October 26, 2024 • 41 mins
Join Pam, Teri and Ann as they delve into the topic of censorship and inclusion, how language and comedy have changed then and now. Listen as they share songs: Contraceptives Are a Bore, Sperm in the Big Canal and Dead People. All proceeds go to support Planned Parenthood.
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Episode Transcript
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(00:01):
So we fucked it.
Because it was there We're our floods
Welcome to Arts Let's Radio.
And the purpose of our conversation today, we're going to introduce ourselves in a minute,is to talk about censorship and self -censorship versus freedom of speech and why we
(00:34):
selected certain songs to publish and others not and some ongoing conversations that we'vehad recently amongst ourselves.
Anne, do you want to introduce yourself?
My name is Anne Wood and it's me.
What should I say?
Well, I'm a lifetime musician, music lover, artist, art lover, lover of experiences andnature.
(01:02):
And starter of the art sluts.
starter of the Instigator.
Instigator.
With Sheila Brynjolfsson.
Terry.
Terry Chockey.
currently the founder of the Living Love Revolution Sanctuary and Aphrodite Temples.
And in the 1984 to 1986, I was part of an all -woman punk rock band with these beautifulwomen here called the Artsluts in Columbia, Missouri.
(01:28):
And as part of our reconnection after and during the pandemic, we decided it would beinteresting to digitalize our music and rebroadcast it.
And in that process, found ourselves caught up in lots of different interesting andimportant conversations.
I'm Pam Doherty, the third wheel.
(01:48):
Also a member of the arts slots.
And it was great when Ann reached out to us recently to want to get these songs out to thepublic and our the conversations we've been having, the connections we've made have been
wonderful.
So we're going to continue that conversation today.
So.
Pam, do you want to lay out the itinerary, what we're going to talk about today?
(02:11):
Well, I thought, you know, one thing that was really important since we've been using theword censorship a lot and self -censorship is just kind of to define those terms just in
terms, you know, thinking about, I know that they have different connotations for verydifferent people.
And so I thought it might be good just to talk about what do we mean when we saycensorship or self -censorship?
(02:33):
And then we're going to talk about some of the songs that we omitted from, you know, thislatest, you know, yeah.
And why we removed those.
Also a conversation about a word that we decided to omit from our last podcast and sort ofthe conversation we had around that, our thoughts about language that we use moving
(02:57):
forward.
No, that's it.
That sounds great.
Mostly frame things in terms of.
cultural context and the changes in cultural context because I really think a really majorpart of why we were even magnetized together to do the arts sluts is that there was
something missing in the larger dominant culture, which I in the Living Love RevolutionSanctuary, we call, we have all kinds of neologisms, right?
(03:24):
Our own words that we've made up our own phrases and the phrase that we use to talk aboutthe mainstream culture that we
were brought up in is the fading uber culture as a kind of spell.
Right?
So we're really very attentive to language as women, as feminist women.
Right.
And what we noticed was that there weren't any all women self -expressed talking about ourlived daily experience bands in Columbia, Missouri in the eighties.
(03:54):
And we got together around the kitchen table and created an altered mood.
and empowered each other.
And the ways that we empowered each other then would not necessarily be appropriate now.
And the language that we used then would not necessarily be appropriate now.
But for the early 80s in Columbia, Missouri, not only I would put forward that it wasessential to our empowerment and our personal growth, that we used the language that we
(04:23):
did in our songs and music then, because it was doing a very specific kind of empowermentfor
And it gave us the confidence that we needed to go out and publican, learn how to playinstruments publicly, really, frankly.
mean, you knew how you and Sheila and Pam knew how to play guitar before we got involved.
(04:44):
But we taught ourselves like in a DIY punk rock way.
And it was just totally bald.
What we say, ballsy.
Maybe you'd say we had big ovaries.
Right?
Sarah Silverman.
She's what did she say?
Big lips.
You know, I was going to say one thing to what Terry was saying, which is one bigdifference then and now as far as the language and what we were bouncing off of is there
(05:13):
was a common language of what was funny, what was not, what was popular and so forth.
In other words, like David Letterman, as Terry touched on in one of her songs.
And now there's
many individual groups trying to merge together.
And so there's that learning process because there's different languages.
(05:37):
As you said, Terry, for your organization, for, know, if you had maybe a bunch of Iranianwomen all sitting around together, their language might be different and so forth.
Just thought it was interesting to think about that contrast.
And there's also been lots of other continuing liberation and being freed from oppressionthings.
(05:57):
So
Since the eighties, there's been a lot of disability rights and altered accessibilityrights.
There's been a lot.
mean, even the phrase by Bach, which means right.
Black indigenous people of color.
That phrase didn't exist in 1984 intersectionality as a term.
I do not believe was even being taught.
In fact, we had women's in the eighties and that was a new shiny thing.
(06:21):
And now we have gender studies.
So there's been so much change in transformation, especially.
in different cultures.
Like the culture that's in Columbia, Missouri right now is very different from the culturethat's here in Portland, Oregon.
Like Portland, Oregon is a hotbed of Antifa anarchist reaction against the proud boys.
(06:42):
And, you know, that was a really huge part of the pandemic here in Oregon.
I don't think it's the same.
And where are you?
why don't you say a little bit about where you are?
I'm in Atlanta.
And so there's, yeah, I've already
touched on it before with y 'all, it's, I mean, I think every area is becoming moremulticultural and so forth, but very multicultural, which is very close to my heart.
(07:05):
like to put a bunch of different people in the room and see what happens.
So from different walks of life.
Well, I'm on the central coast in California.
It's very white.
It is a college town and you know, sort of the county is
Different parts of the county are sort of liberal leaning, some are more conservative, butCentral Coast has a long way to go in terms of diversity.
(07:31):
But very liberal, right Pam?
Some parts of the county.
I wanted to share something that I found, I thought you guys, especially with our topicstoday.
Let's see if you can see this.
I need to scan it.
Projection of artist nude, what does it say?
It's you.
It's me and I'm protesting.
The art league was censoring male nudity at that time.
(07:53):
my goodness.
So that was in the newspaper.
What's that say?
Rejection of artists' nude spurs protests.
That's fantastic.
Right.
That was, well, what's the date?
I wonder if that was before or after the art sluts.
I would say that we were body positive activists before body positivity was a thing.
(08:16):
Right.
Because I don't...
No, if you remember that we also organized a shirt free protest for women in Peace Parkthat got an AP wire.
You what we would say now went viral, right?
That had geode with her.
We take back our bodies, new, very attractive breasts.
Yes.
