The Fear Girls

Category: Film

Girls With Mopeds

By Sophia Rowland

Last week I had the pleasure of being invited to The Egyptian movie theater in Hollywood. I was there to see the screening of “The Gaskettes” a 15-minute documentary about a group of girls who ride mopeds in Los Angeles. The moped culture in Los Angeles has definitely become a notable addition to the hipster scene in Echo Park. As a Los Angeles native, and a documentary connoisseur of sorts, I was very much intrigued.

The documentary itself does not attempt to really explain or historicize moped culture; rather it serves as a sort of time capsule. It preserves a moment in time with a particular group of moped loving ladies. The Gaskettes themselves are women in their early to late twenties who ride and fix bikes. They wear gold jackets with their Gaskettes emblem, reminiscent of the pink ladies in Grease. In the film we see the girls wear red lipstick, or even tutus (almost certainly paired with combat boots) all the while zooming on vintage bikes. The girls maintain a sort of ‘adorable badass vibe’ – and it is awesome! For 15 minutes you are initiated into the cult (or rather, secret club) of moped-sisterhood.

Before watching the documentary, I admittedly knew very little about mopeds, and I’m not sure if I’m that much wiser now that I’ve come out the other side. However, that is almost beside the point as the real charm to the film is the relationships these young women have with their bikes and also, each other.

The media loves to paint the portrait of the modern young women as vain, bitch and always ready for a cat fight; So it is refreshing to watch real girls just flat out enjoying each others company and having a shared interest that is pretty freakin’ cool. Each young woman interviewed comes off as very real and likable while they also maintain the cool, hipster LA vibe… in a non-pretentious way.

I also had an opportunity to interview two of the Gaskettes – Hilary and Devo. Check it out….

Interview with Hilary and Devo:

Sophia/Q: You’ve been riding and fixing mopeds for awhile now. In the film, you mentioned how sometimes you even help your guy-friends work on their bikes. When talking about it, Hilary said it was like ‘the reverse damsel in distress’. So with that in mind, do you feel that riding mopeds has been an empowering experience?

Hilary: I remember for the spring fling ride there was a fairly new rider who came out and his bike wasn’t running the best, so I pulled over to see if I could help him out; I always try to carry whatever tools I think I’ll need on me. Turns out his jetting was off I was able to diagnose the problem, give him the specific jet size he needed for his carb and set up, and help him install it with a few simple tools and kind words. In the end it was nice to realize that in the moped world I was on even ground with my male counterparts; we were with two of his male friends who were unable to help him.
As far as the gender-gap between guys and gals when it comes to mechanical stuff, there really isn’t any physical reason why one is more traditionally drawn to it than the other, just that a lot of young men because it is socially expected learn basic things about tools and mechanics that younger girl aren’t expected to, and so usually don’t. It is empowering; it’s just one of those many little things that makes you realize, yeah all the stuff we’ve been socially taught to think should be this or that way don’t need to be. He wasn’t offended or emasculated that I helped him, we were just two people with a similar interest in mopeds, and I happened to be a girl, which is awesome I think.

Devo: It’s funny I just stopped to help out these guys on a scooter the other day! They had one of those battery powered bikes, but the battery wasn’t making a connection, and didn’t have the tools to get to it. voila! I never leave home without tools. I’m not sure if empowering is quite the term I’d use? But every once in awhile, I’ll see another woman on a bike & in passing and we give each other that nod or one of those ‘air fives’ it kinda gives me a sense of community. I’m also usually going ‘Hell yeah lady rider!’

Sophia/Q: Where were you in your life, pre-moped, and how have you changed since?

Hilary: In a lot of ways my life is very similar to before I got my first moped in early march 2009, I live the same place, have the same job (although with a pay raise or two thankfully) and am still in school, although my major has changed… but what is important is that I have found a great new group of friends and a new way to have fun and explore my surroundings through mopeds. Before I got my moped, although I had lived in LA my whole life I barely knew my way out of my neighborhood. Now by moped I could lead you on all my favorite routes around the city to Glendale, eagle rock, Pasadena, Silverlake and Echo Park, downtown, Westchester and everywhere in between – all without a map.
And my world has expanded much farther beyond LA area as well. The moped community is very tight, likely because many of the bikes are vintage and to learn to repair or find a replacement for a part, you are going to need to turn to somebody who is also into the same thing; moped people are generally like minded.
So there are many events around the country where the local gang or crew plans a weekend of routes and parties; a “Rally”. It may sound weird but many of my favorite experiences in the past few years have been in Portland, Reno, Sacramento, San Francisco, San Diego, Long Beach, Tucson, hanging out and riding with brand new friends right along side my old ones. Since many people attend multiple rallies in different cities each year you tend to form really close friendships with people cities or even states away. In the end this has made me far more extroverted, and confident in all kinds of aspects of my life from talking to a stranger about mechanical things, to navigating my very large city on side streets, to being social and outgoing in new situations or with new people. Which I think is what your 20s are for.

