Evergreen State College
The Evergreen State College is a public liberal arts college in Olympia, Washington. Founded in 1967, Evergreen offers a non-traditional undergraduate curriculum in which students design their own paths of study. Full-time students enroll in interdisciplinary academic programs instead of classes. Programs offer students the opportunity to study several disciplines in a coordinated manner. Faculty write narrative evaluations of students' work in place of issuing grades. Evergreen's main campus spans 1,000 acres of forest bordering the southernmost waters of Puget Sound, it has a satellite campus in nearby Tacoma; the school offers a Bachelor of Arts in Liberal Arts and Bachelor of Science, Master of Environmental Studies, Master in Teaching, Master of Public Administration, Master of Public Administration in Tribal Governance. As of 2018, there were 3,327 students, 3,018 of whom were undergraduates, 223 faculty. Evergreen was one of many alternative colleges and programs launched in the 1960s and 1970s described as “experiments.”
While the vast majority of these have either closed or adopted more mainstream approaches, Evergreen is one of the few that have remained steadfast in pursuing its original mission. In 1964, a report was issued by the Council of Presidents of Washington State baccalaureate institutions stating that another college was needed in the state to balance the geographical distribution of the existing state institutions; this report spurred the 1965 Washington legislature to create the Temporary Advisory Council on Public Higher Education to study the need and possible location for a new state college. In 1965–66, the Temporary Advisory Council on Public Higher Education concluded "at the earliest possible time a new college should be authorized", to be located at a suburban site in Thurston County within a radius of 10 miles from Olympia. Evergreen's enabling legislation – HB 596 – stated that the campus should be no smaller than 600 acres, making it the largest campus in the state as well as the first public four-year college created in Washington in the 20th century.
On January 24, 1968, The Evergreen State College was selected from 31 choices as the name of the new institution. On November 1, 1968, Charles J. McCann assumed the first presidency of the college. McCann and the founding faculty held the first day of classes October 1971 with 1128 students. McCann served from 1968 until stepping down to join the faculty June 6, 1977 when former Governor Daniel J. Evans, who signed the legislation creating Evergreen, assumed the presidency. Evans left the president's office in 1983 when he was appointed to the United States Senate to fill the vacancy created by the death of Senator Henry M. Jackson; the largest building on campus is named in honor of the Daniel J. Evans Library Building; the entrance to the campus bears the Charles J. McCann plaza. In the 1992-93 school year, students chose Leonard Peltier to give the address at commencement, the first with a graduating class of more than 1,000; the selection was described as "perhaps the most unconventional commencement speaker" in a published round-up of the most controversial graduation speakers on campuses nationwide that year.
Peltier, in federal prison, submitted his remarks in writing, to be read by a graduating senior. In 1999, Mumia Abu-Jamal was invited to deliver the keynote address by audiotape for the graduating class at the college; the event was protested by some. In 2004, the college completed the 170,000-square-foot Seminar II building, a significant remodel of the Daniel J. Evans Library was completed. In 2015, George Sumner Bridges became the sixth president of Evergreen State College, not counting interim appointments. Bridges had served as president of Whitman College in Walla Walla, WA, he followed Thomas L. “Les” Purce, Jane L. Jervis, Joseph D. Olander; every April since the 1970s until 2018, Evergreen has held a daylong event called Day of Absence, inspired by the Douglas Turner Ward play of the same name, during which minority students and faculty members voluntarily stay off campus to raise awareness of the contributions of minorities and to discuss racial and campus issues. As of 2017 25% of Evergreen students were racial minorities.
Since 1992, the Day of Absence has been followed by the Day of Presence, when the campus community reunites. In 2017, the Day of Absence was altered after students of color voiced concerns about feeling unwelcome on campus following the 2016 U. S. Presidential election. For that year's event, white students and faculty were invited to stay off campus. Events for students of color were held on the Evergreen campus. Bret Weinstein, a professor of biology at Evergreen, wrote a letter in March to Evergreen faculty explaining his objections to the change in format: "On a college campus, one’s right to speak — or to be — must never be based on skin color." And "There is a huge difference between a group or coalition deciding to voluntarily absent themselves from a shared space to highlight their vital and under-appreciated roles and a group or coalition encouraging another group to go away." Weinstein's emails were leaked and shared among conservative media outlets such as Breitbart and Heat Street, which led to harassment and threats towards school officials.