And we have like 300 looky Lou guys because they reported it on the AM radio and offeredfree beer.
(08:39):
God.
Like that was one of the most amazing and empowering experiences of my life.
It was like walking up with us shirts and.
having the men be terrified because I was looking at them and saying, you seem interestedin what we're doing here today, sir, would you like this handout about women's freedom?
And they would be like, Like they couldn't believe it.
Yeah, it's like nudity as opposed to being objectification, nudity as empowerment.
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autonomy for women, which sadly is completely relevant now.
For sure.
Yeah, it feels like we're taking...
10 steps back for every step forward, at least in some areas of the country.
You know, one thought I had for me personally, but I also thought it could be somethingrelevant to a lot of women, but there's still such a taboo around talking about abortion.
(09:34):
And you know how in the Me Too movement, there was a taboo and shame of being sexuallyassaulted.
But part of what made that movement powerful was that women told their story.
And I thought, wouldn't it be great?
I mean, I have my own stories regarding abortion, you know, one by choice and another oneby a miscarriage that now I think, my God, I could have died.
(10:03):
And I remember when I was there, had lost a ton of blood.
I was really in trouble.
I was just kind of in and out, but I remembered the doctor got on the phone and wasyelling at whoever he was talking to, trying to explain that he needed to do this DNC or,
you and now that's like a real thing, right?
(10:24):
Even if it's a planned pregnancy, you know?
You know, the thing that really bugs me is about contraceptives.
They're messy, you can't find one that'll actually work 100 % you never know.
Well, you know what I think.
(10:51):
Dial frames and IUDs Fallin' out between my knees My boyfriend poked his ding -a -ling Onmy IUD string
Then he pulled out really quick, said, what's that poking on my dick?
It's just my IUD string.
He said, I don't want to touch that thing.
(11:14):
Contraceptors are a bore.
I don't want them anymore.
They cost me lots of hard -earned cash.
Always got to keep them stashed.
Once my sponge got stuck up there, during a brand new affair, my old boyfriend came by forlunch.
(11:34):
Honey, I can't reach my sponge.
He said, relax, I'll get it.
I know what your vagina's like I said, wow, thank you Mike After all, what are friendsfor?
And I still say Contraceptives are a bore I don't want them anymore They were all made bymen I can't even get them in
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The pill is like a vitamin It makes me ill and my head spins But you can have sex anytimeSo all the men think it's fine But it makes me fat, I cry all day So I don't wanna have
sex anyway Contraceptors are a bore I don't want them anymore They cost me lots of hard-earned cash And I always gotta keep them stashed
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Rubbers stickin' in the trash, spermicides gives me a rash.
Why can't scientists discover a way to keep me from becoming a mother?
I know it's just biology, but all this monthly I wonder if I'm gonna have baby I wonder ifI'm gonna have a baby It's frustrating the hell out of me Contraceptors are a bore, I
(13:00):
don't want them anymore I have sex and still be free from hassles and uncertainty
Contraceptives are a bore, contraceptives are a bore, contraceptives are a bore,contraceptives are a bore.
So let's take a moment to just say that one of the things that we've chosen to do here isdonate the money and money that comes in above our costs to abortion services in the state
(13:33):
of Missouri where we used to live.
Yeah, I was going to I was going to suggest probably this is a little behind the curtainstuff, but the abortion fund is by state by state.
And there's another fund that started up called the Roe v Wade Fund.
which is a national fund, think we might want to switch gears.
As long as it goes to women's bodily autonomy, I'm all for it.
(13:57):
Because I mean, really that, to me, that's what unified us, right?
That's what unified us.
And also, I think the other thing that made it possible was KOPN radio and the collectiveof women that worked there, because Pam introduced me to those people.
And then I was like, right.
The idea that women make media, the idea that women have the ability and are given skillsand training to do it and access to it, that was a very real thing.
(14:26):
don't think I would have, you know, that, cause I'd always wanted to be a DJ.
And when I went to Steven's, it was to either be a DJ or talk show host before I gotrerouted to the interdisciplinary ecology degree that I eventually got.
But, you know, I was super like, what's, where can we make radio?
Right.
So Pam, what's your background as a, guess, a feminist and your experience with whatbrought you to the arts sluts or just that thinking?
(14:56):
I mean, I just had a really strong feminist mother who just raised us to be me and mythree sisters, to be very strong women.
And so she was really my role model, my first role model.
And
You know, I just always felt like I was bucking the trend, like when I was a nurse's aideand I wanted to be a house orderly, but those were only men that I fought for it and they
(15:24):
didn't want to give it to me because my mom worked at the hospital, but they finally did.
you know, joining the city to become a landscaper and the team that rode the biglawnmowers that only men were allowed to do.
then.
I think, Terry, you worked there at a certain point, too.
I did.
(15:44):
I did.
worked on the and that's how I met Geode.
Actually, Geode might have helped me get that job.
And I think so.
And just other things where I always felt like I wanted to step into the non -traditionalwomen's roles.
And so the arts sluts for me and I had been reading a lot of feminist literature, actuallya lot of black feminist literature.
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as well.
And so the art sluts was just a means of sort of getting together with other women andempowering ourselves and being able to more publicly, you know, talk about, you know, some
of these kind of taboo topics that we didn't normally talk about, like abortion or birthcontrol, you know, or sex, because women aren't supposed to be talking about sex openly.
(16:39):
And it was so it was so empowering and fun.
You know, we made it fun and funny and interesting.
So I definitely.
Yeah, it was it was a big part of, you know, my developing identity as a woman.
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Here's our song, Sperm in the Big Canal, written to the tune of Bob Dyer, withcontributions from all the artsluts and our friend the King Slab Stuart Dummett.
We'd like to welcome Stuart Dumbit up to the stage for a song that was the melodieswritten by Bob Dyer and the original name of the song was River of the Big Canoe.
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However, we decided to change the words.
Okay, this is everything you ever wanted to know about the male point of view of sex,about sperms and stuff.
It's called Sperm in the Big Canal.
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can see him under a microscope But you can't see him on the sheets My grandmother said itwas a watermelon seed Somehow I don't believe He's a compliment to my ovaries Fertilizer
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on my laundry Moving through the fallopian's Heading for...
My tune
What the schoolboy found was a puddle in his palm, cream on the teddy bear.
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He told his friends about the milky fluid and counted his pubic hair.
He's a compliment to my ovaries, fertilizer on my laundry, moving through the fallopian'sheading pole.
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They say it's hot and surging, but I wouldn't call it that.
It seems to me a bit more like snot, at least that's what I learned in camp.