Devo: Pre moped I just got out of high school & was studying acting. Before, I just knew about mopeds through Hilary, and her brother Danny. I had no idea it was such a big community! Now, I’ve been riding for a couple years and have had the chance to go out to rallies and meet other mopeders from across the country. I guess the best sum of it is I’ve gained a lot of ridiculous moped lingo (‘Throw a kit on that shit!’), plenty of life experience points, engine grease under my nails, and a group of amazing people whom I couldn’t imagine life without now. I still am going out on auditions and castings, now I’m just doing it on a moped!

Sophia/Q: Has the group dynamics changed at all since the making of the documentary? It was refreshing to watch a film (albeit, a documentary) about a group of girls interacting together with little to no drama – was that a realistic depiction of how you guys are together? And/or do you agree that groups of girls, in fiction and real life, are often depicted as catty and drama-ridden? Does having a unifying love like mopeds bring together more focused individuals?

Devo: I feel so lucky to have been absorbed into this group of phenomenally badass ladies. Each one of them is talented, unique, and fierce in their own way. Sometimes it’s hard getting us all together in one room (we all have insane schedules!), but when we do get together it never feels like much time has passed at all between us. These girls have really become my family. In the past year or so since I became a Gaskette, we’ve all laughed together, shared sadness together, (not to mention a few shots of whiskey) and made awesome memories. I have always had more guy friends than girls, but I know that if I ever need to borrow a wrench or pour my woes out these girls got my back!

Hilary: The group has changed, we now have Zoey, who I think is in some of the footage but wasn’t a Gaskette at the time, but we also have lost a lot of girls. Kelly moved to Portland, and both Saras are in the Bay Area now. It’s weird to watch a film that was started so long ago, because its like a time capsule of a period in time that is different now.
The film also shows a slightly more glammed up, shiny, girly version of us… but I guess that comes from a bit of vanity and knowing you are going to be filmed.
I like that you mention how we are all getting along, because that is true, I love all those girls, and have depended on them for all kinds of things from a bit of girl chat over a glass of wine to serious cry fests over a breakup. Some of us are closer than others, and we don’t spend as much time together as I would like but I don’t think I’ve ever seen a fight or heard bickering or negative words from one of us to or about any others; it’s really refreshing because there is no competition or need to prove ourselves to each other.
My moped friends fast became my family. They are who I spend my birthday with, go camping with, who I have thanksgiving dinner with, who I take silly Christmas card photos with, and who I do all the small things in between those big moments with. We ring in the joys of New Year’s together and sit by the fire and contemplate the losses our family has had together. It’s a sense of family I don’t think I’ve ever had before.

If you are in the San Francisco area be sure to check out the next screening on November 16th / click ‘here’ for details.


What We’re Watching: Call The Midwife

By: Caitlin Clarkson

   I am an unabashed, unashamed Anglophile; as luck would have it, I also love period dramas. Downton Abbey, Bleak House, Wives and Daughters, Jane Eyre, even the zany, soap opera-ish The Grand – I adore them all. But I’m also a bit tired of their formulaic romances and betrayals, where the most rebellious thing a woman can do is marry for love, even if the man is -gasp!- of a lower class. A big appeal of period dramas is the glimpses they offer into life in a different time. Their clothes, their food, their living spaces, all are fascinating. So when I heard that there was a new period drama on the scene (well, new to American audiences) that focused not on romance, but on day to day life for women of a peculiar, and definitely not genteel occupation, I could hardly wait to watch.

   And I have to say, Call the Midwife delivers. Focusing on the lives of nurses and nuns residing at the Nonnatus House convent in 1950s London’s East End, the show gives us a glimpse of a lifestyle we normally don’t see in period dramas. It quickly outlines it’s goal in the first episode- to show how the newly minted National Health Service provided relief for low-income mothers through caring and dedicated nurses.

