For International Women's Day

In honor of International Women's Day, I present to you my friend Misty Rowan: poet, activist, artist, badass. She blogs at MissTeaTree. 

THIS is something you need to see today. 

Oh Lena Dunham, I love you so hard.

I have mixed feelings about the mainstream success of Lena Dunham and her brilliant TV show, "Girls." On one hand, I think it's awesome that such an edgy and authentic program with an unconventional (and occasionally unlikable) female lead character has caught on with the public. On the other hand, I worry that its popularity could cause the show's writing and storylines to take a more conventional, "safe" direction over time. It's like when you sort of "discover" and fall in love with the work of a quirky author or a singer or band completely on your own, without anyone else's endorsement or recommendation--you just find them and you're like "YES! This is what I've been looking for! THIS speaks to me!" and then six months (or six years) down the line "your" band (or singer, author, etc.) becomes HUGE and you're happy and excited, but it's also a letdown, because they're not "yours" anymore and now everyone knows about them and things are never the same.

I'd rather be happy about it, though. I'm definitely happy for Lena Dunham, because I really love her work and what she's doing with "Girls." Perhaps I am blinded by my love and (as a writer) I could be dissecting the series too much, but one of the things that delights me about "Girls" is that it's like a big metaphorical middle finger to all the cliched crap Hollywood keeps pooping out that's supposedly aimed at women. One of the things that drives me nuts about romantic comedies these days is that they'll take a beautiful size-2 actress like Katherine Heigl and give her an impossibly gigantic apartment and a high-powered career and an expensive wardrobe and then they're like--"Wait, she needs some sort of flaw so that she's 'relatable.' Let's see....Oooh, I got it! Make her clumsy! Holy shit, that's genius!" Seriously, have the Hollywood committees who crank out that kind of bullshit ever actually met any women, or any human beings for that matter?

It's bad enough that they made her act with Ashton Kutcher

Then you have Dunham's "Girls" protagonist Hannah Horvath, a disheveled, tattooed ball of not-size-2 insecure awesomeness who can't keep a job, drinks too much, says things like, "My shoes match my dress! Kind of!" and seeks solace in awkward sex with her odd, emotionally distant sort-of-boyfriend/hookup who "treats (her) heart like it's monkey meat."

And did I mention that she's a frustrated writer?

Yeah, I have no idea why this character resonates so much with me.

I can't wait for season two. I sincerely hope that "Girls" (and Dunham, since she is also the show's creator, writer, director and executive producer) stays true to Hannah and the supporting characters, resisting any pressure to sweeten them up and make them more palatable to mainstream audiences. Seriously, I've had it up to my ass with palatable heroines.

Change we can believe in.

*******OBVIOUS BOOK PLUG GOES HERE*******

Having my own magazine is awesome. Not only has it enabled me to discover some truly talented up-and-coming writers, it's given me the perfect excuse to talk to famous creative types whom I admire. So far I've had the pleasure of interviewing musician Joshua Path, The Room's Juliette Danielle, and writers like Dan Kennedy, Mary Jo Pehl, Clane Hayward, Jonathan Bernstein, and now Ned Vizzini.

Vizzini is the author of Teen Angst? Nah...., Be More Chill, It's Kind of a Funny Story (which was adapted into a hit movie starring Zach Galifianakis) and The Other Normals, scheduled for release later this year. He's also collaborating with a big-name Hollywood director on a new series of Young Adult novels, which already creating quite a buzz around Tinseltown. So yeah, Ned Vizzini is pretty much a literary rock star.

And you can read my interview with him here.

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TTWF UPDATE: I found something fun on Amazon. Turns out that you can now buy a T-shirt emblazoned with the name of my book. The creators of the shirt are actually referencing the song, but it's still pretty awesome. Maybe we can team up for a product tie-in? In the meantime, here's my book.

Found the following note, carefully printed in my handwriting on an index card and stuck between the pages of a long-forgotten book. It was obviously a quote I'd copied from somewhere, but I don't know the source. It's rather beautiful, though.

A master in the art of living draws no sharp distinction between her work and her play, her labor and her leisure, her mind and her body, her education and her recreation. She hardly knows which is which. She simply pursues her vision of excellence through whatever she is doing and leaves others to determine whether she is working or playing. To herself she always seems to be doing both.

An excellent thought, no matter where you are on your creative path.

Dan Kennedy's book, Loser Goes First: My Thirty-something Years of Dumb Luck and Minor Humiliation is tied with Paul Feig's Superstud as the funniest book I've ever read. I first came across a copy of Loser Goes First in 2005, read it three times in a row, and recommended it to everyone who didn't run away screaming. Kennedy's second book, Rock On: An Office Power Ballad is a hilarious account of his brief stint as the Director of Creative Development for Atlantic Records; a scathing report from the trenches of the dying record industry. Now he writes for GQ and McSweeney's and is a regular performer at Stories at the Moth.

Another awesome thing about Dan Kennedy? He let me interview him for Praxis.

AR: Can you give us little background on Stories at the Moth, and how you came to be involved with the project?

DK: George Dawes Green started The Moth in 1997, in his living room here in New York , and it grew from there to what it is today. I got involved with them in 2000. I called the office, I think I was just that sort of simple or naïve – I had heard about it and just thought: “Hmm…I guess…I'll just dial them up and tell them I want to try it?” Basically, I was just some guy who was unemployed, I had stopped partying, I was trying to figure out what the hell I could do with my time, I needed to make new friends, I was just…probably a little mental. So like some giant child I just called them up and left a message with someone: “Hi, yeah, um, I'd like to do the story thing, please?”And then weeks went by and it became painfully apparent that this is not the way to go about it. But then, still weeks and weeks later, oddly enough, I got a call back from Joey Xanders. She was the Creative Director back then. Anyway, I had this story about my days spent learning by trial and error on the 90's music scene that I'm really not good at trying to be a musician. They put me on the bill for this mainstage show and I told that story. The Moth didn't feel like a scene to me. It was just this overwhelming feeling of finding a place where you finally felt like you fit in; like you could actually kind of do the thing that everyone there was doing – it might have been the first time in my life to have felt like that. Joey told me much later on that the reason she had returned my call back then was completely random; she had been talking to her therapist about how guilty she felt for not having the time to return all of the calls from the phone messages that were piling up -- and her therapist told her to just take baby steps and return one phone call; just close your eyes, pick one message off the stack, dial the number. So my phone rang in this little tiny apartment I was living in without any furniture, I picked it up, and ten years raced by.

AR: In your memoir you talk about being a kid and getting a journal for Christmas (instead of the coveted black Gibson Les Paul guitar). What was the first thing you remember writing?

DK: The first thing I ever remember writing was when I was twelve. It was a punishment for talking in class or something and I…it's a long story, but basically I wasn't talking in class, I made a look, just to myself, at something the teacher said. But everyone started laughing, and this teacher, Mr. Kisner, totally had it in for me, and so he punished me for something I didn't do – and he said I had to write a one thousand word essay about why I shouldn't talk in class. So I wrote this satire of him and his broad, simple rules, handed it in to him the next day. He read the first few sentences and threw his stapler across the room at the wall and it opened and all the staples went flying everywhere. I just kind of thought: Jesus, writing is pretty powerful -- he read, like, three sentences, turned bright red, and starting throwing shit. I didn't write anything humorous again until I was twenty-six...To read the rest of the interview, go here.

No time for much today, so I'm just going to shamelessly promote myself...

Check out my interview with author Clane Hayward here.

Cheerio!