Like a minnow, cherry -herd of lemmings, a million little kamikazes.
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Through the vaginal canal, into my cervix, or running down my knees.
The first time that it encountered my tonsils I thought I was gonna gag But I couldn't doit the other way Cause I was on the rag Like a military herd of lemmings A million little
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kamikazes Through the Fajano Canal into my cervix They're running down
my knees
It's kind of like a slot machine It determines what your sex is Perhaps it's more like aroulette wheel Spinning those Y's and X's Of course it's all up to chance with a million
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sperm Spurting in a waterfall
burning through the vast efferents coming from your boss.
Well I learned the details from the Kansley Report and Masters and Johnson too But I'msick of facts, it's experiential, honey let's go Cause it's all up to chance with a
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million sperm Spurting in a waterfall, spurting through the vast Everest coming from
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you
(22:03):
was always trying to make Sheila laugh.
That was my goal.
So I think we do a lot of that back and forth.
What extreme we could go to to get the other one laughing.
So when we decided to publish this compilation of songs,
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It sort of came up, which ones do we want to keep or which ones do we want to omit andwhy?
And so that's kind of started our conversation about, you know, what is censorship?
What is self -censorship?
How does language work with art?
You know, and I don't know if either one of you want to start that conversation.
(22:58):
Sure.
I mean, one of the things that happened.
Well, one, I think it's true.
We're all working class women, right?
Because how I met you, I met Pam because I was working at the sub shop and at the sametime I had another job.
I had three jobs.
I worked at Ernie's.
I worked at the arts, you know, where, what's it?
Rag stock.
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I worked at rag stock where Sheila was the manager and Anne was the assistant manager.
Used clothing.
A used clothing store that sold vintage clothes.
And I was such a, I still am what I would call myself, my own, I would say I'm a clothes.
Right.
That's slang because I have a huge closet and a half.
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use half of my husband's closet for costumes.
I'm a big into costumes.
Right.
So it's like kind of my fetish.
And that was part of my joy was wearing outrageous outfits in public and coming up withinventive things.
Like remember we.
spray -brut, air -brut, what do call it?
Spray -painted t -shirts with a stencil that said Arts Let's, but we put on a pretty dressand then we ripped the dresses off.
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that's right.
that's right.
Don't you remember?
mean, I was super, now this is important to me because I'm still into performance art andthe whole fluxist movement that Annie Sprinkle and Beth Stevens are a part of and they're
my friends now because of my understanding that historically there is a context like YokoOno and Maria.
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Abrava, those women are still in that same performance art where your life is performanceand you can't separate art from your life, right?
Which is why we were joking, we were art sluts, right?
Yes.
Okay, so we were working class people and I got a scholarship and worked ready to privatewomen's school.
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And in that education, I realized things about, feminism is a thing.
I mean, I got educated out of my class background.
And then what do you do with all of that brilliant energy?
You talk to your other women friends and then you like rabble rouse and we're like, right.
So we went to go see the guys and we were like, we could do that.
We could do that.
(25:07):
Right.
But we also, the the guy just clarifying the musicians who were guys, the men that we werein sexual relationships who were musicians that we were right.
Cross section with the punk rock.
scene that was happening all over the country at that time and also in Columbia.
absolutely.
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And that was a big thing that we were caught up in.
And Anne was tracking that better than I was in terms of other bands and other cities andFact Sheet Five and sending out cassettes and all that.
But what I'm trying to talk about is, like, for example, we have a song called God thatHates Hippies, which is funny.
But in it, we say that the hippies stole the peace sign from the Cherokee.
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And then we say God's favorite Indians, which is funny if you're a white working classeducated girl in the eighties, but it's not funny to Cherokee people.
In fact, it's very ignorant for us to say anything about first nations, indigenous people.
And I can say now, one of the things is that I'm, you know, I was appalled at my ignoranceand there were a lot of things that we did that were funny to us, but they were making fun
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of and they showed.
A cultural insensitivity on our behalf.
Now, if you're 21 to 22 years old and you're stoned and you're hanging out with yourfriends around the kitchen table, that shit is funny.
That shit is funny.
And if it's just you and your little community, that's awesome.
But you know, when it came to now we're 60.
Yep.
Yes.
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We've been through some shit.
Yes.
Some people have rudely said to us, Hey, that's not cool.
Or we've come up on it ourselves and went, oops, that's not cool.
Right.
unfortunately, a significant number of our songs have not cool insensitive shit them.
And so it was really hard conversation when we got back together because, then differentones of us have different sensitivities and different awarenesses.
(27:06):
Right.
Yeah.
And did you want to, that's what happened.
And then I was just going to say that, you know, part of the, there was definitely a backand forth between our.
audience and or imagined audience when we were writing songs, we were speaking to andtrying to cause reaction to that mainstream male dominated community.
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part of the effectiveness of the art sluts was the name and still does attracts an elementthat's like, this is like pornography or
or whatever it is, and so I'm gonna go and then through the course of our albums and liverecordings, we would...
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move the conversation from a sexual funny conversation to all of sudden a seriousconversation touching on so many serious issues that affect women and taboo issues that it
literally changed some people's lives and minds through that conversation.
(28:22):
one of my learning experiences is to
And I think a lot of comedians now and artists now are trying to figure this out is how doyou challenge and push society in creating without pushing people away?
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in other words, type of, anyway, I think I got stuck in a corner there a little bit, butdoes that sort of make sense?
Yeah, yeah, because you mentioned, you know, the word art sluts.
And so we we purposefully embraced this word slut because slut was always used in aderogatory or demeaning way towards women.
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So we decided to own that word and make it powerful, make it, you know, empower ourselvesand say, yeah, I'm a slut.
And here's what that means to me.
And so.
because it's a term associated with women, we could embrace that and do that.
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And one of the conversations we had early on was the use of the F word for gay men that wewere struggling with, or at least I was struggling with, because it's in our theme song.
And it's sort of like, okay, we're not gay men.
But at that time in that space, we had gay men friends.
who love that we were embracing that word because we were also using it as a means toempower, using that as an empowering term.
(29:57):
Just like any group might decide to, what's the word I'm looking for when you claim a wordthat has been used against you but to use it in a reclaimative way.
so, know.
further along, but I want to get back to that.
But further along, we were talking about just using that word just in these types ofconversations and about, well, you know, there's also a difference between continuing to
(30:26):
use that word conversationally, say in a public podcast, because we're not representativeof gay men, even though we might have friends or personal family members who are fine with
us using that word.
It's a different context.
