An article was published in The Guardian today about the campaign calling for Snoop Dogg’s visa to be revoked. Titled ‘White singers deserve the same scrutiny for sexism as Snoop Dogg‘, it implied that Collective Shout’s motivation for the campaign was race, not misogyny, sexism or violence against women. The Guardian declined to publish Dr Caroline Norma’s response. So we did.
Dr Caroline Norma
So often, when women speak against sexism, misogyny and women hating in general, they are accused of having a hidden and secret agenda. They’re ‘anti-sex’, they ‘hate’ men,’ they have other secret agendas. We’ve just witnessed a classic example of this in the framing of Collective Shout’s campaign led by 24-year-old activist Talitha Stone, calling on Immigration Minister Scott Morrison to recall the visa issued to well-know U.S rap artist Snoop Dogg, who is about to land on our shores.
Francis Lockie, writing in The Guardian today, fits within this camp. Collective Shout activists couldn’t possibly believe that women and girls are intrinsically worth enough that they would selflessly spend time, money and energy in their service. Other false claims have been made about this grassroots movement in the past – why not add ‘racist’ to the mix?
In Frances Lockie’s view the female activists of Collective Shout have another agenda – and it’s racist. They find the energy to launch campaigns against sexist male singers not out of a desire to stop hate speech against women, but because deep down they are racists, whether they realise it or not. Their racist impulses allow them to work together. In the absence of agendas like racism, why else would they bother?
Criticising feminists as ‘racists’ is easy, because no-one believes women’s activists are genuine in what they believe or do anyway. Everyone is ready and willing to hear an alternative explanation for why women are getting together to do things on their own behalf. Lockie need cite just a sample size of three campaigns–one against Kanye West, one against Tyler the Creator and one against Snoop Dogg– to successfully persuade every one of the ‘real’ agenda driving the tireless work of Collective Shout supporters. Inevitably there is another agenda, so a little evidence goes a long way. (As an aside, there’s no mention of the success of the Tyler campaign in forcing Twitter to establish a ‘report abuse’ button as a result of rape and death threats against Talitha Stone, no mention that the campaign against Kanye West was global and supported by a coalition of international women’s groups, not just Collective Shout).
Lockie spent hours painstakingly gathering up evidence of white men singing sexist things and brutalising women to show how Collective Shout members had given them a ‘free pass’. She wanted to make the point that racism acts as a decoy in diverting attention away from the sexism of white men, and how Collective Shout members had fallen into this trap. So, whether they realise it or not, the women in Collective Shout are actually working on behalf of the world’s most powerful men–this is the real agenda of the group. Through forming a group that sticks up for white men they probably think they can get themselves a better deal in life, and rise above the downtrodden masses of women.
When feminists and their organisations are imagined to have ‘another agenda’, sexism does not just cause us to doubt their loyalty to other women. It also leads us to think women are incapable of acting in anyone’s interests other than men’s, and especially white ruling class men. Even when women tell themselves they’re trying to get a better deal for women, they’re actually trying to protect men, or push down other women so men can rule more easily with more perks.
Lockie probably thinks she’s done Collective Shout members a favour in pointing out their folly. Without Lockie’s good instruction, these women could have carried on their whole lives running campaigns, lobbying and working together on behalf of women–totally oblivious of the fact they were inadvertently protecting white men and covering up their abuses. Collective Shout has said nothing about Axl Rose! Or John Lennon! Our younger members have no idea who Rose is. And the fact John Lennon is dead seems to have escaped her. She ignores our campaigns against Robin Thicke and Brian McFadden for their rape apologist lyrics.
Luckily, Lockie stands apart from women working hard in feminist organisations, so she can objectively assess their agenda and intentions, and deliver pronouncements to the benefit of all. Her aloof impartiality would have been compromised if she’d joined Collective Shout, and donated the research she did on the sexism of white male singers. Lockie might have found herself leading a campaign on behalf of members to stop one of them coming to spread hate speech in Australia. Perhaps she will join us in our efforts against rapper Eminem who brings his special brand of women hatred to Australia next month?
If Collective Shout isn’t prepared to launch official campaigns against every artist who profits from misogyny does that mean we shouldn’t campaign against any?