In late May 2017, student protests—focused in part on the comments by Weinstein—disrupted the campus and called for a number of changes to the college. Weinstein says he was told that campus police could not protect him and that they encouraged him not to be on campus, which caused Weinstein to hold his biology class in a public park. W
Bratmobile was an American punk band. Bratmobile was a first-generation "riot grrrl" band, which grew from the Pacific Northwest and Washington state underground, it was influenced by several eclectic musical styles, including elements of pop and garage rock. Bratmobile formed when University of Oregon students Allison Wolfe and Molly Neuman collaborated on an influential feminist fanzine, Girl Germs. At first, Wolfe admitted that they were "a fake band" because they did not play instruments, but they had written some songs which they performed a cappella. Neuman's friend Calvin Johnson, an indie musician in the Olympia scene, asked her to play a show on Valentine's Day in 1991 with Bikini Kill and Some Velvet Sidewalk. After confessing that they were not into a band in an attempt to get out of it, they agreed and sought the help of Some Velvet Sidewalk member Robert Christie. Christie let Bratmobile borrow rehearsal space and equipment and advised them to listen to the Ramones for inspiration.
In response to that advice, Wolfe states. Like, okay, if most boy punk rock bands just listen to the Ramones and that's how they write their songs we'll do the opposite and I won't listen to any Ramones and that way we'll sound different." With five original songs, the band played its first show as a two-woman act at Olympia's North Shore Surf Club on February 14, 1991, with Neuman and Wolfe sharing duties on guitar and vocals. They were joined by a bass player Michelle Noel, they played only a couple shows with this line-up, including one with The Melvins and Beat Happening at the "Surf Club" on May 16, 1991. During spring break 1991, Neuman and Wolfe went to Washington, DC to follow Beat Happening and Nation of Ulysses on tour and try to work on a new form of Bratmobile that, at that time, included artist Jen Smith and Christina Billotte, of Slant 6 and Autoclave, in the line-up. Together, they recorded and released a cassette tape entitled Bratmobile DC. Beat Happening's Calvin Johnson had introduced Neuman to nascent guitarist Erin Smith from Bethesda, Maryland during the Christmas holiday in December, 1990 at a Nation of Ulysses show in Washington, DC. Smith was co-author, with her brother, of the much-revered TV pop culture fanzine Teenage Gang Debs when Neuman and Wolfe asked her to jam with them.
It clicked, in July 1991 the trio played their first show as a 3-piece with Neuman on drums, Wolfe on vocal, Erin Smith on guitar. They were just in time to play at the historic International Pop Underground Convention in Olympia, becoming the only band to appear twice, they played the opening the show at Capitol Lake Park. From their first shows, Bratmobile were considered an exciting and important addition to the fertile early'90s NorthWest scene. From 1991 to 1994 Bratmobile released a classic album, an EP, The Real Janelle, on Kill Rock Stars, as well as The Peel Session recording before the intense media scrutiny and inner pressures of the Riot Grrrl movement hastened the band's breakup in 1994. After the break-up Molly Neuman moved to the San Francisco Bay Area and began working at East Bay punk record label Lookout! Records, she played in The PeeChees and The Frumpies. Allison Wolfe moved to Washington, D. C, she and Maryland-based Erin Smith started a new band together called Cold Cold Hearts.
Wolfe has been active in feminism and activism. In 1999, the band decided to reunite for a low-key show in Oakland's Stork Club and the band was relaunched to go on tour with Sleater-Kinney. In 2000, Bratmobile released their second full-length studio album, Ladies and Girls; the album was critically acclaimed and earned Bratmobile new fans as they toured with Sleater-Kinney, The Donnas, The Locust, among others. Ladies and Girls was released on Neuman's Lookout! Records and produced by Tim Green of Nation of The Fucking Champs. Jon Nikki added guitar and keyboard parts to the minimal Brat sound. On May 7, 2002, Bratmobile released Girls Get Busy. On Girls Get Busy, Audrey Marrs, added keyboards. Marty Violence contributed bass. After dedicating most of 2002 and 2003 to promoting Girls Get Busy via touring, each of the principal members went back to do other things. While the band didn't formally break up, Allison Wolfe did post a message on January 30, 2004 in the Bratmobile message board concerning the status of the band: Pottymouth LP/CD/CS Ladies and Girls CD/LP, Girls Get Busy CD/LP The Real Janelle LPEP/CDEP The Peel Session CDEP Kiss & Ride 7" Tiger Trap/ Bratmobile split 7" Heavens to Betsy/ Bratmobile split 7" Brainiac/ Bratmobile split 7" Veronica Lake/ Bratmobile split 7" Kill Rock Stars compilation, CD/LP, A Wonderful Treat compilation cassette The Embassy Tapes cassette Throw compilation CD International Pop Underground live LP/CD/CS Neapolitan Metropolitan boxed 7" set Teen Beat 100 compilation 7" Julep compilation LP/CD Wakefield Vol. 2 V/A CD boxed set Plea For Peace Take Action compilation CD Boys Lie compilation CD Yo Yo A Go Go 1999 compilation CD Lookout!