But going back,
it's like, it's one of those areas, I think that of real tension that, you know, we wantto put this song out there.
(30:49):
It's a meaningful song, you know, with the lyrics that we're using about our lives at thattime and the people that, we were spending time with at that time.
But we also, you know, want to be careful and sensitive about not causing harm to peoplelistening to our audience.
Could I just add to that, that, and,
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correct me if you all don't feel the same way, but I feel like we were representing womenand feminists.
We were also representing the gay community because, you know, I've had bisexualexperiences.
Obviously Terry has.
I'm totally clear.
So that's real.
And I definitely was identifying as bisexual at the time.
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does that question, does that change?
our ability to reclaim that word or is it because it's related to the male gay communitythat we're not because we're women?
I don't know, thoughts.
(31:54):
I think this is a place where I pretty potently differ from Pam because not only am Iqueer myself, I'm intentionally a thought visionary.
in the queer, ecosexual community.
And, ecosexuality in and of itself is a queer movement.
(32:17):
And so, I'm so aligned with queerness that I am still hanging out with ****, especially inthe radical fairy community.
wait a minute.
Should I have not have said it?
No.
So, right?
it's like, I'm super, we could, I'm super invested in that.
(32:39):
Like it's a real part of who I am.
Yeah.
Right.
And I'm still like, am I supposed to not say F word hag?
Right.
Like that's a big part of, and it wasn't a huge part of my identity.
Because as I found out in retrospect, even in high school, the people that I was attractedto and date, I have always been attracted to gender queer men.
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And in fact, if the man doesn't have any analysis of his cis white male privilege,
I cannot be intimate with him emotionally.
So there's probably a specific now word that the youngers are using that means thisbesides gender fluid or gender bending, you know, and you guys met my husband, my first
husband, Larry, like he's totally, you know, I now think he would be calling himself thenwould call themselves they and would have been a non -binary person.
(33:35):
Because remember when we actually got kicked out of a bar for being lesbians when he was aman and I was a woman and they couldn't tell.
I mean, that happened repeatedly because he hung out with us and because he was soemotionally queer.
Like, so he was cis, right?
But he's definitely was not straight.
Even though there's not a language for a straight man that mostly dates a lesbians andqueer women.
(34:01):
Right?
We called him the dyke bloke.
Isn't that so isn't that the question mark, Terry?
Well, yeah.
Well, so I my response to that would be there's a difference between what's OK in mycommunity within my group and putting out a podcast to the general public where, know, in
(34:29):
so in some of my experiences, I attend so many.
webinars and conferences and things on diversity, equity and inclusion.
And I hear what gay men are saying about what's OK and what's not OK and what's offensive.
OK, to me, it's like I totally understand and respect Terry.
(34:51):
You're you know, the world that you live in and and what your experiences and you know,your decisions about the language that you use.
But in this context, with the three of us,
talking about our, our work and you know, our music.
And we do have, I think we have a whole lot of similar values.
(35:11):
I think we have a few that are a little bit different, but for me, it's really importantto me not to cause harm.
and I'm not saying we're intentionally doing that.
There's a difference between intent and impact, but if the words I'm choosing impactsomeone in a negative way, and it's sort of like that.
(35:32):
That whole thing that we know about generational trauma and how trauma builds up over timeif you keep getting the same, experiencing the same microaggressions every day, every
week, every year, it has an impact on your health, your physical health and your mentalhealth.
So for me, avoiding that language, it's less about censorship, it's more about beingmindful, it's more about being an ally or an advocate.
(36:00):
Can I just challenge you on one point regarding that?
the frat guys who went to our show and turned around and left in anger, we caused harm tothem.
So No.
You don't think so?
I'm sorry.
You don't think they - we offended them.
(36:21):
We might've offended them.
So what I would say, Anne, is there's a difference between the dominant culture.
Like I have no trouble offending men.
white, you know, Christian men.
I have no trouble offending them because they're the dominant culture and they haverepressed me, they've oppressed me, they've suppressed me.
But gay men are not part of the dominant culture, you know, they're marginalized.
(36:48):
So that's how I would look at that.
Thanks for clarifying that.
All right.
Let's take a listen to a song that won't offend anyone who's living.
This is off of our first album.
for your protection.
There's a problem that we need to talk to you about.
a serious issue.
Yeah, mean, I know people are always telling you about new causes and new things that needto be discussed.
(37:14):
But no one ever talks about this.
This is not a dead issue.
Yeah.
No, it's a problem.
It's problem.
The problem with dead people.
Dead people live in cemeteries Dead people take up lots of land Dead people don't pay anytaxes Dead people don't need any money Yeah, I mean really, think about it Think about all
(37:35):
those dead people lying around six feet underground in their best clothes with all thatmakeup I mean, how pretentious It's like they're gonna get up and go somewhere or
something Right, and they have those big funeral parades for them about how much it costsSilly!
It's sad!
people don't clean the kitchen Dead people never take out the trash
And you know, I'm not even sure if some of them know that they're dead, because a lot ofthem just lie around all bloody and cut up and groaning, you know?
(38:05):
And they even bother to get buried under the ground.
And then we've got to look at them all sick -naked and disgusted.
There's
(38:46):
So it's a sociological thing.
And there's a distinction, a big distinction between psychological processes andsociological processes.
And cultural.
Psychological processes are how you internally experience something.
And sociological processes rely on oligarchical, patriarchal, know, those are all, thatlanguage is describing societal constructs that are hierarchical and rank people based on
(39:13):
their value.
Right?
And part of the reason that we exist and are talking now is that there persists a virulentmisogyny in this culture that says that men are more valued and superior to, and this is
shown through men making more money, even though they don't do more work, you know, andthe emotional labor of women being assumed that it will always be free, you know, all of
(39:39):
mean, you just look at what's happening politically in our country with
women not owning their bodies and having decision making abilities over our bodies in somany states.
It's really unbelievable.
Unfathomable.
Until next time, we're art sluts.
(40:04):
We're art sluts.
Okay, one more time.
right.
Thanks for listening to art sluts radio.
Hey, if you identify with the art sluts, explore our herstory at artsluts .net.
That's A -R -T -S -L -U -T -S dot net.
(40:27):
and purchase downloads of our music wherever you stream music.
All contributions and purchases will go to support Planned Parenthood.
Currently, 21 states have limited access to women's health care, including abortion, and15 of those have a total ban.
(40:47):
Talking about your abortion experience, voting and donating to support abortion rightswill make a difference.
I hate to leave you baby
(41:09):
It's just my music, baby
So we fucked it.
