those who went to see her perform in Deptford pubs described a grimy child-woman convulsing to ‘grandcore punk riffs’, and quoted scenes of fury. “I hit Crispin and he beats the shit out of me,” she said at the time. “Once he smashed me against a wall and I played a gig with blood running down my face.”

Daisy Chainsaw were managed by an ex-punk named Jason and they did pretty much as they pleased, turning down Glastonbury, Top of the Pops and advances from Madonna’s label, Maverick. “I think Katie is psychotic,” the bassist once said. “She lives through her emotions rather than her brain.”

She was accused of manufacturing her madness in order to merchandise pain, a useful pop trick subsequently deployed by Alanis Morissette et al. But Alanis is acceptable: she likes lipstick, takes a bath and conforms to the dreadful truth that a haircut can make you happy. Katie Jane is more unfathomable than this; she has no labels.

Pressed to explain herself she came up with a range of disparate theories founded on a basic witchy eccentricity that deviated into an offbeat belief system. She took on everything from white magic to David Icke, the former spokesman of the Green Party who announced that he was the Son of God.

“People can laugh,” she said at the time. “But I always realised the insignificance of role-playing and he gave me the courage to stand up for my convictions.”

In essence, she wanted to break down conditioning and communicate some of the terror and disillusion that we all feel. She enacted ugly sadness. Most of all, though, she was a fatalist. She did not think about where she would be when she was 30 because, she said in 1992, the world was due to end in 1998.

Daisy Chainsaw were not commercial and in 1993 they split up. The world did not end and now Katie is 30. She went away for five years, had a nervous breakdown, and now she’s back.

“I had worked really hard for a long time and given too much away. When I look back, Daisy Chainsaw represented a bottleneck of desperation and that is why it came out in such violence.”

The climate is different now. In 1992 the queens of the scene were L7, Babes in Toyland and Courtney Love’s Hole. They were linked by defiant unprettiness, crashing guitars and a Riot Grrrl wildness. But the backdrop was middle-class. Some of them had been high-school cheerleaders; Courtney Love arrived from suburban America.

The contradictions between the rockstar on stage and the real person who created the image caused insoluble tension, and one which arguably destroyed this genre. L7 disappeared; Hole simply sold out. There are no wild women now. No one dares to be odd or to flout the diktats of traditional beauty because they know it won’t get them on magazine covers. That is why Katie Jane is important. She is difficult to manipulate and difficult to package and thus encourages healthy deviance from the universal definitions of 'normality’.

In 1992, Katie Jane signed on, drove her 'patchwork’ Mini on a ley line from Cornwall to Norfolk, recorded the wind on DAT, mucked about with a musician from Test Department (a cutting-edge industrial band), stayed in a haunted house, did some group therapy, had visions, nearly went mad, but avoided prescription drugs.

“The doctor told me that, emotionally, some people have a football pitch and some people have a rocky landscape. I chose to stay with the rocky landscape. It was what I was born with.”

You have to trust nature, she believes. “I don’t think psychotherapy works. It simply creates a new set of crutches.”

She laughs and tells a story about the afternoon she was sitting in the hollow of a tree and all these blue tits flew around her in a huge flock. Very strange things have always happened to her. “I do hear voices,” she admits. “But it’s not a regular thing.”

Her life is full of entities and strange synchronicity. There is a Zulu warrior that watches out for her - “I have seen his face,” she says. She could be psychic or she could simply be someone who looks at a lot of different ideas, feels everything and understands empathy.

One day, a year or so ago, she was walking down a street in Belsize Park and ran into Crispin Gray. They had not seen or spoken to each other since the Daisy Chainsaw days. He had tried to run the band without her and it had not worked. They needed a singer. “It did not end properly,” he says. “And I knew it wasn’t over.”

Katie Jane re-entered the music business in her own inimitable way. One meeting with a record company executive was staged on Hampstead Heath.

“There is a beautiful undergrowth bit,” she says. “My friend Louise led him to this clearing. Then we stood there and did a cappella. I said nothing and he gave me a big lump of money.”

So now they are back with a manager, an agent and a public relations company. Their name, Queen Adreena, arose from Katie’s dream about a warrior queen. Later, looking in a book by Annie Sprinkle (a porn star/performance artist) she noticed that 'Queen Adrena’ was the name of a legendary Californian dominatrix.

There is a new album, Taxidermy, and a CD-ROM of their new songs played to complement a black and white film made by Martina Hoogland-Ivanow, a 25-year-old photographer/director.