This debate on violence against women, as glamourised by the music industry, isn’t about colour. Collective Shout (in the face of limited resources and its volunteer nature) addresses this where it can. Two high profile rap artists have toured recently. That they were black was irrelevant. Eminem will receive the same welcome from us when he lands next month. To turn this into a debate about race and not misogyny is to wilfully miss the point and, in a rape culture in which all women and girls have to live, this is something we cannot allow to happen.
Caroline Norma is a lecturer in the School of Global, Urban and Social Studies at RMIT University
“The attempt to dress this up as black v white issue is beneath contempt”
Here are a selection of comments on The Guardian site which condemn attempts to turn our campaign into an issue of race.
OneManIsAnIsland: The objection to Snoop Dogg, presumably, is that ALL of his songs seem to be extensions of his own persona, and ALL seems to include a casual misogyny which is not contextualised. And finally, before you make it a race thing, remember that Robin Thicke is very, very white.
Jahlion: The attempt to dress this up as black v white issue is beneath contempt.
SidusVitae: Many rap songs that feature violence and misogyny are not figurative – that’s the problem, isn’t it? People have politely tried to point out above, under the guise of ‘context’. Snoop Dogg/Lion actually does have a history of problematic dealings with women.
WinstonThatcher: Have you ever listened to the lyrics on ‘Doggystyle’, Frances? I suggest you do so. They’re astoundingly disgusting (on a whole other level of disgusting), and Collective Shout, if anything, should be admired for not letting the big bad wolf that is accusations of racism cloud their judgement.
SamBeckett2: Are Cave, Dylan, Pink Floyd et al ex-pimps who’ve made porn videos? The vast majority of lyrics you quote are clearly telling stories representing misogyny rather than promoting it.
Timcw: So if a black singer refers to a woman as a ‘ho’ or a ‘bitch’ then anyone who complains at the content of the song is being racist if they don’t research every past instance of a white singer using misogynist lyrics and complain about that at the same time? This article is nonsense even in its own terms. Look at the criticism Robin Thicke rightly attracted recently. More seriously, it reflects a type of thinking that implies any criticism of men who aren’t white over the way they treat women is racist.
StVitusGerulaitis: What an utterly absurd article. This is not a race issue, and trying to make it so is disingenuous and rather desperate.
Sexism is more common, widespread and aceptable in modern hip hop….If anything, people give hip hop more of a free pass.”
NewsfromNowhere: I think that this is the problem. Hip hop is used to play by its own rules and black hip hop artists can always play the race card to get a free pass. White hip hop-ers) have to retract and apologize or lose their gigs. I am seriously concerned about this perspective that white feminists (if Collective Shout are white) can’t protest against misogyny from black men or they are racists.
Robthablob: The Prodigy “Smack my bitch up” and Eminem (many early tracks are both misogynistic and homophobic).
However, I remember both of these being heavily criticized at the time, which kind of goes against the author’s contention.
Luxrothchop: A colleague tells me he’s also a pornographer. Is that also true of any of the performers in the author’s list, and don’t you think that makes something of a difference? Seems to me one can’t do right for doing wrong on this question. When I and other posters criticised Robin Thicke on another thread earlier this week those who leapt to Thicke’s defence retorted that “you wouldn’t say that about a black artist for fear of being called a racist”.
ID2099454: Violence against women is an important issue, and this article makes it sound ridiculous. So thanks a bunch for undermining the hard work of lots of people trying to make a difference
DoctorPeppa: I can’t help but wonder if the author actually bothered to get in touch with Collective Shout with her concerns before publicly insinuating that their feminism is a smokescreen for racism. Why does it have to be their job to police the music industry for hate speech against women – if you have noticed other artists contributing to public misogyny, why not pick up your bat and have a swing for yourself? Other women doing feminist work are not an enemy who deserve to be shot down like this.
Why I want to stop Snoop Dog from visiting Australia
I am a 24 year old activist with grassroots organisation Collective Shout. You may know me from my anti-violence campaign against US rapper, Tyler the Creator who verbally abused me at his all ages Sydney show last year.