   Based on the memoirs of nurse Jennifer Worth, Call the Midwife doesn’t shy away from the realities of life. The nurses administer enemas, the patients lay down newspaper in hopes of not getting their beds too messy. A teenage prostitute bonds with her baby, only to have it taken from her, never to be reunited. The neighborhood is still littered with rubble from the war, and an eery fog at one point almost makes the show look like a horror movie.

   But Call the Midwife isn’t all gloom and drama; there are plenty of funny, lighthearted moments as well. The oldest of the nuns pilfers cake the other nuns have tried to hide from her. Adding Miranda Hart to the cast was a brilliant move; a big part of the second episode focuses on her character, the clumsy aristocrat Camilla Cholomondley-Browne (or “Chummy”), learning how to ride a bike so she can actually get to her patients.

   It is incredibly refreshing to watch a period drama that focuses on women and women alone. In the first two episodes, the only male characters are on the periphery looking in, like the fathers waiting outside the bedroom for the first signs of a new life being born within. There’s no discussion of politics, of the war, of attracting husband material, of having their own babies in the future. The series focuses on women helping other women in need. Instead of fighting, they solve problems together; instead of going out dancing, they hone their skills and study. And delightfully enough, Call the Midwife still more than manages to be fun to watch. Who knew women getting along could be so entertaining?

Girls: Post-Sex and the City

 By Nusha Ashjaee

As I have stated before in one of my previous articles, I love TV.  I was raised by it and continue my relationship with it to this day. Spending more time searching for great new shows than with my actual friends or trying to find a boyfriend.

One show that I started following is HBO’s new and controversial series, Girls.  Created by Lena Dunham (director, writer and star of indie dramedy Tiny Furniture), the show follows four twenty-something girls living in New York City, attempting to attain the dream set up for them by Sex and the City.  The main character, Hannah (played by Dunham), is a struggling writer who, after two years of support from her parents, has been cut off and now has to deal with the very real struggle of finding a job and paying the bills in one of the most expensive cities in America.  Not to mention she also has to deal with an unaffectionate boyfriend, sexual harassment in the workplace, an STD, writing her book, and the general woes that come with going through a pre-life crisis.

One of the more noted aspects of the show is the incredibly uncomfortable sex scenes Dunham sets up for her characters.  Jessa hooks up with a stranger in a bathroom stall only to have the guy discover she is on her period.  Shoshanna, still a virgin, gets eaten out for the first time, the camera focusing on her tightly wound face.  The most awkward one by far is the opening scene in episode two, titled “Vagina Problems.”  Hannah is in bed with her boyfriend Adam (Adam Driver), humping away and role-playing.  Watching these two have sex is weird enough considering how uncoordinated Hannah is and the fact that Adam can’t keep their scenarios straight, and doesn’t seem to care about it either.  During their role-play, first they meet at a party, then out on the street, until Hannah is inexplicably an eleven-year-old junkie prostitute.

Again, the show gets a lot of comparisons to Sex and the City.  Like SatC, Girls centers around the friendship of its four female characters: Hannah, Marnie (Allison Williams), Jessa (Jemima Kirke), and Shoshanna (Zosia Mamet).  They confide in each other, offer advice despite their lack of life expertise, share beds, showers, bathroom time, and offer general support no matter the circumstances.  Also like SatC, Girls has frank discussions about sex.

What was so radical about Sex and the City when it first aired was the fact that these women—independent and successful—were speaking so openly and, at times, graphically, about their sex lives.  The show made it okay for women to talk about sex without being chastised for it or for being referred to as “whorish” for admitting to enjoying sex.  It was the Golden Girls for the 90s/early 2000s where the women were stylish, powerful, and sexually in charge.

Obviously, my issues with Sex and the City are not so different from most critics of the show—the characters were too concerned with finding a man and fulfilled too many female stereotypes. But my main issue with it is more personal. Admittedly, having watched a handful of episodes growing up, the show did make me more comfortable discussing sex, but it also added the pressure of having to be good at it. The women of SatC are thin, beautiful, and sexually confident women who know how to please a man. I feel this does not reflect who I am.