Freakout Episode 2 compilation CD Songs For Cassavetes compilation CD Lookout! Freakout Episode 3 CD Turn-On Tune-In Lookout! DVD Kil
Le Tigre is an American electronic rock band from the United States, formed by Kathleen Hanna and Johanna Fateman in 1998 in New York City. It featured Sadie Benning from 1998 until 2001 and JD Samson for the rest of the group's run. Le Tigre is known for its left-wing sociopolitical lyrics, dealing with issues of feminism and the LGBT community. Le Tigre mixed punk's directness and politics with playful samples, eclectic pop, lo-fi electronics; the group added multimedia and performance art elements to their live shows, which featured support from like-minded acts such as The Need Initially envisioned as a live backup band for Hanna's solo project Julie Ruin, Le Tigre mixed the politics and feminism of riot grrrl with electronic samples and lo-fi beats. Other members included Samson. Samson joined Le Tigre as a full member when co-founder Benning left the band before touring the first album and Samson filled in for her on the tour and joined the band full-time. Samson had worked with the band as a roadie and the operator of the band's slide show during the few live performances the band did in support of their first record before Benning's departure.
The self-proclaimed "underground electro-feminist performance artists" combined visuals and dance in their performances. Samson is a gay rights activist, the excerpts in "New Kicks" are from an actual protest that Samson recorded herself. Hanna is a public speaker and now plays with the band The Julie Ruin. Fateman is painter; the song "Hot Topic" on Le Tigre's self-titled debut pays tribute to dozens of visual artists, writers and others who have inspired them. Among those mentioned are: Yoko Ono, Cibo Matto, Aretha Franklin, Vaginal Davis, Yayoi Kusama, Angela Davis, Sleater-Kinney, The Slits, Gretchen Phillips, Billy Tipton, Mab Segrest, Leslie Feinberg, Faith Ringgold, Eileen Myles, Juliana Luecking, Laura Cottingham, James Baldwin, Marlon Riggs, David Wojnarowicz, Justin Bond and Hanna's close friend, Tammy Rae Carland. In a similar fashion the song "FYR" off the album Feminist Sweepstakes is a tribute to the chapter and ideals put forth in Shulamith Firestone's Fifty Years of Ridicule in her 1970 feminist work The Dialectic of Sex.
Their debut album contains a sample of an essay written by Mark Rothko in response to a negative review in 1942 where he debuted the style he would become famous for. The first three recordings by the band were released in the U. S. on the independent record label Mr. Lady Records, run by Kaia Wilson of The Butchies and her girlfriend, artist Tammy Rae Carland. In Germany, the second album, Feminist Sweepstakes, came out on Chicks on Speed's record label; these recordings were issued by independent labels in other countries. In 2001 Le Tigre performed at the Cabaret in Quebec; the album This Island was Le Tigre's first on a major label. Ric Ocasek of the Cars produced one track, "Tell You Now." After signing with Universal, Le Tigre continued to work with independent labels. In 2005 they released This Island Remixes with Chicks on Speed. In the second half of 2006, the band decided to take an extended break starting early 2007. Since Hanna has participated in The Willie Mae Rock Camp for Girls and taught an art class at New York University.
