In case you hadn’t realised from the uptick in wrestling-related links I’ve written and posted here of late, I’m kinda obsessed with it! Here I am, erm, writing about that obsession. [Writers Bloc]
Why should we worry about the lack of women in publishing when there are bigger gender inequality problems in the world?:
“The obscuring of women’s voices in media platforms, however elite, however niche, is part of the obscuring of their voices in general; and a lack of commitment to, or an inability to hear, their voices in literary culture is related to the same lacks and inabilities in relation to their voices in harassment, in sex, in courtrooms, and in the workplace.” [LA Review of Books]
Shit vegans say. [Spook Magazine]
Just because Beyonce used a plethora of producers to help make Beyonce, doesn’t mean she’s any less of an artist than Beck or any less worthy of the Album of the Year Grammy. [Daily Life]
Further to that, Kanye West is right in saying she should have won it. He just goes about voicing his opinion in a manner that rubs people up the wrong way. It probably also has to do with race, which I would’ve liked to see the author go into more. [Grantland]
And if you’re thirsty for more links, the 81st Down Under Feminists Carnival has them all. [The Hand Mirror]
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]
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]
“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]
The inevitability of being called fat for deigning to be a woman in public. [Musings of an Inappropriate Woman]
On being a fat bride-to-be. [The Guardian]
After a recent spat with my housemate about the apparent modernity of Modern Family, in which he defended the show for its gay couple with an adopted Vietnamese baby and a strong Latino presence while I cried stereotyping, I decided I should actually watch an episode or two of it before I denounce Modern Family as an archetype perpetuating farce.
Now, with three and a half seasons and some informed opinions under my belt, I can wholeheartedly say I abhor the sexist tropes of the fiery Latina, Gloria, and the shrill, controlling housewife, Claire, and Modern Family’s blatant racism, homophobia and slut-shaming. Let me count the ways…
Right off the bat in the sixth episode of season one, “Run for Your Wife”, there were some troubling stereotypes about stay-at-home mums. When the Dunphy kids head off to their first day of school for the year, mum Claire looks forward to some downtime to get started on a new book. Phil, who’s supposed to be the breadwinner of the family, is also home and wants to hang out with his wife. After blowing off some open-houses he’s supposed to be putting on as part of, you know, his job as a real estate agent, Phil gets embroiled in a mid-afternoon jogging race with Claire.
As a child who grew up with a stay-at-home mum, I can tell you that I never once saw her sitting down to read a book in the middle of the day or challenge my dad to a childish competition. There was too much cooking, cleaning, washing, shopping and picking up to do. In fact, my dad was barely home and often working more than one job in order to put food on the table and keep us in a home one fifth of the size of the Dunphy’s, which is more than we can say for Phil who is rarely shown at work.
While the acting of Ty Burrell (Phil) and Julie Bowen (Claire) is something to write home (or at least the awards shows) about, their characters leave a lot to be desired. Phil is always dropping the ball (or getting it thrown into his face, as in “Door to Door” in season three) on being a functioning human being, let alone a good husband and father, and Claire often refers to him as her fourth child (she technically only has three: Haley, Alex and Luke). The trope of wife-as-replacement-mother is a tired one, but that doesn’t stop Modern Family for milking it for all it’s worth.
This brings us to Gloria, who is anything but. She’s young, sexy and, most notably, a loud, sassy Latin woman who’s always getting arked up about something. In season one’s “Up All Night”, Gloria’s son Manny’s dad comes to visit. While Gloria is now remarried to the older and dependable Jay, ex-husband Javier is a fellow fiery Latino who tries to make up for his absence by showering Manny with extravagant gifts. In the episode, Javier takes Jay and Manny to a baseball field in the middle of the night, and the next day comes bearing motorbikes. Gloria becomes audibly incensed that Jay’s falling for Javier’s tricks, like she used to, and storms off, yelling in Spanish. Every portrayal of a Hispanic woman in pop culture doesn’t have to be that of the “hot blooded” Latin mama; just look at the gay, Latina orthopedic surgeon Dr. Callie Torres in Grey’s Anatomy, a show that is far more modern than one with that word in its title, for example.
Speaking of the gays, what portrayal of contemporary American life would be complete without the requisite homosexual couple with an adopted Asian baby? Certainly not Modern Family, which turns the gay dial up to eleven with stay-at-home dad, former farm-dweller and part-time clown Cam, the uptight, dogmatic (unsurprisingly the brother of Claire) lawyer Mitchell and their über inappropriate ways. For example, in “Run for Your Wife”, Mitchell accidentally bumps baby Lily’s head against a door frame, and they take her to the doctor. The doctor happens to be Asian-American, so Cam embarks on a sermon about how he and Mitchell intend to raise Lily with influences from her Asian roots, completely disregarding the fact that the doctor was born and raised somewhere in middle America and identifies first and foremost as an American.