At the risk of offering too much information, I am not good at sex. I shy away from men’s attention towards me.  I tense up at the slightest gesture towards any private area on my body.  I don’t know how to give a proper hand-job.  The first time I tried to give a blow-job, I kept accidentally biting the poor guy.  I am far from being any kind of sex goddess.

Back when I was with my boyfriend, he asked me once to pose nude for him for his illustration project.  The poster he was drawing called for a sexy female figure–poised and happy.  Though we had already slept together, I still wasn’t ready to stand confidently naked in front of him, and knowing that his classmates were going to see this too didn’t help.  Still, I agreed to do it out of my affection towards him, and with a compromise that I could keep on my jeans since they were form fitting, and that I could keep on my bra.  He sat on his bed sketching away while I stood in the middle of his room trying to suck in as much of my stomach as I could and angeling my thighs to give him their skinniest profile.  He tried to ease my discomfort, every now and then coming up from his sketchbook and telling me how beautiful and sexy I was, but all I could do was try to eye his paper to see how big he had made my waist.  Even afterwards when we made love, I could only believe that he was doing it out of pity because there was no way the girl standing before him, stiff and bloated, was a woman that was able to turn him on.

This is why watching the sex scenes on Girls are such a relief to me. As painful as it is to watch Dunham’s character attempt to text her boyfriend a gawky topless photo of herself, she is a character I can sympathize with.  Just like Hannah–and the majority of girls for that matter–I do have the desire to be desirable, but when I do end up in the bedroom, I feel myself coming up short.  As much as I attempt to be that sexually adventurous woman, in the end, I feel like a little girl trying to wear her mother’s shoes.  Every moan, every dirty word that comes out of my mouth is forced out, disappointing myself for being so disingenuous.  The best I can be is loving and affectionate, but not sexy.  Whether it is right or wrong for me to forge this aspect of myself, I am grateful that there is a show out there that communicates my experience so honestly that it is painful and embarrassing to watch.

How The Golden Girls Taught Me About Homosexuality

 By Nusha Ashjaee

I watched too much TV growing up.  I don’t think I can remember a time when it wasn’t on accompanying breakfast, homework, fighting with my brother, or, really, just watching the damn thing. It’s where I developed my sense of morals. My mother was always there to offer sound advice, but nothing ever quite stuck with me unless it was coming from a talking sponge or Will Smith. Such was my attention span.

However, there were some topics my mother was too uncomfortable with to bring up with me, one of which was homosexuality. It would be unfair to say that this was because she was homophobic; my mother grew up in a time and culture where sex in general was a taboo subject and it was something you just dealt with on your wedding night. If talking about straight sex was too much for her, then gay sex was definitely off the table. I was going to have to turn to television for that lesson, and it was one I learned from The Golden Girls.

Running from 1985 to 1992, The Golden Girls was a sitcom following the lives of four single, of-age ladies living together in Miami: simple Rose, man-hungry Blanche, uptight Dorothy, and the sharp-tongued Sophia.  Aside from Sophia’s wit and Betty White’s fantastic comedic timing, the show can be best known for being a gay-friendly series and for presenting views towards LGBTQ rights that were decades ahead of its time. Though I was born just shortly before its cancellation, I still enjoyed watching reruns with my older sister. Most of the jokes went over my head—particularly the sexual innuendos—but I always liked Sophia’s moxie no matter what she said.

One weekend we were in my sister’s room, watching this episode. I couldn’t have been older than seven:

Again, the jokes went over my head (Why did Dorothy cover her mother’s mouth like that?  Who’s Butch and Sundance?), but so did the premise itself, leaving me as confused as Rose. All I understood was that Blanche’s brother, Clayton, was announcing his plans to get married, but I couldn’t see to whom, and I couldn’t see why Blanche was so upset over it. Where was his girlfriend? Why wouldn’t she be there with him for this kind of news? Luckily, my sister was there to explain.

Me: Wait. So…who’s getting married?
Sister: Blanche’s brother.
Me: And that guy?
Sister: Yes.
Me: To who? Where are their girlfriends?
Sister: What?
Me: They’re having a double wedding. Right?
Sister: Umm…
Me: What?

My sister then explained to me that the two men on the TV show weren’t going to marry their girlfriends, but, rather, were going to marry each other.

Me: But they’re both men!
Sister: So? Sometimes men marry men and women marry women.
Me: You can do that?!