Katie Jane Garside grew up in Salisbury, the child of an army background. When she was 12 her father announced that the family were going to live on a 33ft yacht. The sailed around the world for four years. As teenage girls, Katie Jane and her younger sister, Mel, saw deserted islands, ate meals out of tins and disappeared into the realms of imagination.

Finally, they ended up near Poole where Katie attended a rough state school. She was beaten up for many things, but mostly because she had very small bosoms, a memory which transmuted (as these things do) to become a part of her work.

At 17 she arrived in London, penniless but determined. Then she met Crispin Gray when she answered an advertisement in a music paper, and her professional life, from then on, was about working with him.

The voyage around the world had left her feeling different and displaced. She was left with a love of the ocean, and indeed all places that allow a person to be alone. She is still displaced. When you ask her where she lives she says she doesn’t really know. She has lived in a lot of places. She wanders around in her thrift-store chic, with a battered brown leather suitcase containing all her possessions, her pale flesh bruised from falling around on stage. There is an atmosphere of acceptance around her. She will end up where she ends up.

“You might become a major rock icon,” I say, thinking this would be a good thing.

She smiles. “That would be a funny place to be.”

Jessica Berens

[midcenturypage]

Kraft Oil Fruitcake ad – November 1952 from Everywoman’s Magazine.

[mayhemmandy]

My MIL just gifted me a 1958 copy of Everywoman's Family Circle magazine. (I love collecting old publications) And rest assured women, bowling is safe for your uterus.

[girlflapper]

Everywoman's World - Cover - February 1923 by jim goodyear

CoverEWFeb1923

'Twenty Cents a Copy - Two Dollars a Year'

[vintagelivingbydaisyb]

Daily Vintage: Everywoman Magazine cover, 1945

[beautifulcentury]

<strong>MONARCH KNITTING CO - Everywoman's World - January 1918 <a href="https://www.flickr.com/photos/146039774@N06/">by jim goodyear</a></strong>

MonarchKnitEWJan1918

[gatheringbones]

[“By 1974, hundreds of community-based antirape projects were in operation, and questions of “co-optation” and “professionalization” already loomed large. Many activists worried that the requirements and expectations imposed on feminist antiviolence programs as conditions for the receipt of public funds pushed them toward a more hierarchical organization directed by credentialed staff and toward a more exclusive focus on direct service provision rather than advocacy. The most readily available government funding source for RCCs was the sprawling and deep-pocketed federal LEAA agency, the linchpin in the dramatic expansion of the state’s capacity to surveil, police, and imprison across the 1970s. Perspectives on criminal justice sponsorship and partnership increasingly diverged, stimulating heated debates in feminist conferences, newsletters, and anthologies. The self-defense cases of women of color offered activist critics of a criminalization-centered antirape movement a “moral and ideological discourse” that emphasized the capacity of the criminal legal system to facilitate rather than stem violence against women of color and advocated an intersectional, rather than an everywoman, analysis of rape.

[….] In 1974, a small collective of primarily white and working-class women inaugurated the Feminist Alliance Against Rape Newsletter (FAAR News). Its editors envisioned a forum for dialogue and strategizing among feminist activists who were concerned that “the rape issue was being co-opted” by government funders and law-and-order politicians, as well as by “non-feminist professionals.”

In 1978, FAAR merged with the battered women’s movement’s National Communications Network and the Alliance Against Sexual Coercion to become Aegis: Magazine on Ending Violence Against Women. FAAR News and Aegis played a central role in bringing the cases of Little, García, Wanrow, and Woods to bear on feminist antiviolence discourses in the mid-to-late 1970s. This counterpublic space provided readers with consistent coverage and analysis of these cases and a forum for debate about criminalization, imprisonment, and state cooptation into the mid-1980s, when Aegis ceased publication.

FAAR founders dedicated their second issue to the theme of incarceration, in which they contended that “encouraging women to prosecute a rape [helps] to reinforce the legitimacy of the criminal justice system…. We should begin to actively seek alternatives.” An article on García’s unfolding trial followed one written by the founders of Prisoners Against Rape, a self- and peer-education program organized by a group of black men convicted of rape and incarcerated in Lorton, Virginia.

The decision to problematize criminal justice interventions provoked a critical response from SFWAR, published in the next issue, wondering whether FAAR News was “feminist in name only” since it advocated “male rapists’ needs and rights.” Clarifying their stance, the editors responded: “What we are saying is that we don’t believe increasing the conviction rate will lead to the elimination of rape. Therefore, we question whether we as feminists should devote our energy to winning individual convictions, or whether we should examine alternatives which may have a greater influence on society as a whole.”]

emily l. thuma, from all our trials: prisons, policing, and the feminist fight to end violence, 2019

[artdecoblog]

<strong>DOMINION Linoleum Rugs - EWMag - Feb 1923 <a href="https://www.flickr.com/photos/146039774@N06/">by jim goodyear</a></strong>

DominionLinoleumEWFeb1923

The Brightest Room in the House

[neopronounsmybelovaed]

Ve Pronouns History

For anon!