Samson toured as keyboard player with Peaches and made many DJ appearances, while Fateman has kept busy with a hairdressing salon in New York City's Greenwich Village. In 2008 Samson and Fateman formed MEN, to do a DJ tour and record. After doing some remix work, Fateman took time off to have a baby, Samson recruited the members of her side band Hirsute to perform live under that name. With input from Fateman and Emily Roysdon an album is, as yet, unreleased; the band has toured Europe and is touring North America. In June 2009, it was announced that Le Tigre were back in the studio working with Christina Aguilera on her fourth studio album Bionic; the track "My Girls" features Peaches. In September 2016, the band announced they were reuniting just for a “special song” to be released in October 2016. On October 19, 2016, Le Tigre reunited to release the song and accompanying video, “I’m with Her” to voice their support of the 2016 Democratic Presidential Nominee, Hillary Clinton. Le Tigre collaborated with Chicks on Speed on the song "Wordy Rappinghood" from their album 99 Cents in 2003 along with other female musicians such as Miss Kittin, Kevin Blechdom, ADULT.'s Nicola Kuperus, Tina Weymouth of the Tom Tom Club.
"Wordy Rappinghood" became a moderate dance hit in Europe, peaking at number five on the Belgian Dance Chart, at number sixty-six on the UK Singles Chart. In 2014, Hitt Records released the Roxy Beach 2 LP featuring the song "Savage Tan," described as a possible answer song to Le Tigre's "Hot Topic. In 2016, Le Tigre's song "Mediocrity Rules" was featured in a commercial for Post Food's Fruity Pebbles and Cocoa Pebbles. and "Hot Topic" was used in a Kohl's commercial. In 2017, an advertisement for Pandora Radio and British virtual band Gorillaz used the song "Deceptacon." Le Tigre Feminist Sweepstakes This Island Official website Le Tigre at AllMusic Le Tigre's live show
Kathleen Hanna is an American singer, artist, feminist activist, pioneer of the feminist punk riot grrrl movement, punk zine writer. In the early-to-mid-1990s she was the lead singer of feminist punk band Bikini Kill, before fronting Le Tigre in the late 1990s and early 2000s. In 1998, Hanna released a lo-fi solo album under the name Julie Ruin and since 2010, has been working on a project called the Julie Ruin. A documentary film about Hanna was released in 2013 by director Sini Anderson, titled The Punk Singer, detailing Hanna's life and career, as well as revealing her years-long battle with Lyme disease. Hanna is married to Adam Horovitz of the Beastie Boys. Hanna was born November 1968, in Portland, Oregon. At age four, she moved with her family to Maryland. Hanna's parents divorced, she returned to Portland where she graduated from Lincoln High School. Hanna first became interested in feminism around the age of nine, after her mother took her to a rally in Washington D. C. where feminist icon Gloria Steinem spoke.
Though several years would pass before she became an outspoken feminist, with Hanna referring to herself as a radical feminist, the event left an impression on her. In a 2000 interview with BUST magazine, Hanna recalled: "My mom was a housewife, wasn't somebody that people would think of as a feminist, when Ms. magazine came out we were inspired by it. I used to cut pictures out of it and make posters that said'Girls can do anything', stuff like that, my mom was inspired to work at a basement of a church doing anti-domestic violence work, she took me to the Solidarity Day thing, it was the first time I had been in a big crowd of women yelling, it made me want to do it forever."In the 2006 documentary, Don't Need You: The Herstory of Riot Grrrl, Hanna elaborates on the effect feminism had on her in childhood, recalling that her interest grew when her mother checked out a copy of Betty Friedan's The Feminine Mystique from the library. Yet Hanna and her mother's involvement in the women's rights movement had to be done in the years before her parents' divorce, due to her father's disapproval.
Hanna has appeared in the documentary Who's Afraid of Kathy Acker? When she was fifteen years old, Hanna had an abortion that she paid for with money she earned while working at McDonald's. After high school, she relocated from Portland to Olympia, Washington to attend The Evergreen State College in the late 1980s. During this time she began working as a stripper to support herself. Working with fellow Evergreen student and photographer Aaron Baush-Greene, she set up a photo exhibit featuring the pair's photography, which dealt with sexism and AIDS. However, the school administrators took the photos down before they had the chance to be viewed, an act of censorship that prompted what Hanna refers to as her "first foray into activism": the creation of an independent feminist art gallery called Reko Muse with friends Heidi Arbogast and Tammy Rae Carland; the three women formed a band called Amy Carter, which put on shows before the art exhibitions. Hanna began doing spoken word performances that addressed sexism and violence against women, issues with which she became concerned after volunteering for SafePlace, a domestic violence organization over the next two years.
