KEEP ON BxTCHING
KEEP ON BxTCHING
To further explore what Legacy Russell’s ideas of Glitch Feminism means to me, I created four distinct categories, or genres, of select feminist songs that have been influential anthems in shaping ways I discover femineity. For each genre, a playlist of existing songs was made as the track list and a distorted, diffused, and layered glitch collage of their original album covers act as a new disruptive and eye-grabbing cover art embracing the overarching theme. The track lists, glitched cover art, and zine cutting were combined into four final CD cases, one representing each genre. To display the new glitch albums in the context of a femineity discovery journey, a tall, eight-shelf floral cabinet was staged with the new albums, older male dominated and muted albums for stark contrast, several representations of female form from different gazes, books highlighting powerful women, menstruation products, makeup and jewelry, and even more knickknacks seemingly belonging to an adolescent female. The themes of the separate shelves are reflective of the new genre album of feminist anthems neighboring it. These themes and genres are CNTRL, R3VENG3, P$YPWR, and I’M THAT BXTCH.
This album and genre, CNTRL or Control, includes Beyoncé’s Pretty Hurts, Cyndi Lauper’s Girls Just Wanna Have Fun, and eight more tracks from female musicians that bring light to societies’ demands of women.
R3VENG3, or Revenge, features Amber Mark’s Put You On, Miranda Lambert’s Gunpowder and Lead, Nancy Sinatra’s These Boots Are Made For Walking, and four other songs that express a painful scenario that empowers a confidential comeback.
A feminist anthem collection could not be complete without P$YPWR, or Pussy Power, a collection spotlighting the controversial reclaim of sexuality with records like Cardi B and Megan Thee Stallion’s WAP, Nicki Minaj and Beyoncé’s Feeling Myself, and six more!
I’M THAT BXTCH comprises a playlist with Joan Jett’s Bad Reputation, Rihanna’s Needed Me, Billie Eilish’s you should see me in a crown, and five additional tracks of women owning womanhood.