(Note: I couldn't find information on ve/vir in particular, so this is on the history of all variations of ve pronouns.)

The first known instance of any variation of "ve" pronouns (ve/ver in this instance) was in a May 1970 edition of Everywoman, a feminist magazine. Under the section Manglish, which talks about "example[s] of sexism in language and, if possible, a suggested antidote" in every issue.

The section complains about the usage of "he" as a generic pronoun, as it excludes women (and everyone else who doesn't use he/him), saying that the usage of the generic he leaves women submerged. Ve suggests that we add "ve" to the list of pronouns.

SUBJECT: he, she, it, ve

POSESSIVE: his, her, hers, it, its, vis

OBJECT: him, her, it, ver

The example paragraph using ve/ver read "A teacher must learn to listen. Ve must respect vis students' opinions. They must be important to ver."

In the next issue of the magazine, in the Manglish section on honorifics, ve writes "I see no reason why everyone, child and adult, female and male, can't use Pn. before vis first name when ve doesn't want to be addressed by it."

In the book Bone People by Keri Hulme (1984), the protagonist refers to a visitor of "intermediate sex" with ve/ver/vis pronouns, which she claims to have made up (the author may have invented them verself independently from everywoman, or have just taken the credit) on page 425.

Ve pronouns were also used to describe Akili, an "asexual" (note: in this context, the word doesn't mean "lacking sexual attraction" but "lacking physical sex") character in Greg Egan's 1995 book Distress. Like David Lindsay, Egan uses science fiction to explore gender and coins five different futuristic genders.

"Ve countersigned the permission form on the forensic pathologist’s notepad, then withdrew to a corner of the room."

"The pathologist’s assistant turned on ver."

"Vis T-shirt now read CREDIBILITY IS A COMMODITY."

A compilation of gender neutral pronouns in 2000 included several variations of "ve" pronouns, including ve/ver and ve/vir.

Ve/vir and ve/ver remained common enough to be included in groups of neopronouns along with ze, xe, ey, etc, but not common enough to have articles about them specifically. .26% of participants in the 2021 gender census use ve/ver. .1% use ve/vim, and .1% use ve/vir. 7 participants (rounds to 0%) use ve/vis. 3 use ve/ven, 3 use ve/vex. 2 use ve/hem, 2 use ve/ve. 1 person each use ve/va, ve/vamp, ve/vel, ve/vi, ve/vic, ve/vin, ve/vym, and ve/vyr.

Sources: ve/ver coining, pn honorific, analysis of the bone people, distress novel, gender neutral pronoun compilation, neopronouns explained, gender census- sorting neopronouns

[gameraboy2]

Everywoman’s Magazine, March 1946

[creativeprocesssophielindsay]

CINDY SHERMAN

Cindy Sherman Untitled Film Still #13 (1978)

https://www.vogue.co.uk/arts-and-lifestyle/article/cindy-sherman-louis-vuitton-fondation

Cindy Sherman Untitled Film Still #21 (1978)

https://drnorth.wordpress.com/2011/05/28/picture-of-the-week-77-cindy-shermans-film-stills/#jp-carousel-7513

Cindy Sherman Untitled #92, "Disasters and Fairy Tales" Series (1985)

https://www.moma.org/calendar/exhibitions/1038

Cindy Sherman Untitled #209, "History Portrait" Series (1989)

http://juliettebuck.blogspot.com/2012/04/cindy-sherman.html

Biography of Cindy Sherman

Childhood Cindy Sherman was born January 19, 1954 in Glen Ridge, New Jersey (virtually a suburb of New York City). Shortly after Cindy's birth, the family moved to Huntington, Long Island, where Cindy grew up as the youngest of five children. Although her parents shared a general disinterest in the arts-her father was an engineer and her mother a reading teacher-Sherman chose to study art in college, enrolling at the State University of New York, at Buffalo, in the early 1970s. Early Training

Sherman studied in Buffalo from 1972-76; she began as a painter, but she quickly found herself frustrated by what she considered certain limitations of the medium. The 1970s was an eclectic era for painters working in the aftermath of Minimalism, and feeling as though "there was nothing more to say [through painting]," Sherman shifted her attention to photography. Although initially failing a required photography class, she later elected to repeat the course, which ignited her passion for the subject. During her studies, Sherman met fellow artists Robert Longo and Charles Clough, with whom she co-founded Hallwalls Center for Contemporary Art in 1974 (it continues to function to the present day as a dynamic, multi-arts "hub"). Longo and Sherman dated until 1979. During her studies, Sherman was exposed to Conceptual art and other progressive art movements and media under the widely influential art instructor, Barbara Jo Revelle.

