On the (Rest of the) Net.

Caitlyn Jenner Vanity Fair

Trans women like Caitlyn Jenner and Laverne Cox have the visibility, power and acceptance to “lift up” trans people who don’t have such privileges. [Laverne Cox]

Fixating on Caitlyn’s perceived “hotness” hurts the trans community:

“… Be conventionally attractive and feminine, and you get reduced to your appearance like any cis woman; don’t, and people won’t accept your identity as legitimate.” [Vocativ]

I asked if Kris Jenner is a bad mother. [Bitch Flicks]

The age gap between some of Hollywood’s most in demand young actresses—Scarlett Johansson, Emma Stone and Jennifer Lawrence—and their much older on-screen love interests. [Vulture]

How Mansplaining, the Statue went viral. [Weird Sister]

To ladyblog or not to ladyblog? [Slate]

The dawning of the age of a new (female) action hero. [Vulture]

The language we use to speak about rape may be part of the problem.

Sport is the “great equaliser”. Except when it comes to race:

“Indigenous players are ‘Australians when they’re winning and Aborigines at other times.'” [Overland]

Australia “reserve[s] a special disdain for ‘uppity blacks'” like Adam Goodes who don’t know their place. [New Matilda]

To all those busybodies who enquire when you’re going to have children: “I am writing my final no-thank-you note.” [Longreads]

ICYMI: “Writing About Taylor Swift Ruined My Friendship!”

In defence of the apparently unintelligent lyrics of pop and rap music.

Writing About Taylor Swift Ruined My Friendship!

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This is a version of a post that originally appeared on Writer’s Bloc as part of their May series on balance. Republished with permission.

A few years ago I wrote a blog post about Taylor Swift’s anti-feminist lyrics. Perhaps ill advisedly, I used an example from my friend’s love life to illustrate my point about Swift’s detrimental view of gender roles in her music without my friend’s consent.

This friend has a soft spot for Taylor Swift, along with Twilight, Glee and young adult fiction, and I believed these biases informed her actions when she started hooking up with my roommate. When their courtship fizzled out a short time later, she revealed to me that because they were friends first, she didn’t feel that as lovers their relationship was any different: where were all the grand gestures on his part, she wondered?

Now, at the time I thought this observation would perfectly prove my assertion that Swift’s lyrics and anti-feminist rhetoric in interviews enforced an ideal that heterosexual relationships must take the shape of fairytale romances that are performed primarily by the guy, while the woman is just a passive receiver of surprise weekend getaways, jewellery and flowers.

In hindsight, perhaps my opinion about my friend’s love life wasn’t something I should have published on my blog, or even passed judgment on in the first place. Needless to say, she didn’t think so either as we’re no longer in contact.

Funnily enough, after that shit went down, I suffered a bout of writer’s block that lasted the better part of a year. Karmic retribution, perhaps?

This is not the first time I’ve gotten into trouble with a friend for airing their dirty laundry in my prose. About a year and a half before the post that ended a friendship, I wrote about how I thought one of my friends wasn’t very socially adept due to a sport-focused sheltered upbringing and how this informed my broader point that sportspeople shouldn’t be held up as heroes (a topic that was doing the rounds in the news that week). Understandably, he was very hurt that I used personal details he’d told me in confidence to further my agenda and that I had those opinions about him. He’s a bigger person than both myself and my former friend, though, as he was able to see both points of view and hash it out with me like an adult and our friendship has since recovered. (Yes, I ran his inclusion by him prior to publication!)

The irony is that the singer herself is all too familiar with mining her and others’ personal lives for her work. I’m not trying to equate my writing with Swift’s or that using other people’s stories is the same as using your own, but I’d like to think she could relate. Either way, we both wrote and write about people who are no longer in our lives, a feat some writers are more adept at that others.

But how much of the personal anecdotes of the people in our lives do writers have the permission to share? Obviously, I had permission to share neither experience, but in the absence of anything happening in my own love life and the desire to act as therapist to another friend, respectively, I crossed a line.

And it’s a fine one to write on when you’re crafting memoir. Increasingly, I’ve been delving into the personal essay and wondering whose stories and lives I share I have the permission to make public.

How specific can you get when using identifying details in your writing? At the time of publishing the pieces in question, only a few of my friends were reading my blog and would have realised who I was writing about. The majority of people who read my work are unknown to me. But just because only a handful would recognise the subject in question doesn’t necessarily mean writers have free reign over how they’re represented.