Just before Christmas I learned that Snoop Dogg (AKA Snoop Lion) would be kicking off a national tour for Big Day Out. Snoop has an extensive criminal history, including convictions for drugs and weapons related offences and involuntary manslaughter, as well as by his own admission, pimping and trafficking women for sex. Snoop also reportedly lured two underage girls into exposing themselves on film by offering them marijuana and ecstasy.
Snoop’s lyrics glorify violence against women. He refers to women as ‘bitches’ and ‘hoes’ who ‘suck d****’. His songs include ‘Break a bitch ’til the day i die’ and ‘Can you control yo hoe? where he describes beating women who do not obey him, who need to learn their place. He justifies violence against women because their behaviour ‘forced him’. These are the very cultural attitudes that both excuse and perpetuate actual violence against women. These lyrics trivialise violence against women and they desensitise young men to the real pain and suffering of victims of abuse.
Snoop Dogg performs during the BET Hip Hop Awards 2013 at the Boisfeuillet Jones Atlanta Civic Center on September 28, 2013 in Atlanta, Georgia. (Photo by Prince Williams/FilmMagic) Photo: Prince Williams
The Australian Immigration guidelines on controversial visa applicants says that we can and will reject people “whose presence in Australia may, because of their activities, reputation, known record or the cause they represent and propagate, vilify or incite discord in the Australian community, or represent a danger to the Australian community or a segment of that community.”
Snoop has been refused entry to Australia before because of his criminal history. Britain, Norway and the Netherlands also wouldn’t let him in.
I created a new petition on change.org calling on Immigration Minister Scott Morrison to revoke Snoop Dogg’s (AKA Snoop Lion) visa, as I believe his long criminal record, his insolent admission of sex trafficking (“selling pussy”) and his glorification of violence against women do not meet the character requirements for an Australian Visa. Morrison has declined to revoke Snoop’s visa. Read full article here.
I’ll take mine dead, thanks. Horror porn is not ironic.
[Trigger warning for victims of violence]
When you look at this image, what do you see? An ambigious, complicated narrative? A post-modern analysis of culture? A man who loves his mothers and sistas?
And what about this one? Do you see poetic form? Linear narrative fantasy?
How about this? Satire? Irony? A work of art?
These are the kinds of descriptions being employed to justify Kanye West’s Monster video clip, lyrics and general body of work. (You can find some of this analysis here and here).
When I see these images, I see violence against women. I see glamourised misogyny and eroticised violence. I don’t see Kanye’s carnival of carnage as an art form or as post-modern cultural commentary.
These images and more are available on-line (leaked version, no, I’m not providing the link) and coming to a TV screen near you when Kanye West’s almost 18-minute Monster video clip is officially released at any time.
Here’s another image.
That last one is from a ‘Behind the scenes’ You Tube clip. That’s Rick Ross by the way, tucking into a plate of raw meat while taking in the view of a spreadeagled dead woman on the table. Looks like those rappers had a blast making the Monster vid. I tried hard to see the satire but couldn’t find it.
Monster is a track on Kanye’s new album My Beautiful Dark Twisted Fantasy which went platinum yesterday. His fans are calling him the best rap artist in history and a “genius.”
King Kanye has produced a carnage of female corpses, brutality, death. It is horror porn.
The Monster video depicts scenes of a murderous rampage with most of the dead being women. Dead women in lingerie swing from chains around their necks. Naked female corpses adorn the furniture. Two other female bodies are joined by West in bed. He kisses one. There are overtones of necrophilia.
Having viewed the preview and the behind the scenes clip, (which I first wrote on ABC The Drum/Unleashed) , I had wondered whether the full length version could possibly be more chilling. It is. There is the decapitated woman’s head scene (above). Nicki Minaj is a sword wielding dominatrix, terrorising her (at times) hooded female tulle-attired victim (Minaj doubles as both). Nothing like a bit of women-on-women violence to liven things up.
One exception to the dead-bitches-are-the-best theme is what appears to be a young boy being devoured by two female-like creatures. Of course this is to be condemned also.
The album’s one million sales will no doubt drive even more interest in the Monster video. Which makes the petition we have going against it even more important.
Universal Shame: Act to prevent the release of this monstrous video
Sharon Haywood and I started a petition sponsored by Adios Barbie, Collective Shout, and the Coalition Against Trafficking Australia, (since also sponsored by Coalition Against Trafficking International and Media Watch) calling on Universal Music Group to withdraw the video.