Upon graduation, Sherman moved to New York City to pursue her artistic career. In 1977, with her downtown residential and studio loft as her primary backdrop, Sherman began taking a series of photographs of herself, a project she would eventually refer to as the Untitled Film Stills. In this series, Sherman embodies the character of "Everywoman." Re-fashioning herself repeatedly into the guise of various female archetypes, Sherman played the girly pin-up, the film noir siren, the housewife, the prostitute, and the noble damsel in distress. The black-and-white series occupied her for about three years, so that by 1980 Sherman had virtually exhausted a myriad of seemingly timeless clichés referring to the "feminine."

Mature Period

With the debut of Untitled Film Stills, Sherman secured her position in the New York art world, leading to her first solo show at the non-profit exhibition space, The Kitchen. Shortly after, she was commissioned to create a centrefold image for Artform magazine. Photos of a pink-robe-clad Sherman were ultimately deemed too racy by editor Ingrid Sischy and rejected. There is no knowing whether a subsequent series shot from 1985 to 1989, Disasters and Fairy Tales, was in some sense a response to that act of rejection, but, notably, it is a much darker endeavour than its prettified predecessor. Its gloomy palette and scenes strewn with vomit and mould challenged viewers to find beauty in the ugly and the unqualified grotesque.

Sherman's next series took on the hallowed subject of the art tableau. History Portraits again presented Sherman-as-model, but this time she assumed the air of European art history's most famous "leading ladies." Living in Europe at the time of its creation, Sherman drew inspiration from the West's great museums. That interlude gave way, in 1992, to Sherman's Sex Pictures, a project taken up in response to the censorship of the art of Robert Mapplethorpe and Andres Serrano. In the Sex Pictures, Sherman substituted her own figure for that of a doll. Intending to shock and scandalize the public, the images present close-ups of doll-on-doll sex scenes and prosthetic genitalia. Shortly after she began work on this series, Sherman received a MacArthur Fellowship.

In 1997, Sherman crossed over from still art photography to motion pictures, aided in part by her husband at that time, film director Michel Auder (the two divorced in 1999). She made her directorial debut with the thriller, Office Killer, starring Molly Ringwald and Jeanne Tripplehorn. A year later, Sherman played herself in John Waters's 1998 comedy, Pecker.

Over the last decade, Sherman done clown's make-up in a series of still photography (2003) and, even more recently, she explored carefully staged female "suburban" identities in a solo show at Metro Pictures, NY (2008). In the latter series, Sherman photographed herself in various states of awkward make-up, superimposing stodgy, highly self-conscious portraits over contrived domestic and faux-monumental backdrops. In 2006, Sherman was honoured by a retrospective of her work at the Jeu de Paume Museum, in Paris. Sherman continues to live and work in New York City, where she is dating David Byrne, of the band, "Talking Heads." She celebrated a solo exhibition at MoMA in early 2012.

  The Legacy of Cindy Sherman

The ultimate participant-critic of mass consumer culture, one perpetually partaking of its daily realities while nonetheless challenging its underlying assumptions, Cindy Sherman epitomizes the 1980s technique of "image-scavengering," and "appropriation" by artists seeking to question the so-called truth potential of mass imagery and its seductive hold on our individual and collective psyches. Sherman's depersonalized approach to portrait photography has suggested a new, socially critical capacity for a medium that was once presumed a tool of documentary realism (or aesthetic pleasure). This "readymade" quality of the critically applied photograph, whereby a pre-existing image or convention is appropriated intact by the artist and subtly turned into something more conceptually problematic, if not psychologically disturbing, has come to characterize much work of a new generation defying easy categorization.

In addition, Sherman's work has been specifically cited as opening onto a new, "expanded field" of photography since the late 1990s, in much work characterized by a "fusion of narrative and stasis," such as in the photography of Jeff Wall, Anna Gaskell, Justine Kurland, Jenny Gage, and Sharon Lockhart. Such artists extend Sherman's anti-narrative approach to the medium and its subject matter, in work that frequently suggests unresolved stories and scenarios wrenched from contexts both common and disturbingly mysterious.