Writers such as Lena Dunham and Janet Mock share that problem on a global scale. Dunham’s memoir, Not That Kind of Girl, drew controversy last year when she wrote of her curiosity about her sister’s body parts and an alleged date rape in college. Though names and other details were altered, a fellow student of Dunham’s alma mater was falsely identified as her attacker. Mock shared concerns about the portrayal of her family in Redefining Realness, her memoir about growing up trans in Hawaii. When the stakes are that much higher—being perhaps the most influential millennial in a decade and coming out as a gender identity much of the world is yet to accept as legitimate, respectively—there’s an increased likelihood that your audience and subjects take issue with your words.

Call it the life of a writer or chalk it up to my own narcissism or lack of imagination but it would seem that I haven’t learned my lesson as I’m still writing about the people and situations that caused friction in my personal life in the first place.

Related: Taylor Swift—The Perfect Victim.

In Defence of Mia Freedman.

Elsewhere: [Writer’s Bloc] Writing About Taylor Swift Ruined My Friendship!

Image via Blank Space.

In Defence of Pop & Rap’s “Unintelligent” Lyrics.

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Last week I posted a link to a study by Seat Smart about the most unintelligent songs of the past decade in which the genres of pop and R’n’B/rap/hip hop featured heavily.

Word length and the amount of syllables therein were factors in pushing a song over the edge from unintelligence to intelligence. From the study:

“Country music is full of words like Hallelujah, cigarettes, hillbilly, and tacklebox. Add to that long place names like Cincinnati, Louisville, Mississippi, and Louisiana, and [c]ountry has a serious advantage over the competition.”

Country music coming out on top as the most intelligent genre is laughable; this is the inherently sexist genre that brought you such gems as “Thank God I’m a Country Girl” and Taylor Swift before she found feminism. Just because country originated in parts of America with really long names don’t mean jack. (I tried my hand at some country-esque parlance there.)

Though you wouldn’t think it from the flashy and oftentimes nonsensical rap styles of Pit Bull and Snoop Dogg phoning it in on tracks like Katy Perry’s “California Gurls”, rap and hip hop were spawned in some of the poorest and most downtrodden parts of major cities where their primarily black and Hispanic residents were oppressed and discriminated against and where drugs and crime were rampant. In his younger days, Tupac Shakur rapped about police brutality (“Trapped”, “Changes”), slut shaming, sexual assault and STDs (“Brenda’s Got a Baby”, “Keep Ya Head Up”, “Baby Don’t Cry”), and drugs (“Changes”), while N.W.A. produced songs with similar content.

As is evident in the popular music that the study chose to… erm… study, the rap that makes it to the top 40 charts isn’t necessarily an accurate depiction of the genre as a whole. Take, for example, Kendrick Lamar. I’m not super familiar with his work but I do know that the most commercial success he’s seen came with his recent cameo in Taylor Swift’s (of country music origins) video for “Bad Blood”. And while we all have an opinion on Kanye West, he raps intelligently—although this study would seek to disprove that—about fame, money, racism. (His inclusion on Katy Perry’s “E.T”, making it one of the past decade’s smartest songs, while Perry’s “Wide Awake” with no obligatory rap interlude makes it the 10th dumbest song of the decade should be indicative of rap’s—or at least Kanye’s—value.) This is not to mention the copious amounts of underground and unreleased rap out there.

When it comes to women, Mariah Carey (“We Belong Together” is finally getting its due as one of Mariah’s more artful arrangements) and Nicki Minaj (again, her unreleased stuff is far more sophisticated than “Anaconda” and “Starships”) are topping the intelligence scales while Beyonce makes an appearance in both intelligent and unintelligent lists. That the biggest and best artist in the world today could be described using the word “unintelligent” is a crime. It just goes to show that word length alone doesn’t demonstrate the myriad aspects that go into creating music.

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It’s also interesting that many of the artists who rank high in intelligence are appropriating the music of other cultures, ie. Eminem and Macklemore. (My mother recently said she thought Eminem was the best rapper, despite the high rotation of rappers of colour on my and my sister’s CD players in our youth.) On a related note, Iggy Azalea is nowhere to be found in this study.

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Sure, songs like “California Gurls” and “Tik Tok” may indicate our lowering intelligence as a culture (though, having said that, these are two of my favourite songs to get down on the dancefloor to, so do with that what you will), but artists like Lady Gaga, Beyonce and Taylor Swift (despite what the study says!) who are changing the game would suggest otherwise.

What do you think? Do you agree with the study’s assertions or would you counter them like I have?

Related: On the (Rest of the) Net: 29th May 2015.

Taylor Swift: The Perfect Victim.