She abandoned spoken word in favor of music, being inspired by one of her favorite writers, countercultural icon Kathy Acker. Hanna recalled, Acker asked me why writing was important to me, I said,'Because I felt like I'd never been listened to and I had a lot to say,' and she said,'Then why are you doing spoken word—no one goes to spoken word shows! You should get in a band.' In July 2015, Hanna and her band the Julie Ruin returned to Olympia to perform at a street party celebrating the opening of the new SafePlace Community Services Center. Hanna started another band called Viva Knievel that toured the United States for two months before disbanding. Upon returning to Olympia, Hanna began collaborating with fellow Evergreen student and punk zinester Tobi Vail after seeing a performance of the Go Team and recognizing Vail as the mastermind behind the fanzine Jigsaw, which Hanna admired and loved. Bikini Kill soon became part of the seminal Olympia, Washington music scene of the early 1990s, characterized by political awareness, a strong artistic do-it-yourself ethic, an emphasis on local collaboration and support.
It meshed feminist ideals with the realities of Hanna's daily life. It was meant to inspire more women to join the male-dominated Punk rock scene of the early 1990s; the band's first release for the Kill Rock Stars label was a self-titled EP produced by Ian MacKaye of Fugazi. Bikini Kill toured the UK, recording a split LP with UK band Huggy Bear; this tour was filmed and the band was interviewed by Lucy Thane for her documentary, It Changed My Life: Bikini Kill In The UK. Upon returning to the U. S. the band began working with Joan Jett, who produced their single, "New Radio/Rebel Girl". After the release of this record, Hanna began co-writing some songs with Jett for her new album. At the same time Hanna produced several solo pieces for the Kill Rock Stars "Wordcore" series of recordings, including the 7" single "Rockstar" and the song "I Wish I Was Him" on the KRS compilation Rock Stars Kill. Hanna appeared in the 1994 Sonic Youth video for "Bull in the Heather". In 1991, the band spent a summer in Washington, D.
Pussy Whipped is the debut studio album by American punk rock band Bikini Kill. It was released on Kill Rock Stars on October 26, 1993, it includes the track "Rebel Girl", number 27 on the Rolling Stone list of "Most Excellent Songs of Every Year Since 1967", a playlist assembled by the magazine in 2006 to celebrate its 1,000th issue. Heather Phares of AllMusic gave the album 4 stars out of 5, saying, "'Rebel Girl' is a manifesto just waiting to be discovered, the rest of the album sees the band adding fun to their recipe for punk chaos." David Browne of Entertainment Weekly gave the album a grade of A−, calling it "the first great riot-grrrl album."In 2015, Spin placed it at number 222 on its list of the "300 Best Albums of the Past 30 Years". In 2016, Pitchfork placed it at number 10 on its list of the "50 Best Indie Rock Albums of the Pacific Northwest". All tracks written by Kathleen Hanna, Billy Karren, Kathi Wilcox, Tobi Vail. Credits adapted from the liner notes. Kathleen Hanna – vocals, bass guitar Billy Karren – guitar Kathi Wilcox – bass guitar, vocals Tobi Vail – drums, vocals Stuart Hallerman – production, engineering Tammy Rae Carland – cover photography Pussy Whipped at Discogs
Fake fur called faux fur, is known as pile fabric, engineered to have the appearance and warmth of animal fur. It was first introduced on the market in 1929; these early attempts at imitation fur were made using hair from a South American mammal. In the 1940s, the quality of fake furs was vastly improved by advances in textile manufacture technology. However, the true modern fake furs were not developed until the mid 1950s, with the introduction of acrylic polymers as replacements for alpaca hair. However, its increasing popularity has been credited to its promotion by animal rights and animal welfare organizations which claim that it is an animal-friendly alternative to traditional fur clothing. Fake fur is used for all purposes where otherwise real fur would be used, but for stuffed animals, fashion accessory and home decorations like pillows and throws, it is sometimes used for craft projects because it can be sewn on a sewing machine. Real fur is thicker and requires a special machine, hand sewing or an awl to sew it.
