photos and words by Star
Lately I haven't written much about my show going experiences - many of them have been awesome and I'd like to write about them, but I don't have much to say outside of, well, "awesome." But as I write this entry on the New Brunswick screening of Whistilin' Dixie, I think about how I tend to always write about New Brunswick shows. This is a testament to the moving experience I get from these house shows.
In just 30 minutes, Whistlin Dixie: Queer South, New South, explores Meredith Heil's travels in the south, highlighting: queer musicians of all genres, queer musicians of color, queer musicians of different sexualities, and backgrounds. It brings awareness to an area of the country that has a queer music community that you don't really hear about. It was great to hear about bands and artists in hip-hop, folk, rock, and punk in Durham, North Carolina, Lexington, Kentucky, and other places. The idea of a 20-something year old producing and documenting a part of a music scene that you don't hear about is a wonderful way to help get a scene visible. Much kudos.
The screening was held outside at a house in New Brunswick, where their was a potluck filled with delicious vegetarian/vegan goodies. It's not easy finding out about these shows, but thankfully Khristina, who sang in the Bikini Kill cover band that played after the screening, invited me to the show. A casual facebook message was all it took.
A little about the documentary from Meredith Heil:
Whistlin’ Dixie invites the viewer to travel along as filmmaker Meredith Heil explores America’s Southern heartland in search of queer sound. The film journeys through the region’s independent, queer lo-fi scene, tracking down the LGBTQ musicians, fans and activists that are actively using DIY music to build safe spaces and strike down prejudices, therein altering the political and social climate of the new South for generations to come. Through personal interview, rich landscapes and riveting performance, the film considers the complex historical relationship between Southern music, personal identity and political resistance.
As a filmmaker invested in social change, I am drawn to this musical subculture because of its culturally progressive implications as well as its lack of academic visibility. The majority of youth studies is marked by a heteronormative and, furthermore, metropolitan gaze. As a queer documentarian, it is my responsibility to rectify that empirical exclusion. Because it works to unify people, place and sound, film is the perfect medium for portraying Southern queer music
The screening was a joint effort presented by New Brunswick's feminist collective, On the Dot, and Brooklyn collective, For the Birds, called Girl Gang Gig Volume 9. At the screening was a bunch of familiar faces. I was pleased to see Pink Flag highlighted in the film. I had the chance to see them play twice in Brooklyn earlier this year. So we kicked back to watch the doc, then headed down to the house basement for the Bikini Kill cover band. The band featured members of Sparkle Shit, Lost Weekend, and 3Jane, as well as a guest appearance by Kate Wadkins (ex-Cheeky, Very Okay). Folks got rowdy, sang along, sweated, and felt passionately toward the music.
After the show Khristina wanted to make sure that I had a safe way to get back home. She would have offered to take me, but she was headed to see Mountain Man in NYC. My pal Jamie was able to drive me to the train station. I liked this feeling of community and warmth I was given.
Bikini Kill Cover Set:
1. Double Dare Ya
2. Alien She
3. Carnival
4. Tell Me So
5. Rebel Girl
6. Don't Need You
7. Sugar
8. Star Bellied Boy
Nneka (of Sparkle Shit) - Drums
Kira (of Sparkle Shit) - Guitar
Jess (of Lost Weekend)- Bass / Vocals
Khristina - Vocals / Drums (for 1 song)
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