Later on, in season two’s “Unplugged”, Cam and Mitchell try to get Lily into a preschool. When they realise Lily’s going up against an adopted African-American boy with disabled-lesbian parents for the last spot at a prestigious private school, Cam flubs the interview by emphasising his 1/16th Cherokee heritage and speaking in pidgin English. As someone who is also 1/16th Cherokee, I’m sure you can imagine my offence at this.
Cam, as I’m sure you can imagine if you don’t already watch Modern Family, is the flamboyant half of the couple, and enjoys dressing Lily up as famous gay icons and encouraging her creative side. In the episode “Chirp”, in season two, Cam goes against Mitchell’s wishes and has Lily film a commercial for a furniture store. The ad is completely racist, using emphasised Asian accent voiceovers and Godzilla, and when Mitchell points this out, Cam uses the defence of hipsters the world over: “It’s ironic.” I suppose because they have an Asian kid, they’re allowed to be racist…?
While there are some redeeming qualities throughout the show’s run, such as the “Mother’s Day” (season two), “After the Fire” (season three), and “Schooled” (recently aired as part of season four) episodes which seek to unpack gay parenting and stereotypes of femininity, masculinity and homosexuality, it’s also rife with slut-shaming (Jägermeister is a magic potion that puts girls to sleep but instead of waking up “in a castle, you wake up in a frat house with a bad reputation” in “Moon Landing”, whilst Phil marvels in “Travels with Scout” that with his “emotionally distant father” it’s a miracle he didn’t end up as a stripper), homo- and transphobia (dad Jay insinuates that Mitchell is a cross-dresser because he’s also gay in “Starry Night”), and jokes about domestic violence (when Mitchell asks his dad to teach him how to fight in “Game Changer”, Jay asks if he’s having problems with Cam).
Image via BuddyTV.
“Red Dress, Blue Dress.” What your clothing colour choices say about you. [Final Fashion]
Are you your social group’s/family’s/work place’s “feminist friend”? [Feminaust]
The politics of the facial (yes, that kind of facial). [Jezebel]
“… Our ratings system in this country is so broken that a film that contains a sustained, brutal rape sequence featuring full-frontal female nudity can breeze right through with an R-rating, but if you include a sequence in which two people engage in spirited, consensual sex and we see anything that resembles reality, you are automatically flirting with an NC-17 or going out unrated. We have created a code of film language in which the single most destructive act of sexual violence is perfect acceptable to depict in the most graphic, clinical detail, but actual love-making has been all but banished from mainstream film. There’s no ‘almost’ about it; it is disturbing on a philosophical level to realise how backwards the system is right now, and I think one of the reasons many filmmakers will include a rape scene is so they can get some nudity into their movie, and the context doesn’t matter to them.” [HitFix]
Being called a feminist is a compliment. [Crunk Feminist Collective]
Best “Shit So and So’s Say” video yet!
On language and HIStory. [Feminaust]
My second article on The Good Men Project. Check it out.
Sydney VS. Melbourne? I’m a Melbourne girl all the way, baby. Which do you prefer? [The Age]
Benjamin Law on gay stereotypes. [MamaMia]
And a heartwarming story about how Glee’s Kurt and Blaine are just like this little six-year-old. [And This Is My Blog…]
The mystery of the clitoris, revealed (SFW). [io9]
Cynthia Nixon: gay, straight or bi? Is being gay a choice or is it biology? Who cares? [Slate]
Images via Hits USA, Facebook, The Good Men Project.
In lieu of a new episode of Glee last week, I attended a debate about the pros and cons of McKinley High and its glee club.
I was super excited, because I assumed the debate would entail a for Glee side, and an against. And it did. But while I thought the against side, consisting of Clem Bastow and Jess McGuire, would discuss the blatant sexism, racism, homo/transphobia, ableism, fatism and the many other phobias and -isms the show incorporates (feel free to add them in the comments), both panelists ultimately praised Glee for it’s inclusiveness and handling of the tough issues.
I’ve heard this rationalisation about Glee before. When my tuba-playing gay friend finally got into the show this season and fell hard for it, he thought I would sing its praises with him because he knew I watched it. (Evidently, he does not read this blog as he would know the main reason I like Glee is because I know I’ll always get a blog post out of it!) When I invited him to the debate, he had something else on but wondered what they would be debating, exactly. I referred to the list of problems I have with it (above and elaborated on below) and he replied, “But I thought Glee was about acceptance.” That’s what it wants you to think, and it blinds you to all the other issues with Katy Perry songs. As panelist for the “pro-Glee” side, Mel Campbell, said, “It’s best not to ask questions.”