Because it was there We're our floods
Welcome to Arts Let's Radio.
And the purpose of our conversation today, we're going to introduce ourselves in a minute,is to talk about censorship and self -censorship versus freedom of speech and why we
(00:34):
selected certain songs to publish and others not and some ongoing conversations that we'vehad recently amongst ourselves.
Anne, do you want to introduce yourself?
My name is Anne Wood and it's me.
What should I say?
Well, I'm a lifetime musician, music lover, artist, art lover, lover of experiences andnature.
(01:02):
And starter of the art sluts.
starter of the Instigator.
Instigator.
With Sheila Brynjolfsson.
Terry.
Terry Chockey.
currently the founder of the Living Love Revolution Sanctuary and Aphrodite Temples.
And in the 1984 to 1986, I was part of an all -woman punk rock band with these beautifulwomen here called the Artsluts in Columbia, Missouri.
(01:28):
And as part of our reconnection after and during the pandemic, we decided it would beinteresting to digitalize our music and rebroadcast it.
And in that process, found ourselves caught up in lots of different interesting andimportant conversations.
I'm Pam Doherty, the third wheel.
(01:48):
Also a member of the arts slots.
And it was great when Ann reached out to us recently to want to get these songs out to thepublic and our the conversations we've been having, the connections we've made have been
wonderful.
So we're going to continue that conversation today.
So.
Pam, do you want to lay out the itinerary, what we're going to talk about today?
(02:11):
Well, I thought, you know, one thing that was really important since we've been using theword censorship a lot and self -censorship is just kind of to define those terms just in
terms, you know, thinking about, I know that they have different connotations for verydifferent people.
And so I thought it might be good just to talk about what do we mean when we saycensorship or self -censorship?
(02:33):
And then we're going to talk about some of the songs that we omitted from, you know, thislatest, you know, yeah.
And why we removed those.
Also a conversation about a word that we decided to omit from our last podcast and sort ofthe conversation we had around that, our thoughts about language that we use moving
(02:57):
forward.
No, that's it.
That sounds great.
Mostly frame things in terms of.
cultural context and the changes in cultural context because I really think a really majorpart of why we were even magnetized together to do the arts sluts is that there was
something missing in the larger dominant culture, which I in the Living Love RevolutionSanctuary, we call, we have all kinds of neologisms, right?
(03:24):
Our own words that we've made up our own phrases and the phrase that we use to talk aboutthe mainstream culture that we
were brought up in is the fading uber culture as a kind of spell.
Right?
So we're really very attentive to language as women, as feminist women.
Right.
And what we noticed was that there weren't any all women self -expressed talking about ourlived daily experience bands in Columbia, Missouri in the eighties.
(03:54):
And we got together around the kitchen table and created an altered mood.
and empowered each other.
And the ways that we empowered each other then would not necessarily be appropriate now.
And the language that we used then would not necessarily be appropriate now.
But for the early 80s in Columbia, Missouri, not only I would put forward that it wasessential to our empowerment and our personal growth, that we used the language that we
(04:23):
did in our songs and music then, because it was doing a very specific kind of empowermentfor
And it gave us the confidence that we needed to go out and publican, learn how to playinstruments publicly, really, frankly.
mean, you knew how you and Sheila and Pam knew how to play guitar before we got involved.
(04:44):
But we taught ourselves like in a DIY punk rock way.
And it was just totally bald.
What we say, ballsy.
Maybe you'd say we had big ovaries.
Right?
Sarah Silverman.
She's what did she say?
Big lips.
You know, I was going to say one thing to what Terry was saying, which is one bigdifference then and now as far as the language and what we were bouncing off of is there
(05:13):
was a common language of what was funny, what was not, what was popular and so forth.
In other words, like David Letterman, as Terry touched on in one of her songs.
And now there's
many individual groups trying to merge together.
And so there's that learning process because there's different languages.
(05:37):
As you said, Terry, for your organization, for, know, if you had maybe a bunch of Iranianwomen all sitting around together, their language might be different and so forth.
Just thought it was interesting to think about that contrast.
And there's also been lots of other continuing liberation and being freed from oppressionthings.
(05:57):
So
Since the eighties, there's been a lot of disability rights and altered accessibilityrights.
There's been a lot.
mean, even the phrase by Bach, which means right.
Black indigenous people of color.
That phrase didn't exist in 1984 intersectionality as a term.
I do not believe was even being taught.
In fact, we had women's in the eighties and that was a new shiny thing.
(06:21):
And now we have gender studies.
So there's been so much change in transformation, especially.
in different cultures.
Like the culture that's in Columbia, Missouri right now is very different from the culturethat's here in Portland, Oregon.
Like Portland, Oregon is a hotbed of Antifa anarchist reaction against the proud boys.
(06:42):
And, you know, that was a really huge part of the pandemic here in Oregon.
I don't think it's the same.
And where are you?
why don't you say a little bit about where you are?
I'm in Atlanta.
And so there's, yeah, I've already
touched on it before with y 'all, it's, I mean, I think every area is becoming moremulticultural and so forth, but very multicultural, which is very close to my heart.
(07:05):
like to put a bunch of different people in the room and see what happens.
So from different walks of life.
Well, I'm on the central coast in California.
It's very white.
It is a college town and you know, sort of the county is
Different parts of the county are sort of liberal leaning, some are more conservative, butCentral Coast has a long way to go in terms of diversity.
(07:31):
But very liberal, right Pam?
Some parts of the county.
I wanted to share something that I found, I thought you guys, especially with our topicstoday.
Let's see if you can see this.
I need to scan it.
Projection of artist nude, what does it say?
It's you.
It's me and I'm protesting.
The art league was censoring male nudity at that time.
(07:53):
my goodness.
So that was in the newspaper.
What's that say?
Rejection of artists' nude spurs protests.
That's fantastic.
Right.
That was, well, what's the date?
I wonder if that was before or after the art sluts.
I would say that we were body positive activists before body positivity was a thing.
(08:16):
Right.
Because I don't...
No, if you remember that we also organized a shirt free protest for women in Peace Parkthat got an AP wire.
You what we would say now went viral, right?
That had geode with her.
We take back our bodies, new, very attractive breasts.
Yes.
And we have like 300 looky Lou guys because they reported it on the AM radio and offeredfree beer.
(08:39):
God.
Like that was one of the most amazing and empowering experiences of my life.
It was like walking up with us shirts and.
having the men be terrified because I was looking at them and saying, you seem interestedin what we're doing here today, sir, would you like this handout about women's freedom?
And they would be like, Like they couldn't believe it.