She had no idea how much this news excited me. Up until that point, I thought my choices for a husband were limited to the boys on the playground who picked their noses and touched their eyeballs. I didn’t know I had this second option. This was perfect: I could just marry my best friend and have babies with her, maybe even adopt a kitten. I wouldn’t have to worry about any boy and his germs. This wasn’t a plan she seemed to be quite on board with, but I figured there was still time for her to warm up to the idea. Of course, once I went through puberty, I learned it didn’t quite work that way and that I was going to be stuck with boys.

Still, despite my initial confusion with the concept of homosexuality, the moral of the episode was not lost on me and it is one that still resonates with me today. While it took eight or so years for me to be able to confidently laugh at the jokes, the message stuck to my conscience. For that, I have to express my love and admiration for The Golden Girls, not only for introducing me to the topic of homosexuality when no one else was quite ready to, but for also acting as my personal moral compass when it comes to civil rights. And it didn’t hurt that all of it came from an adorable, smart-mouthed grandmother.

Ode to Miyazaki

 By Sophia Rowland

I don’t remember a time in my life where Hayao Miyazaki wasn’t present. Being a young adult/children’s writer probably has a lot to do with my nostalgia for films from my childhood, yet Miyazaki’s films stand apart in many ways. In fact, they’re actually kind of perfect.

Not unlike Kurosawa or even Almodovar, Miyazaki’s films have layers upon layers to unravel. And for animated films, that’s pretty remarkable. Not to say that Pixar films, early Disney, or other animated films aren’t at times deep and wonderful, but Miyazaki is specialat least for me.

I had a single ticket to see Spirited Away at The Aero in Santa Monica this weekend, but those plans fell through due to my mother’s unhappy stomach and my daughterly duties to stand by and make soup for her. So as a compromise for missing it, I busted out my own DVD copy. We watched, we laughed, we got a little teary eyed, and then I noticed something… At certain points in the movie, memories of inspiration surged up. For example, when Chihiro enters the train, I realized it was there, in that moment, that a story I wrote in high school had manifested. Something about the quiet of the train and the faceless spirits Chihiro sits with, the somber piano in the background as a watery Japanese countryside passes us bythat shit gets to you.

Spirited Away, 2001

What’s kind of awesome about Miyazaki is many of his films are directed at different age groupsyet at the end of the day, at any age, you can appreciate the mastery of these films. This is because his themes are universal. I remember hearing he was surprised that American audiences were so interested in his films because his main theme usually has to do with the grandeur of nature over machine. They are very Thoreau meets Emerson. Yet in his film (and my personal favorite) Princess Mononoke, Miyazaki deals with nature vs. humans in a way that is compelling to both sides. In that film in particular, he doesn’t hit you over the head with what he feels is the correct answer. In all of him films, greed is the biggest eviland gluttony (which I think he sees as a kind of greed) is never painted pretty.

These are gorgeous, compelling, and very often bizarre films. Sometimes they are set in fantastical made-up placessometimes it’s present-day Japan, or several hundred years ago. All of his films have magic, but it usually exists in a way where the characters are already comfortable with it. Kiki’s Delivery Service takes place in the present day and the main character is a witchand we go with it, no questions asked. Miyazaki’s movies are often coming-of-age stories, which allow the heroine a chance to grow in a way where both she and the audience gain something beyond what was missing before.

“I felt this country only offered such things as crushes and romance to 10-year-old girls… and looking at my young friends, I felt this was not what they held dear in their hearts, not what they wanted. And so I wondered if I could make a movie in which they could be heroines…” – Hayao Miyazaki

The quote above is something to keep in mind. Most of Miyazaki’s heroes are female. He makes movies that allow women to possess roles that move beyond standard love storiesand when there is love involved, it’s deep, and painted in a way more complicated than your average girl meets boy.

I am so grateful to this man for the movies he has made over the years. He is certainly one of my biggest influences when it comes to writing for young people. I mean, I have a soft spot for certain Disney films, but at the end of the day, what did Walt ever give me? Disney pushes romance and man-hunting, but Miyazaki is beyond that. His movies are about love, and especially the love one has for one’s friendsand that’s a beautiful thing for anyone, especially a young girl or boy, to keep in mind.

A great Miyazaki interview :

Sophia’s Recommended Miyazaki Films