While McGuire did touch on Glee’s pro-gay stance, and perhaps its best, and most underutilised, storyline of Brittany and Santana’s forbidden love, I was expecting SlutWalk Melbourne organiser and noted feminist Bastow to knock Glee out of the park for its anti-women portrayals. I was also sorely disappointed, as Bastow, a keen musical aficionado, chose to focus on the shows’ butchering of classic musical numbers.
So, I thought I’d take this opportunity to write about the issues I wished the panel had discussed last Thursday night.
I’ve written about feminism in Glee before, specifically as it’s embodied in the character of Rachel Berry. It annoys me to no end that Rachel is deemed “ugly” (though Lea Michele is anything but) because she’s annoying. And she’s annoying because she eschews traditional gender roles that are perhaps embodied by Quinn by being ambitious, voicing her opinions and unapologetically going after what she wants.
In a clip shown at the debate of the inaugural Glee mash-up in which Mr. Shuester separates the girls from the boys, Kurt attempts to join the girls’ side. Since when did being a gay man amount to the equivalent of a straight female?
Finally, I wouldn’t say sexism is the main problem in Mercedes’ perpetual (okay, she seems to have a boyfriend this season, but more on that later) bachelorettehood, rather some other issues I will address later in the piece.
Now is as good a time as any to discuss Mercedes’ aforementioned singleness. Was she literally the only character in season two who didn’t have a significant other because she’s black? (Or because she’s fat?) Sure, she dated Sam for all of a few minutes in the season two final, but before that the only action she got was Kurt condescendingly suggesting she should date one of the guys on the football team because he was black and, like, they’d probably have heaps in common.
If that’s not enough proof of Glee’s insensitivity to race, all you need to do it look at any one episode for a myriad of references to Tina and Mike’s “Asianness”, Roy Flanagan’s “Irishness” (or leprechaunnes, as Brittany might refer to it) and Puck and Rachel’s “Jewishness” (though that also falls under religious prejudice as well).
Homophobia & Transphobia.
Sure, Glee’s pretty much a vehicle for Kurt and, increasingly, Blaine, to showcase their voices, fashion sense and flamboyance. McGuire chose to speak at length about how sensitively the show handled Kurt coming out to his dad and Kurt and Blaine’s first time, and I have to agree with her. And yes, seeing two men make gay love (okay, the implication of them making gay love) on primetime network television without a stink being kicked up is pretty groundbreaking, as panelist for Glee and MC, Tim Hunter, noted. But they still single out Kurt for his gayness (“Single Ladies [Put a Ring on It]” and “Le Jazz Hot!”, anyone?), not to mention how Finn went about outing Santana in “Mash Off”.
They’ve handled the Brittany/Santana thing the best out of every relationship in the show, so that’s one point for lesbianism, but at the expense of other sexual orientations and gender identities, perhaps?
Just look at “The Rocky Horror Glee Show”, for example. Not only to Mike’s parents make him pull out because they don’t want him associated with a “tranny” musical, but the show even substitutes the lyrics “I’m just a sweet transvestite from transsexual Transylvania” for “sensational Transylvania”. Pardon me, but I don’t see what all the fuss is about in using the word “transsexual”.
Finally, we can’t forget Coach Beiste. When she debuted on the show, her sexuality and gender was thrown up in the air, when she’s really just an unconventionally attractive, masculine straight woman who happens to coach a men’s football team. But of course attention is drawn to her 40-year-old virgin status every time there’s a virginity-themed episode. Because, you know, she’s old and funny-looking and has never been on a date! Riotous!
Where do I start? There’s Emma’s OCD, which is made fun of by everyone from Gwyneth Paltrow’s Holly Holiday to her own parents (not to mention Will trying to come to her rescue by attempting to “cure” her). Artie’s wheelchair-bound way of life, which was even pointed out during the debate, only for the panelists to laugh at Artie wanting to give Blaine a standing ovation, “because he can’t”, and a whole episode, “Wheels”, insensitively dedicated to his disability.
I will applaud the show for their inclusion of, and remarkable sensitivity to, Down’s syndrome sufferers. But then they go and use undiagnosed Asperger’s syndrome as an excuse for anti-social and selfish behaviour. Cutting off their nose to spite their face…
Puck’s rendition of “Fat Bottomed Girls” was a clip played at the talk, and was received by audible groans. To see Lauren so uncomfortable as Puck serenaded her was awkward for the audience, and the patronisation was palpable. Like, oh Glee has a plus-sized girl who doesn’t hate herself and is being chased by the hottest guy in school; we’ve come so far.
But when Mercedes is relegated to backing vocals in favour of the slim lined Rachel, can’t get a date and suffers from an alleged eating disorder which is swept under the rug with some sage advice and a granola bar from Quinn, it’s all just tokenism.
