the gulabi gang

APTOPIX India Pink Women

The Gulabi Gang (from Hindi “gulabi” = “pink” – “pink gang”) is a group of women vigilantes and activists originally from Banda in Bundelkhand district, Uttar Pradesh, India, but reported to be active across North India as of 2010. It is named after the pink saris worn by its members.

The gang was founded in 2006 by Sampat Pal Devi, a mother of five and former government health worker (also a former child bride), as a response to widespread domestic abuse and other violence against women. Gulabis visit abusive husbands and beat them up with laathis (bamboo sticks) unless they stop abusing their wives. In 2008, they stormed an electricity office in Banda district and forced officials to turn back the power they had cut in order to extract bribes. They have also stopped child marriages and protested dowry and female illiteracy.

gulabi

gulabi 4More information HERE and HERE, and more pictures by Arindam Mukherjee HERE.

“leaving is not…”

“Leaving is not enough. You must stay gone. Train your heart like a dog. Change the locks even on the house he’s never visited. You lucky, lucky girl. You have an apartment just your size. A bathtub full of tea. A heart the size of Arizona, but not nearly so arid. Don’t wish away your cracked past, your crooked toes, your problems are papier mache puppets you made or bought because the vendor at the market was so compelling you just had to have them. You had to have him. And you did. And now you pull down the bridge between your houses, you make him call before he visits, you take a lover for granted, you take a lover who looks at you like maybe you are magic. Make the first bottle you consume in this place a relic. Place it on whatever altar you fashion with a knife and five cranberries. Don’t lose too much weight. Stupid girls are always trying to disappear as revenge. And you are not stupid. You loved a man with more hands than a parade of beggars, and here you stand. Heart like a four-poster bed. Heart like a canvas. Heart leaking something so strong they can smell it in the street.”

— Frida Kahlo to Marty McConnell

jayne cortez – there it is

And if we don’t fight
if we don’t resist
if we don’t organise and unify and
get the power to control our own lives
then we will wear
the exaggerated look of captivity
the stylised look of submission
the bizarre look of suicide
the dehumanised look of fear
and the decomposed look of repression
forever and ever and ever
And there it is

for the birds

i really don’t get it,
never have.
hard rock/metal in general, i mean.
too much sweaty hair thrashing around,
too many notes overcrowding each bar,
too many gratuitous tempo changes,
the voice (always male) too yowly or growly,
the lyrics, ridiculous.
i can dig the more spacey prog stuff from the ’70s, king crimson for example, or the o.t.t. weirdness of frank zappa, but the testosserterrain of deep purple/motorhead/budgie etc etc… i just don’t get it.

it reminds me of all the wankers i tried to sing or play guitar with at school.
i could never find anyone who wanted to do anything interesting.
all they did was spank away over and over for hours and hours at the same led zeppelin or sabbath or metallica riffs,
show off their paradiddle-diddle-diddle drumming,
their kakky renditions of les claypool slap bass,
drink black label quarts, smoke dagga, crow about forcing themselves on girls.

iron_maiden_bring_your_daughter_to_the_slaughter

here’s a memory from when i was about 15 or 16… i’m at a house party in kloof, drunk and very bored, after one such disappointing “jam”. the drummer, julian (still remember his stinking name), with long fluffy hair and a straggly beard and juicy zits who’s maybe a bit older than the rest of us, starts kissing me and i’m kinda flattered but not feeling anything at all. so i crawl off a bit later when he’s getting another beer to go sleep in someone’s bedroom plastered with creepy iron maiden posters.

he comes to find me and i wake to his entire weight bearing down on me, smothered in salty, smoky hair and he’s forcing his hands into my panties and shoving his filthy callused stompie fingers in my virginity and his penis is grinding into my thigh and i can’t move or breathe. i’m choking. i bite at his furry beer tongue and he swears at me and slaps me, calls me a cocktease, and then he’s gone. mercifully. i need to vomit and wash myself but i daren’t go to the bathroom. i’m scared that he’ll come back. i’m lying there groggy and rigid with the reek of him on me, his plaque in my mouth, with that eddie creature leering down at me from the moonlit posters, with the drone of mosquitoes and the signature riffs of the morning birds over and over for hours and hours – bulbul, white-eye, hadeda, bulbul, white-eye, hadeda, bulbul, hadeda… somewhere a cock is crowing and finally i can get out of there.

