The Rad Fat Diary has a special guest takeover with Sophie Kromholz.  

Photo by Tawny Kerr

Photo by Tawny Kerr

TYCI’s theme this month is Home/Away and I have another very special guest taking over the diary this month.

Sophie has been with TYCI since day one and for many that have attended our live events, in particular, she is one of the most joyful humans you are likely to meet. Her outer confidence, loving nature and fierce attitude is inspiring.

Here she tells us about her journey…

I Am Not A Biscuit


An opinion piece by the ever-brilliant Sophie Kromholz.


I have been thinking about space a lot, specifically, how much space I take up and am allowed to take up as a woman. At the same time, I am trying to recognise and leave space for the diversity of experiences which are not mine, but nonetheless shaped through what it means to be and feel like a woman.

No Means No: Remembering You Have a Voice


An opinion piece by Sophie Kromholz.

No Means No

I teach in a small university town. Although my background is in Art History, I find myself involved in a wide variety of other fields at the small Liberal Arts program that I work at.

I was delighted when I received an e-mail requesting I speak about gender and feminism at a pro-equality demonstration. My students had put me forward, which means the world to me. The event itself was cheerful. Students from different departments gathered with banners and students from the conservatory played joyful drums. We marched across the bridge to the market square where I spoke. The gist of the talk was about being good to each other.



Cover design by Sophie Kromholz. All other design by Cecilia Stamp. Edited by Lauren Mayberry. Physical copies will be distributed around Glasgow this week.

Interview: The Beaches


Sophie Kromholz discovered The Beaches when she saw them support Brody Dalle in Glasgow earlier this year. Here, she catches up with the Toronto band to find out more about what they do.


Who are The Beaches and what’s your background story as a band?
Jordan Miller: The Beaches are a group of friends and sisters who made a band together. First we were in a band called Done With Dolls and when we were tired of making that type of music we decided to change it up and that’s how The Beaches came to be.

Sweet Sixteen Saturdays: Letters To Your Younger Self


A new feature from the ladies behind TYCI.


Dear Sweet Sixteen,

The security that you look for in building a life with resolve will never come (at least not yet) – it’s not your way. Instead you will make choices that call out to you, following your heart and interests. Yours is a life of doing and pursing. It’s too early for you to set your roots down for anything or anyone.

I hate to tell you this, but you will continue to struggle with your weight. It’s a constant theme. However, over time you will come to understand that your body and your life are not a democracy. Not everybody gets a say, and it is not up to you to shape yourself to meet their expectations. Still, drowning out the noise is hard, and confronting your own needs and wants is harder still. If you can, try to be less angry and more forgiving. Time will mellow you out, and you’ll increasingly see people as their three-dimensional flawed selves, you yourself included. Don’t be so hard on everyone, instead work on being kind. We’re all struggling.

Interview: Shonen Knife


Sophie Kromholz from TYCI went behind the scenes at the iconic Japanese band’s recent Glasgow show.


How would you describe Shonen Knife to someone who’s never heard your music before? What’s your sound and who are you?
Naoko: Our music is very unique. We are thee Japanese females. And wearing matching dresses. The melody lines are very pop and our lyrics are sometimes about cute animals and delicious chocolate. And if people listen to our music, people can be happy.

My Hair and My Sexuality


Sophie Kromholz writes about haircuts, and their importance / lack thereof in terms of how you are perceived by strangers.

I remember the first time I was hit on by a woman. I was sitting in front of a Monet painting at MoMA, looking at the lilies, while the older lady next to me, as became apparent after some time, was more interested in my lily. I was confused, mostly about getting picked up at the museum by someone who was easily 25 years my senior. Her advances became pretty overt and I wasn’t sure what that was about. My mother came and collected me after she had bought some postcards, and had a good chuckle about it – she suggested my admirer might think she, my mom, was my older lover. Meanwhile, I was wondering what had inspired this bold hook up attempt. I was just admiring Monet’s thick impasto (at 16, I was still very much enthralled with the romance of impressionism). I asked my mom, perhaps a little too wide-eyed, what had inspired this encounter. She suggested it was my short tufty constructivist hair. I rocked a pixie crop, and all of its variations, for years – playing around with asymmetry, undercuts and the like. Short hair, I have learned over the years, is, perceived by some as part of the lesbian uniform.

I notice the difference most markedly now that I have grown my hair out over the last two years. I go for a fairly vintage style as well, with some victory rolls (world domination is so much easier when you’re already sporting victory in your hair) and now get hit on by a lot more men. I have abandoned the alleged ‘lesbian uniform’ for something else apparently. I seem to conjure up some sort of retro school teacher / librarian fantasy and they always feel compelled to philosophically muse about my hair when I get chatted up – and just what is that all about?

The Things That Occupy a Woman


Sophie Kromholz writes a personal essay for TYCI on the minefield that is the modern relationship…

Since the age of about 14 or so, the first things people have asked me about when catching up, from my parents’ friends, to my own is: “So, is there anybody new in your life?” Along with breasts and menstruation, my romantic and sexual activities have been on the menu since puberty.

I have had very mixed feelings about this. Initially there was the dread of the question, if there was indeed no one, and the pleasure if there was – as if I had proven my value. What bothers me most about this now is the emphasis it places, and its most disconcerting implications.

It’s been on my mind a lot lately. In part because it seems to have come up in conversation a lot, overflowing from people’s cups of worry, and also because of a flurry of misguided communication.

An acquaintance recently got in touch in the wee hours – his tone was overtly sexual. It seemed that when I had offered up my couch as a place of refuge, when he explained his unfortunate living situations, he had misunderstood and thought that “my couch” was synonymous with “my vagina”. It wasn’t. I did not respond as anticipated and things turned nasty. He asked me if I had had any better offers. I cringed. My time and body are mine to do with as I please, and I don’t choose to take everybody up on every offer that comes along. Also, I was washing my hair that night.

Exhibitions: Louise Bourgeois


Lucy Brouwer and Sophie Kromholz journey to Edinburgh to investigate two exhibitions of the work by artist Louise Borgeois.


A giddy-making array of 220 mixed media works on paper greet the visitor to the Fruitmarket Gallery’s current exhibition I Give Everything Away. Made during a period of insomnia in1994 – 1995, these pictures offer an insight into the world of Louise Bourgeois, an artist whose work throughout a seventy year career never conforms to any style except her own.

The exhibition, titled for its other main set of pictures – large etchings with text – is thematically repetitive, revealing, sharply personal and at times painful. She reclaims objectification of the female, staring down the issues that women are told not to discuss in public. The work is challenging because it is so open, exposing something bodily and disconcerting. Blood red shapes, a suggestion of body horror, the physicality of being female, personal trauma. “When terror pounces grips me I create an image” reads the caption on one the etchings; the creative process was the artist’s way of processing what the world threw at her.