So there you have it: the debating of the issues I wished had’ve been brought up by the panel. As my friend, housemate and fellow debate-goer put it: “It was just like Glee: it slightly touched on the issues, but ultimately didn’t add anything new to the discourse.” So feel free to add anything I, or the panel, didn’t cover in the comments.
Image via Meg. All Things Me.
Ralliers outside the State Library on Swanston Street.
Best. Sign. Ever.
Last Saturday the highly anticipated SlutWalk occurred in several Australian cities, and I attended the Melbourne event with my fellow anti-slut-shamer friend Laura (both of us below).
We rocked up in our sluttiest outfits, which you can see above, complete with permanent marker declarations of our proud sluthood to boot. Some of the other outfits we noticed were short skirts with knee-high skull print socks and customised Doc Martins, worn by event organiser Clem Bastow (below), lace dresses and gym gear, the latter of which adorned a short-haired tattoo fan with a body Tracy Anderson would envy.
As Bastow commented when she gave one of the opening addresses, along with fellow event organisers Karen Pickering and Lauren Clair, and noted feminists Monica Dux (above) and Leslie Cannold, amongst others: “thank you, God, it looks like you’re going to rain on me”. But no one was gonna rain on our parade and, despite the chilly temperatures, we still walked tall and proud in whatever get-ups we chose to wear.
Dux said this is the beginning of a movement, which I have to disagree with. SlutWalk is not the beginning of a movement; it is part of the reignited battle to stop victim-blaming and slut-shaming based on one cop’s archaic musings on rape and how much a woman was “asking for it”. Here’s a fun fact: WE’RE NEVER ASKING FOR IT! (See Bastow’s sign, above). No matter how we are dressed, where we are, how much we’ve had to drink, or what we do for work.
Speaking of, I was really proud to see the representation of sex workers at the event, and president of the Australian Sex Workers’ Association, the Scarlet Alliance (represent!), Elena Jeffreys (above) spoke about her sexual assault and that even though she was paid for sex, she was not consenting to assault. Her opinions on the SlutWalk were really interesting and I hope they receive as much publicity as the negative perceptions of the rally have in the media.
In the days leading up to SlutWalk, I was embroiled in a heated debate on Facebook with a friend who disagrees with the SlutWalk. I think he confused—like a lot of people—the meaning of the SlutWalk with an excuse to get gussied up in a very risqué manner when, in fact, that was not at all what it was about. That didn’t stop protestors on the steps of Parliament House at the top of Bourke Street brandishing their “rape is horrifying, but so is immodesty” placards (above). Like one of the speakers (whose identity escapes me: should have used my BlackBerry voice recorder!) said: it’s not up to us to curb our behaviour (and that includes how we choose to dress) at the risk of potentially being sexually assaulted; it’s up to those who sexually assault to curb their behaviour!
I think most people against the SlutWalk had a problem with the use of the word slut. As Cannold said, “words matter…: … we won’t stand for one, the same one, being slung at us over and over again to demean and degrade us.” Lori Adelman, in a post on Feministing, said she didn’t agree with the term “slut” and that she “would much rather have attended a ‘Do Not Rape’ Walk”:
“I find that the term disproportionately impacts women of colour and poor women in order to reinforce their status as inherently dirty and second-class, and hence more rape-able.”
To me, “slut” is just a word. It meant as much to me to be called a slut when I was 12 as it does today; as they (and Rihanna) say, sticks and stones will break my bones but names can never hurt me. It’s not about the term “slut”, it’s about the backwards and extremely offensive views that go along with that word. As coordinator of the first SlutWalk in Toronto, Sonya Barnett, told Rachel Hills: “if he [the policeman] had said something else, we would have called it something else.”
The speaker who garnered the most attention, though, was transgendered man, Cody Smith (above), who had been raped both as a biological female, and as a trans man. There were tears a plenty during his speech!
It was nice to see such a welcoming, non-judgmental turnout of everyday men, women and children of all walks of life, wearing all sorts of garb, not just the fishnetted and cut-out body con dresses that certain attendees chose to wear (guilty as charged!). After all, rape is not about what you’re wearing, what you look like, what size you are, how old you are, what your sexual orientation or gender is, or any other denomination that you happen to belong to as a person. It is about the perpetrator, and nothing you can or cannot do will stop them from attempting to rape you.
As Smith said, it shouldn’t be the victims of sexual assaults’ responsibility to educate the general public on sexual assault and victim-blaming. And I thought the sexual revolution happened several decades ago: it shouldn’t be up to members of a fringe movement to educate the general public on the sexual rights of women to express themselves however they please without the threat of retaliation. In fact, feminism—which is what the SlutWalk was all about—shouldn’t be considered as on the fringe in 2011.
Black and white images via Ali Ryan Photography.