Elsewhere: [Seat Smart] Lyric Intelligence in Popular Music: A Ten Year Analysis.

[Jezebel] Country Music Dude: In Radio, Female Performers Are Basically Garnishes.

[The Guardian] Taylor Swift: “Sexy? Not on My Radar.”

Images via Seat Smart.

On the (Rest of the) Net.

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I wrote about how writing about Taylor Swift ruined my friendship. [Writer’s Bloc]

I also recapped Outback Championship Wrestling’s latest show.

And I hosted their podcast, chatting to Ricardo Rodriguez.

While we’re shamelessly self-promoting, I’m also at Bitch Flicks writing about Shondaland’s bad mothers. More bad mother content to come in next week’s collection.

How to talk to random women on the street: don’t. [The Nib]

The history of masculinity in fraternities. [The New Criterion]

The problem with #StellasChallenge. [Daily Life]

The Good Wife‘s Alicia Florrick’s wardrobe changes as her character does. I’ve just started watching this series so it’s interesting to see the looks I’m familiar with and how Alicia changes over the subsequent four seasons I’m yet to watch. [The Hairpin]

These lyric intelligence ratings from pop songs from the past ten years made my blood boil. More to come next week. [Seat Smart]

“Follow that”: a #WomensWrestling roundtable. [World Wrestling Entertainment]

More HIV-positive characters on TV will lead to an increase in awareness about the disease. [HIV Plus Magazine]

ICYMI: The death of McDreamy will allow Grey’s Anatomy‘s other characters to grow and change.

Image via One Week One Band.

Blogging & Jogging & True Blood: When You Realise You’re No Longer Passionate About Everything You Used to Be.

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The title of this piece comes from my friend April, who once summed up my life as blogging, jogging and True Blood(ing).

Four years later and True Blood is off the air, I’m focusing more on freelancing than the vitality of this blog and I’ve given up jogging the streets of Melbourne for the elliptical machine inside the four walls of a gym. My life can probably better be summed up by the three W’s, as my mum recently coined it: work, writing and wrestling. It still ticks many of the same boxes that April’s analogy did, but it shows how much I’ve changed and where my priorities now lie.

I’ve come to the realisation that many of the things that I thought defined me for the past five, ten and even fifteen years I no longer identify with.

For example, last month I had a story published on TheVine about my disillusionment with past heroes, specifically Mia Freedman, who had been my life role model for a good ten years.

Also in recent months, I’ve started to warm to artists such as Taylor Swift and Kanye West who I thought were overrated and obnoxious in the past. (More to come on this.)

And a few weeks ago I was listening to Triple H, who’s long held a place in my heart as my favourite wrestler, on Stone Cold Steve Austin’s podcast and his ignorant words about gendered double standards in World Wrestling Entertainment blew me away. (More to come on this as well).

These pop cultural points may seem frivolous, but they inform larger changes. Where once I would defend Freedman to the death and damage friendships over my hatred of Swift (more to come on this), I just don’t think those convictions are worth it anymore. Furthermore, as a single woman who’s only accountable to herself, I always prided myself on being someone who wouldn’t do things she didn’t want to do, but now I find myself sticking out predicaments that aren’t necessarily making me happy as a means to a much more satisfying end, but I just wish that end would come sooner. (Again, more to come on this.)

Of course this is all just a part of growing and changing as a person but it is giving me anxiety akin to a post-quarter life crisis that makes me want to pull a blankie over my head and tune out the world. (I’ve already had a pre-quarter life one so I can recognise the all too familiar feels.) I know I’m not making perfect sense here, but hashing these issues out on the page helps remind me why I consume and produce.

Tavi Gevinson talks about the “pop culture tools” that aid her in crises like mine but what happens when everything you had in your toolbox don’t quite fix things like they used to? I don’t necessarily have the answers yet. I’m taking comfort in reading short stories, personal essays and memoirs, for example; an inkling that wasn’t there before.

I think the main take away from this identity crisis is that I really want to consume things I can relate to or that can enhance my view of the world. It just so happens that those things and that view has skewed so that what I once held dear no longer cuts it.

Related: Hustle, Loyalty & Respect: Where I’m Taking My Career in 2015.

Baby, It’s a Wild World: Navigating Pop Culture as a Feminist.

In Defence of Mia Freedman.

Taylor Swift: Perfect Victim.

Tavi’s World at Melbourne Writers Festival.

Catching Up on Women-Friendly Media.

Elsewhere: When Your Heroes Let You Down is it Time to Wave Goodbye?

Image via Rookie.