coda: my younger sister got seduced by the whole scene and ended up pregnant at 16 by one of these fret-tapping frauds that she’d called her boyfriend for about 2 years. a few months after the baby came, he slunk off with the chick he’d been cheating on her with.

so yeah. i don’t enjoy hard rock/metal’s machismo-drenched doodling.
i find it the aural equivalent of being fucked badly.
there’s not a smidgen of feminine awareness in its puffed-up rooster strut.

september 15, 2008

clara rockmore – pastorale (anis fuleihan)

From Clara Rockmore’s Lost Theremin Album (1975)

Anis Fuleihan (April 2, 1900 – October 11, 1970) was a Cypriot-born American composer, conductor and pianist. Fuleihan’s music generally avoided serial structures, and was heavily influenced by Middle Eastern folk music. One of his works is a concerto for theremin, premiered by the New York Philharmonic under Leopold Stokowski in 1945; the soloist was Clara Rockmore.

Images: Alphonse Mucha

no compromise, no order

“What he would say, he cannot say to this woman whose openness is like a wound, whose youth is not mortal yet. He cannot alter what he loves most in her, her lack of compromise, where the romance of the poems she loves still sits with ease in the real world. Outside these qualities he knows there is no order in the world.”

― Michael Ondaatje, The English Patient

dark – round the edges – 1972 (full album)

If this album had no vocals, it would be an almost perfect psychedelic rock trip. I enjoy it most when I manage to ignore the uninspired blandness of the singer (he only opens his mouth here and there to spout triteness, luckily). The best way I have found to do this is put it on loud and leave the room (so the vocals become less distinct), let it fill the house, and get on with the cleaning, which is what I’m doing now…

another fleurmach marching tune for 2013!

Recorded in 1965 by Peggy Lee, I love this version of “Pass Me By”, a Cy Coleman song originally from the 1964 film, Father Goose.

I got me ten fine toes to wiggle in the sand,
Lots of idle fingers snap to my command,
A lovely pair of heels that kick to beat the band,
Contemplating nature can be fascinating,
Add to these a nose that I can thumb,
And a mouth by gum have I,
To tell the whole darn world,
“If you don’t happen to like it, deal me out,
Thank you kindly, pass me by.”

lucille ball and paula stewart – hey, look me over

Marching orders from Fleurmach! Here’s to 2013 kicking 2012’s sorry ass!

Lucille Ball and Paula Stewart as Wildy and Janey Jackson, live on the Ed Sullivan Show (1961), performing “Hey, Look Me Over” from the Broadway musical, Wildcat. These feisty dames are Thelma and Louise’s crazy aunts.

Hey look me over, lend me an ear,
Fresh out of clover, morgaged up to here,
Don’t pass the plate folks,
Don’t pass the cup,
I figure whenever you’re down and out,
The only way is up…
And I’ll be up like a rose bud,
High on the vine,
Don’t thumb your nose folks,
Take a tip from mine,
I’m a little bit short of elbow room,
But let me get me some,
And look out world, here I come!

“one ventures from home on the thread of a tune”

A child in the dark, gripped with fear, comforts himself by singing under his breath. He walks and halts to his song. Lost, he takes shelter, or orients himself with his little song as best he can. The song is like a rough sketch of a calming and stabilizing, calm and stable, center in the heart of chaos. Perhaps the child skips as he sings, hastens or slows his pace. But the song itself is already a skip: it jumps from chaos to the beginnings of order in chaos and is in danger of breaking apart at any moment. There is always sonority in Ariadne’s thread. Or the song of Orpheus. … One launches forth, hazards an improvisation. But to improvise is to join with the World, or meld with it. One ventures from home on the thread of a tune.

~ Deleuze & Guattari, in “1837: Of the Refrain”, from A Thousand Plateaus. Capitalism and Schizophrenia. London: Continuum, 1987. pp. 343-4

the raincoats – adventures close to home (1979)

Passion that shouts
Red with anger
I lost myself
Through alleys of mysteries
I went up and down
like a demented train

Don’t take it personal
I choose my own fate
I follow love
I follow hate

Searching for something
that makes hearts move
I found myself
But my best possession
walked into the shade
and threatened to drift away

Don’t take it personal
I choose my own fate
I follow love
I follow hate

For all of myself
I left you behind as if I could
possessed by Quixote’s dream
Went to fight dragons in the land of concrete

Don’t take it personal
I choose my own fate
I follow love
I follow hate

Rolling in pain
discovered what hurts
and tasted hell
infatuated by madness
I danced in flames
and drank in the depth of love