Yeah, it's like nudity as opposed to being objectification, nudity as empowerment.
(09:06):
autonomy for women, which sadly is completely relevant now.
For sure.
Yeah, it feels like we're taking...
10 steps back for every step forward, at least in some areas of the country.
You know, one thought I had for me personally, but I also thought it could be somethingrelevant to a lot of women, but there's still such a taboo around talking about abortion.
(09:34):
And you know how in the Me Too movement, there was a taboo and shame of being sexuallyassaulted.
But part of what made that movement powerful was that women told their story.
And I thought, wouldn't it be great?
I mean, I have my own stories regarding abortion, you know, one by choice and another oneby a miscarriage that now I think, my God, I could have died.
(10:03):
And I remember when I was there, had lost a ton of blood.
I was really in trouble.
I was just kind of in and out, but I remembered the doctor got on the phone and wasyelling at whoever he was talking to, trying to explain that he needed to do this DNC or,
you and now that's like a real thing, right?
(10:24):
Even if it's a planned pregnancy, you know?
You know, the thing that really bugs me is about contraceptives.
They're messy, you can't find one that'll actually work 100 % you never know.
Well, you know what I think.
(10:51):
Dial frames and IUDs Fallin' out between my knees My boyfriend poked his ding -a -ling Onmy IUD string
Then he pulled out really quick, said, what's that poking on my dick?
It's just my IUD string.
He said, I don't want to touch that thing.
(11:14):
Contraceptors are a bore.
I don't want them anymore.
They cost me lots of hard -earned cash.
Always got to keep them stashed.
Once my sponge got stuck up there, during a brand new affair, my old boyfriend came by forlunch.
(11:34):
Honey, I can't reach my sponge.
He said, relax, I'll get it.
I know what your vagina's like I said, wow, thank you Mike After all, what are friendsfor?
And I still say Contraceptives are a bore I don't want them anymore They were all made bymen I can't even get them in
(12:00):
The pill is like a vitamin It makes me ill and my head spins But you can have sex anytimeSo all the men think it's fine But it makes me fat, I cry all day So I don't wanna have
sex anyway Contraceptors are a bore I don't want them anymore They cost me lots of hard-earned cash And I always gotta keep them stashed
(12:32):
Rubbers stickin' in the trash, spermicides gives me a rash.
Why can't scientists discover a way to keep me from becoming a mother?
I know it's just biology, but all this monthly I wonder if I'm gonna have baby I wonder ifI'm gonna have a baby It's frustrating the hell out of me Contraceptors are a bore, I
(13:00):
don't want them anymore I have sex and still be free from hassles and uncertainty
Contraceptives are a bore, contraceptives are a bore, contraceptives are a bore,contraceptives are a bore.
So let's take a moment to just say that one of the things that we've chosen to do here isdonate the money and money that comes in above our costs to abortion services in the state
(13:33):
of Missouri where we used to live.
Yeah, I was going to I was going to suggest probably this is a little behind the curtainstuff, but the abortion fund is by state by state.
And there's another fund that started up called the Roe v Wade Fund.
which is a national fund, think we might want to switch gears.
As long as it goes to women's bodily autonomy, I'm all for it.
(13:57):
Because I mean, really that, to me, that's what unified us, right?
That's what unified us.
And also, I think the other thing that made it possible was KOPN radio and the collectiveof women that worked there, because Pam introduced me to those people.
And then I was like, right.
The idea that women make media, the idea that women have the ability and are given skillsand training to do it and access to it, that was a very real thing.
(14:26):
don't think I would have, you know, that, cause I'd always wanted to be a DJ.
And when I went to Steven's, it was to either be a DJ or talk show host before I gotrerouted to the interdisciplinary ecology degree that I eventually got.
But, you know, I was super like, what's, where can we make radio?
Right.
So Pam, what's your background as a, guess, a feminist and your experience with whatbrought you to the arts sluts or just that thinking?
(14:56):
I mean, I just had a really strong feminist mother who just raised us to be me and mythree sisters, to be very strong women.
And so she was really my role model, my first role model.
And
You know, I just always felt like I was bucking the trend, like when I was a nurse's aideand I wanted to be a house orderly, but those were only men that I fought for it and they
(15:24):
didn't want to give it to me because my mom worked at the hospital, but they finally did.
you know, joining the city to become a landscaper and the team that rode the biglawnmowers that only men were allowed to do.
then.
I think, Terry, you worked there at a certain point, too.
I did.
(15:44):
I did.
worked on the and that's how I met Geode.
Actually, Geode might have helped me get that job.
And I think so.
And just other things where I always felt like I wanted to step into the non -traditionalwomen's roles.
And so the arts sluts for me and I had been reading a lot of feminist literature, actuallya lot of black feminist literature.
(16:11):
as well.
And so the art sluts was just a means of sort of getting together with other women andempowering ourselves and being able to more publicly, you know, talk about, you know, some
of these kind of taboo topics that we didn't normally talk about, like abortion or birthcontrol, you know, or sex, because women aren't supposed to be talking about sex openly.
(16:39):
And it was so it was so empowering and fun.
You know, we made it fun and funny and interesting.
So I definitely.
Yeah, it was it was a big part of, you know, my developing identity as a woman.
(17:01):
Here's our song, Sperm in the Big Canal, written to the tune of Bob Dyer, withcontributions from all the artsluts and our friend the King Slab Stuart Dummett.
We'd like to welcome Stuart Dumbit up to the stage for a song that was the melodieswritten by Bob Dyer and the original name of the song was River of the Big Canoe.
(17:27):
However, we decided to change the words.
Okay, this is everything you ever wanted to know about the male point of view of sex,about sperms and stuff.
It's called Sperm in the Big Canal.
(17:58):
can see him under a microscope But you can't see him on the sheets My grandmother said itwas a watermelon seed Somehow I don't believe He's a compliment to my ovaries Fertilizer
(18:19):
on my laundry Moving through the fallopian's Heading for...
My tune
What the schoolboy found was a puddle in his palm, cream on the teddy bear.
(18:42):
He told his friends about the milky fluid and counted his pubic hair.
He's a compliment to my ovaries, fertilizer on my laundry, moving through the fallopian'sheading pole.
(19:14):
They say it's hot and surging, but I wouldn't call it that.
It seems to me a bit more like snot, at least that's what I learned in camp.
Like a minnow, cherry -herd of lemmings, a million little kamikazes.
(19:34):
Through the vaginal canal, into my cervix, or running down my knees.