The petition is directed to CEO/Chairman of Universal Music Group Doug Morris (firstname.lastname@example.org) and CEO of MTV Judy McGrath. (email@example.com). It can be found here . (You can also read an interview with Sharon Haywood about the campaign, at this link ).
We believe that the mainstreaming of videos like this increases desensitized and callous attitudes toward violence against women. Young people are seeing images and absorbing harmful messages which glamorise misogyny and brutalise women. Women are reduced to sex-doll like playthings. The Monster video conveys a message that women are slaves and bitches who can service a man’s sexual needs, even when they are dead. Men are brutal and dominant, and have no empathy for women. Men enjoy dead women as sex and entertainment.
We decided to run this campaign because we wanted to challenge the status quo – the increasingly common view that women’s pain and suffering is perfect for entertainment.
We believe West’s work will contribute to a culture that is already dangerous for women and girls. West just paid $200,000 for a custom- made watch made with his face on it . Think what that could do to address violence against women. Violence against women we believe his work is contributing to.
Bitches are only good for three things
Violent lyrics, combined with brutal visuals, are socialising young people and helping form their view on relationships and sexuality. Monica R, commenting on the Care2 petition site, wrote on the weekend:
…I am in the hood Monday through Friday. I teach there, in a very rough zip code. This crap is the ONLY music these kids listen to, so it has everything to do with violence against women because it forms their opinions.
OK, it’s just a video to you. But I have to hear the high school boy say “b–ches are only good for three things, f—ing, cooking, and cleaning.” I have to hear the high school girls refer to each other (their FRIENDS) as “b–ch” and “ho”, and hear them explain how you know a boy really loves you if he hits you.
I’d love it if rappers would come clean about their college degrees, but instead they pretend to be “hood” while living a wealthy lifestyle. They promote the ideas that the measure of a man is how many b–ches he can f—, or how much violence he can do, and that women’s only value is what’s between their legs, and as a punching bag. And that harms women and men.
You have blood on your hands, and you should be deeply, deeply troubled at the culture that you’ve helped to create.
While not specifically naming West, international recording artist Moby may as well have in this article from 2005.
In it, Moby asks why is racism seen as bad but misogyny seen as cool? He says anyone creating or promoting music which glamourises misogyny should be ashamed: “you have blood on your hands, and you should be deeply, deeply troubled at the culture that you’ve helped to create”.
i’d like to write about misogyny. a few years ago when the prodigy released ‘smack my bitch up’ i spoke up and criticised the song for being overtly misogynystic and irresponsible. i was in turn criticised on radio for ‘being too uptight’ and not being relaxed enough to appreciate the ‘humor’ in misogyny.
then 5 years ago i spoke up about the pernicious and pervasive spread of misogyny in popular culture, and again i was crticised for making a big issue out of something that no one else seemed to care about.
i respect the prodigy and i respect eminem as talented and relevant musicians, but i spoke up because i found the misogynystic content of their lyrics(among many others) to be deeply offensive. even if they themselves are not misogynysts
i found it irresponsible that they, and many others, would release music that glamourized misogyny.
2 months after ‘smack my bitch up’ was released i went to visit a friend of mine who was in hospital after being beaten by her boyfriend. she had brain damage and multiple fractures due to his pushing her down a flight of concrete stairs.
misogyny is not funny. it is not a joke. and it should not be treated lightly.
and now we find out that a british man who is obsessed with eminem killed a woman with a metal baseball bat
and stuffed her body into a suitcase.
am i being ‘too uptight’ for not seeing the humor in this?
Bob Herbert in an article titled ‘Women at Risk’ in the New York Times in 2009, made this point:
We have become so accustomed to living in a society saturated with misogyny that the barbaric treatment of women and girls has come to be more or less expected.
We profess to being shocked at one or another of these outlandish crimes, but the shock wears off quickly in an environment in which the rape, murder and humiliation of females is not only a staple of the news, but an important cornerstone of the nation’s entertainment. Read full article here
Let Universal and MTV know that the victimization of women as a valid form of entertainment is never acceptable and the video needs to be withdrawn. Kanye West and his management should also apologise.
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