On the (Rest of the) Net.

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I went to see Into the Woods this week and I enjoyed it a lot more than I thought I would having read some things on the interwebs about its race and gender problems.

While it certainly still had those (*spoiler alert* both The Witch and The Baker’s Wife die because they don’t subscribe to typical notions of femininity; The Wolf wears a zoot suit in a dodgy part of the woods) it’s probably the least problematic of all the Oscars bait in cinemas at the moment.

I found the politics of gender very interesting. I was surprised by how on the nose the rapeyness of The Prince was, and I thought Chris Pine played him to perfection. I was taken aback by the pedophilic undertones rife throughout the musical, exhibited by The Wolf and The Baker, amongst others. And for those unfamiliar with the stage version, in it the actor that plays The Prince also plays The Wolf! It gives a whole new meaning to the niceness/charm VS. goodness that reverberates throughout Into the Woods. If you like musicals and/or picking apart the underlying meaning of pop culture, go see it. [The Windowsill]

Why are some of our favourite TV shows given a “free pass” on their problematic content while others are expected to be all things to all people? I love that Sinead Stubbins threw in the gender card: Sex & the City, Girls and even Grey’s Anatomy are often held to a much higher standard than prestige TV’s other (read: male protagonist-based) vehicles. [Junkee]

Not knowing you’re beautiful is exactly what makes you beautiful. [Daily Life]

The history of the Lifetime movie. [WaPo]

Disney’s Agent Carter isn’t feminist: it’s about “Disney owning feminist entertainment, and thereby being able to set the terms for it.” [In These Times]

Just as relevant to the #Tay4Hottest100 controversy as it was when it was published last year, Brodie Lancaster writes about gender-based music elitism. [Rookie]

“Looking ‘Black’ is a Crime”:

“Authorities want to ban hoodies but not guns, sagging pants but not police murdering unarmed Black people, natural hair but not unnatural racist discrimination.” [Dame]

Nicki Minaj sacrificed love for career success on her latest album, The Pinkprint. [One Week One Band]

Looking at Pretty Woman‘s positive portrayal of sex work. [Bitch Flicks]

Why do all on-screen female journalists sleep with their subjects for a story? [NY Magazine]

The inevitability of being called fat for deigning to be a woman in public. [Musings of an Inappropriate Woman]

“The Girls effect” on the Iowa Writers Workshop. [Vulture]

The effect menstruation has on professional sportswomen. [Birdee]

Glee flies in the face of character development, storyline continuity and sensitivity by making Coach Beiste a trans man. Would you expect anything more? [Autostraddle]

On being a fat bride-to-be. [The Guardian]

Image via Tumblr.

On the (Rest of the) Net.

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I interviewed From Parts Unknown: Fight Like a Girl‘s director/producer Daniel Armstrong ahead of the movie’s seven-years-in-the-making premiere last weekend. [Outback Championship Wrestling]

I also did a little write up on OCW’s newest tag team, the Loose Bastards!

And just to top off my week of wrestling writing, I’m talking about choice on Total Divas. [Bitch Flicks]

Do home invasion movies help women work through our fears of real-life in-home violence? [Bitch]

Further to that, what about Law & Order: Special Victims Unit and sexual assault survivors? [The Hairpin]

When is the right time to carry a pregnancy to term? And when is the right time to abort? [Talking Points Memo]

Bill Cosby’s infuriating arrogance allows him to get away with everything. [Role Reboot]

Is it time for Girls to separate Hannah Horvath from Lena Dunham? [Junkee]

Rappers rule Instagram (and they also post the most drug- and alcohol-related content). [Addiction-Treatment]

Feminism won the Golden Globes. [Cosmopolitan]

But diversity lost in the Oscars nominations. [Daily Life]

Further to that, Tina Fey and Amy Poehler’s Cosby–rape joke got it right because it skewered the (alleged) rapist and rape culture, not the victim. [Feministe]

The class politics of Gilmore Girls. [The Baffler]

Sex workers don’t need to be rescued. [Vice]

Taylor Swift’s Girlfriend Collection. [Buzzfeed]

An interview with Caitlin Stasey about her new body-positive website, Herself. com. [Daily Life]

Filmme Fatales interviewed Beyond Clueless director Charlie Lyne before they present the doco at the Rooftop Cinema on 27th January.

Janet Mock on self-care. [The Hairpin]

Nicki Minaj, Taylor Swift and Sia’s latest chart-topping albums are trading in sadness. [The Village Voice]

The story of V: abbreviating “very”. [The Atlantic]

Image via Strongman Pictures.