The first time that it encountered my tonsils I thought I was gonna gag But I couldn't doit the other way Cause I was on the rag Like a military herd of lemmings A million little
(20:08):
kamikazes Through the Fajano Canal into my cervix They're running down
my knees
It's kind of like a slot machine It determines what your sex is Perhaps it's more like aroulette wheel Spinning those Y's and X's Of course it's all up to chance with a million
(20:42):
sperm Spurting in a waterfall
burning through the vast efferents coming from your boss.
Well I learned the details from the Kansley Report and Masters and Johnson too But I'msick of facts, it's experiential, honey let's go Cause it's all up to chance with a
(21:17):
million sperm Spurting in a waterfall, spurting through the vast Everest coming from
(21:41):
you
(22:03):
was always trying to make Sheila laugh.
That was my goal.
So I think we do a lot of that back and forth.
What extreme we could go to to get the other one laughing.
So when we decided to publish this compilation of songs,
(22:30):
It sort of came up, which ones do we want to keep or which ones do we want to omit andwhy?
And so that's kind of started our conversation about, you know, what is censorship?
What is self -censorship?
How does language work with art?
You know, and I don't know if either one of you want to start that conversation.
(22:58):
Sure.
I mean, one of the things that happened.
Well, one, I think it's true.
We're all working class women, right?
Because how I met you, I met Pam because I was working at the sub shop and at the sametime I had another job.
I had three jobs.
I worked at Ernie's.
I worked at the arts, you know, where, what's it?
Rag stock.
(23:19):
I worked at rag stock where Sheila was the manager and Anne was the assistant manager.
Used clothing.
A used clothing store that sold vintage clothes.
And I was such a, I still am what I would call myself, my own, I would say I'm a clothes.
Right.
That's slang because I have a huge closet and a half.
(23:40):
use half of my husband's closet for costumes.
I'm a big into costumes.
Right.
So it's like kind of my fetish.
And that was part of my joy was wearing outrageous outfits in public and coming up withinventive things.
Like remember we.
spray -brut, air -brut, what do call it?
Spray -painted t -shirts with a stencil that said Arts Let's, but we put on a pretty dressand then we ripped the dresses off.
(24:04):
that's right.
that's right.
Don't you remember?
mean, I was super, now this is important to me because I'm still into performance art andthe whole fluxist movement that Annie Sprinkle and Beth Stevens are a part of and they're
my friends now because of my understanding that historically there is a context like YokoOno and Maria.
(24:24):
Abrava, those women are still in that same performance art where your life is performanceand you can't separate art from your life, right?
Which is why we were joking, we were art sluts, right?
Yes.
Okay, so we were working class people and I got a scholarship and worked ready to privatewomen's school.
(24:46):
And in that education, I realized things about, feminism is a thing.
I mean, I got educated out of my class background.
And then what do you do with all of that brilliant energy?
You talk to your other women friends and then you like rabble rouse and we're like, right.
So we went to go see the guys and we were like, we could do that.
We could do that.
(25:07):
Right.
But we also, the the guy just clarifying the musicians who were guys, the men that we werein sexual relationships who were musicians that we were right.
Cross section with the punk rock.
scene that was happening all over the country at that time and also in Columbia.
absolutely.
(25:27):
And that was a big thing that we were caught up in.
And Anne was tracking that better than I was in terms of other bands and other cities andFact Sheet Five and sending out cassettes and all that.
But what I'm trying to talk about is, like, for example, we have a song called God thatHates Hippies, which is funny.
But in it, we say that the hippies stole the peace sign from the Cherokee.
(25:52):
And then we say God's favorite Indians, which is funny if you're a white working classeducated girl in the eighties, but it's not funny to Cherokee people.
In fact, it's very ignorant for us to say anything about first nations, indigenous people.
And I can say now, one of the things is that I'm, you know, I was appalled at my ignoranceand there were a lot of things that we did that were funny to us, but they were making fun
(26:18):
of and they showed.
A cultural insensitivity on our behalf.
Now, if you're 21 to 22 years old and you're stoned and you're hanging out with yourfriends around the kitchen table, that shit is funny.
That shit is funny.
And if it's just you and your little community, that's awesome.
But you know, when it came to now we're 60.
Yep.
Yes.
(26:38):
We've been through some shit.
Yes.
Some people have rudely said to us, Hey, that's not cool.
Or we've come up on it ourselves and went, oops, that's not cool.
Right.
unfortunately, a significant number of our songs have not cool insensitive shit them.
And so it was really hard conversation when we got back together because, then differentones of us have different sensitivities and different awarenesses.
(27:06):
Right.
Yeah.
And did you want to, that's what happened.
And then I was just going to say that, you know, part of the, there was definitely a backand forth between our.
audience and or imagined audience when we were writing songs, we were speaking to andtrying to cause reaction to that mainstream male dominated community.
(27:32):
part of the effectiveness of the art sluts was the name and still does attracts an elementthat's like, this is like pornography or
or whatever it is, and so I'm gonna go and then through the course of our albums and liverecordings, we would...
(27:59):
move the conversation from a sexual funny conversation to all of sudden a seriousconversation touching on so many serious issues that affect women and taboo issues that it
literally changed some people's lives and minds through that conversation.
(28:22):
one of my learning experiences is to
And I think a lot of comedians now and artists now are trying to figure this out is how doyou challenge and push society in creating without pushing people away?
(28:43):
in other words, type of, anyway, I think I got stuck in a corner there a little bit, butdoes that sort of make sense?
Yeah, yeah, because you mentioned, you know, the word art sluts.
And so we we purposefully embraced this word slut because slut was always used in aderogatory or demeaning way towards women.
(29:06):
So we decided to own that word and make it powerful, make it, you know, empower ourselvesand say, yeah, I'm a slut.
And here's what that means to me.
And so.
because it's a term associated with women, we could embrace that and do that.
(29:26):
And one of the conversations we had early on was the use of the F word for gay men that wewere struggling with, or at least I was struggling with, because it's in our theme song.
And it's sort of like, okay, we're not gay men.
But at that time in that space, we had gay men friends.
who love that we were embracing that word because we were also using it as a means toempower, using that as an empowering term.
(29:57):
Just like any group might decide to, what's the word I'm looking for when you claim a wordthat has been used against you but to use it in a reclaimative way.
so, know.
further along, but I want to get back to that.
But further along, we were talking about just using that word just in these types ofconversations and about, well, you know, there's also a difference between continuing to
(30:26):
use that word conversationally, say in a public podcast, because we're not representativeof gay men, even though we might have friends or personal family members who are fine with
us using that word.
It's a different context.