Fake fur has been used in the mainstream teen fashion, for example the stores Abercrombie & Fitch and American Eagle use it for trapper hats and jackets. In the Soviet, now Russian Army, fish fur is used as a slang term for the fake fur used on winter clothing and the ubiquitous ushanka hats. Fashion design labels such as Ralph Lauren and Chanel have promoted the use of fake fur in their collections; the fake fur is a fabric and therefore is easy to sew it The fake fur does not require cold storage to prevent deterioration and is impervious to moths. A 1979 study commissioned by the Fund for Animals argued that the energy consumption for the production of one coat made out of fake fur was 120 MBtu, compared to 433 MBtu for trapped animals and 7,965 MBtu for animals raised in fur farms; this study has been criticized as being outdated. The fake fur is not an animal-use product; the fake fur does not encourage the breeding of animals in factory farms like real fur. Fake fur is much cheaper. Fake fur does not allow the skin to breathe as much as real fur.
Fake fur is made from various materials including blends of acrylic and modacrylic polymers derived from coal, water and limestone. These synthetic materials can take a long time to break down anywhere from 500 to 1,000 years. Fake furs are not able to keep snow from re-freezing on the fiber filaments. In a test by the Humane Society of the United States, coats labeled as having faux-fur trim used actual fur. In the United States, up until 2012, a labeling loophole allowed any piece of clothing that contains less than US$150 of fur to be labeled without mentioning that it included fur; this is the equivalent of thirty rabbits, three raccoons, three red foxes, three domestic dogs, or one bear. Faux fur has become more popular for fashion designers to incorporate throughout their collections. Today's technology gives faux fur the techniques as real fur. Hannah Weiland, founder of Shrimps, a London-based faux fur company, says, “I love working with faux fur because it doesn't molt and it feels just as soft.
If the faux kind feels as good, why use the real kind?” Weiland is not the only designer taking advantage of faux fur qualities. Additionally, Stella McCartney incorporates faux fur throughout her collections with tagged patches reading “Fur Free Fur.” In 2014, Hugo Boss pledged to become fur-free publicly in their 2014 Sustainability Report, relaying the message that animal cruelty is never fashionable. They look forward to moving on through the use of faux fur in their future collections. However, the notion of sustainability and ethics aren’t always the reasoning behind designers decision for faux instead of real fur; the ability to control more aspects of manufacturing such as color and volume is one reason designers choose faux. De Libran, the artistic director for Sonia Rykiel, incorporates both real and faux fur in her collections, her incorporation of faux is based on the playfulness it portrays in her garments through the color and volume she is able to create. In other brands, Prada embraced synthetics in their Fall/Winter 2007 collection.
Miuccia Prada, the brand’s owner and designer, commented she was bored with real fur, as a result, she included all faux in her collection that year. However, Prada has been using both real and faux fur throughout their garments. In addition, Dries Van Noten, Hussein Chalayan, Julien David, Julie de Libran for Sonia Rykiel, Kate Spade, many others all featured faux fur in their fall collections. Due to the controversy of fur garments, technology facilitating the production of fake furs has improved since the early twentieth century. There are new tailoring and dyeing techniques to “disguise” fur and change the traditional image of fur with its conventional image associated with the elite fur-clad woman. Modacrylic is a high-quality ‘fur’ alternative that gains attraction to its convincing look as an alternative to real fur. Howard Strachman of Strachman Associates, a New York-based agent for faux fur states that synthetic acrylic knitted fabrics have become a go-to resource for high-end faux fur, much of it coming from Asia.
Prada put mohair faux fur in its Fall 2007 collection, whilst Max Mara and Dries Van Noten have used this alternative. Quicker and more efficient methods of production are being researched, such as, special animal simulation techniques. One technique is simulating non-shrinkable fibers and shrinkable fibers of minks and anothe
Yeah Yeah Yeah Yeah
Yeah Yeah Yeah Yeah is the Bikini Kill side of a split album between American and English riot grrrl bands Bikini Kill and Huggy Bear. It was released in 1993 on Kill Rock Stars; the Huggy Bear side was entitled Our Troubled Youth. Bikini Kill reissued their side on their imprint Bikini Kill Records on April 15, 2014, they did not have the rights to the Huggy Bear side, instead paired it with unreleased live tracks. The song "Rebel Girl" was first performed by Bikini Kill on December 27, 1991 at St. Stephen's in Washington, DC, dedicated to Juliana Luecking whose friendship with Kathleen Hanna inspired the lyrics; the song is featured in the band's next album Pussy Whipped. "White Boy" "This Is Not a Test" "Don't Need You" "Jigsaw Youth" "Resist Psychic Death" "Rebel Girl" "Outta Me"