But going back,
it's like, it's one of those areas, I think that of real tension that, you know, we wantto put this song out there.
(30:49):
It's a meaningful song, you know, with the lyrics that we're using about our lives at thattime and the people that, we were spending time with at that time.
But we also, you know, want to be careful and sensitive about not causing harm to peoplelistening to our audience.
Could I just add to that, that, and,
(31:11):
correct me if you all don't feel the same way, but I feel like we were representing womenand feminists.
We were also representing the gay community because, you know, I've had bisexualexperiences.
Obviously Terry has.
I'm totally clear.
So that's real.
And I definitely was identifying as bisexual at the time.
(31:34):
does that question, does that change?
our ability to reclaim that word or is it because it's related to the male gay communitythat we're not because we're women?
I don't know, thoughts.
(31:54):
I think this is a place where I pretty potently differ from Pam because not only am Iqueer myself, I'm intentionally a thought visionary.
in the queer, ecosexual community.
And, ecosexuality in and of itself is a queer movement.
(32:17):
And so, I'm so aligned with queerness that I am still hanging out with ****, especially inthe radical fairy community.
wait a minute.
Should I have not have said it?
No.
So, right?
it's like, I'm super, we could, I'm super invested in that.
(32:39):
Like it's a real part of who I am.
Yeah.
Right.
And I'm still like, am I supposed to not say F word hag?
Right.
Like that's a big part of, and it wasn't a huge part of my identity.
Because as I found out in retrospect, even in high school, the people that I was attractedto and date, I have always been attracted to gender queer men.
(33:02):
And in fact, if the man doesn't have any analysis of his cis white male privilege,
I cannot be intimate with him emotionally.
So there's probably a specific now word that the youngers are using that means thisbesides gender fluid or gender bending, you know, and you guys met my husband, my first
husband, Larry, like he's totally, you know, I now think he would be calling himself thenwould call themselves they and would have been a non -binary person.
(33:35):
Because remember when we actually got kicked out of a bar for being lesbians when he was aman and I was a woman and they couldn't tell.
I mean, that happened repeatedly because he hung out with us and because he was soemotionally queer.
Like, so he was cis, right?
But he's definitely was not straight.
Even though there's not a language for a straight man that mostly dates a lesbians andqueer women.
(34:01):
Right?
We called him the dyke bloke.
Isn't that so isn't that the question mark, Terry?
Well, yeah.
Well, so I my response to that would be there's a difference between what's OK in mycommunity within my group and putting out a podcast to the general public where, know, in
(34:29):
so in some of my experiences, I attend so many.
webinars and conferences and things on diversity, equity and inclusion.
And I hear what gay men are saying about what's OK and what's not OK and what's offensive.
OK, to me, it's like I totally understand and respect Terry.
(34:51):
You're you know, the world that you live in and and what your experiences and you know,your decisions about the language that you use.
But in this context, with the three of us,
talking about our, our work and you know, our music.
And we do have, I think we have a whole lot of similar values.
(35:11):
I think we have a few that are a little bit different, but for me, it's really importantto me not to cause harm.
and I'm not saying we're intentionally doing that.
There's a difference between intent and impact, but if the words I'm choosing impactsomeone in a negative way, and it's sort of like that.
(35:32):
That whole thing that we know about generational trauma and how trauma builds up over timeif you keep getting the same, experiencing the same microaggressions every day, every
week, every year, it has an impact on your health, your physical health and your mentalhealth.
So for me, avoiding that language, it's less about censorship, it's more about beingmindful, it's more about being an ally or an advocate.
(36:00):
Can I just challenge you on one point regarding that?
the frat guys who went to our show and turned around and left in anger, we caused harm tothem.
So No.
You don't think so?
I'm sorry.
You don't think they - we offended them.
(36:21):
We might've offended them.
So what I would say, Anne, is there's a difference between the dominant culture.
Like I have no trouble offending men.
white, you know, Christian men.
I have no trouble offending them because they're the dominant culture and they haverepressed me, they've oppressed me, they've suppressed me.
But gay men are not part of the dominant culture, you know, they're marginalized.
(36:48):
So that's how I would look at that.
Thanks for clarifying that.
All right.
Let's take a listen to a song that won't offend anyone who's living.
This is off of our first album.
for your protection.
There's a problem that we need to talk to you about.
a serious issue.
Yeah, mean, I know people are always telling you about new causes and new things that needto be discussed.
(37:14):
But no one ever talks about this.
This is not a dead issue.
Yeah.
No, it's a problem.
It's problem.
The problem with dead people.
Dead people live in cemeteries Dead people take up lots of land Dead people don't pay anytaxes Dead people don't need any money Yeah, I mean really, think about it Think about all
(37:35):
those dead people lying around six feet underground in their best clothes with all thatmakeup I mean, how pretentious It's like they're gonna get up and go somewhere or
something Right, and they have those big funeral parades for them about how much it costsSilly!
It's sad!
people don't clean the kitchen Dead people never take out the trash
And you know, I'm not even sure if some of them know that they're dead, because a lot ofthem just lie around all bloody and cut up and groaning, you know?
(38:05):
And they even bother to get buried under the ground.
And then we've got to look at them all sick -naked and disgusted.
There's
(38:46):
So it's a sociological thing.
And there's a distinction, a big distinction between psychological processes andsociological processes.
And cultural.
Psychological processes are how you internally experience something.
And sociological processes rely on oligarchical, patriarchal, know, those are all, thatlanguage is describing societal constructs that are hierarchical and rank people based on
(39:13):
their value.
Right?
And part of the reason that we exist and are talking now is that there persists a virulentmisogyny in this culture that says that men are more valued and superior to, and this is
shown through men making more money, even though they don't do more work, you know, andthe emotional labor of women being assumed that it will always be free, you know, all of
(39:39):
mean, you just look at what's happening politically in our country with
women not owning their bodies and having decision making abilities over our bodies in somany states.
It's really unbelievable.
Unfathomable.
Until next time, we're art sluts.
(40:04):
We're art sluts.
Okay, one more time.
right.
Thanks for listening to art sluts radio.
Hey, if you identify with the art sluts, explore our herstory at artsluts .net.
That's A -R -T -S -L -U -T -S dot net.
(40:27):
and purchase downloads of our music wherever you stream music.
All contributions and purchases will go to support Planned Parenthood.
Currently, 21 states have limited access to women's health care, including abortion, and15 of those have a total ban.
(40:47):
Talking about your abortion experience, voting and donating to support abortion rightswill make a difference.
I hate to leave you baby
(41:09):
It's just my music, baby
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