A world without rapists would be a world in which women moved freely without fear of men. That some men rape provides a sufficient threat to keep all women in a constant state of intimidation, forever conscious of the knowledge that the biological tool must be held in awe, for it may turn to weapon with sudden swiftness born of harmful intent … Rather than society’s aberrants or ‘spoilers of purity’, men who commit rape have served in effect as front-line masculine shock troops, terrorist guerrillas in the longest battle the world has ever known.
—Susan Brownmiller, Against Our Will: Men, Women and Rape (1975, p. 15)
Living in a rape culture means adjusting to being hyper-vigilant about male violence to the point where risk management becomes second nature. It means living with the continuum of male sexual violence on a daily basis, from creepy and threatening looks and comments in the street, home and workplace, to online rape threats, attempted assault and actual assault. It means inhabiting a paradoxical space where the rape and murder of women is prohibited but everywhere eroticised and the object of laughter.
To take just one example of rape culture, the globally popular American fantasy series Game of Thronesfeatures a blond child bride being continually raped by her warlord husband. “But it’s all ok because a prostitute slave teaches the thirteen-year-old princess super sexy sex skills, and she proceeds to blow the warlord’s mind so throughly [sic] that they fall in love,” notes feminist Laurie Penny (2012)
Many men, when asked a simple question about why male domination exists, reply that it is because men are stronger than women. This answer seems innocuously simple-minded, but the explanatory statement that ‘men have power over women because they are physically stronger than women’ also means ‘men can rape and kill women if they want to’. There is no point replying that it is illegal to rape and kill women. The law does not come into it at all. It is as though the legal prohibitions against male sexual violence are little more than the sales pitch of a corporation eager to hide its criminal intent behind images of satisfied customers.
The majority of victims do not report, and the majority of rapists walk free (Miller et al., 2011; Fayard and Rocheron, 2011; Belknap, 2010). As the title of a 2013 articleby Nigel Morris in The Independent puts it: ‘100,000 assaults. 1,000 rapists sentenced. Shockingly low conviction rates revealed. Latest statistics also show difficulties in persuading victims to report attacks’. Although media attention on particular rapes occasionally stirs up public debate, these rapes are the exception to the norm simply because victims have broken their silence and the criminal justice system has been involved. One cannot but wonder how many people know of, or are friends with, men who have sexually assaulted women and children, and yet do nothing about it.
It has only been since the 1960s and 1970s that most western women have been able to work outside the home without needing permission from their husbands/owners. It is only in the last few decades that marital rape has been recognised in some nations as a human rights violation. In Australiamarital rape was outlawed as late as 1991 (Temkin, 2002). As late as 1993 the United Nations published the Declaration on the Elimination of Violence Against Women. In many countries young girls are still forced to marry their rapists.
Raping women and children continues to be a lethal form of oppression in advanced neo-liberal democracies. Victims of male sexual violence continue to be branded as ‘damaged goods’ and re-abused in the criminal justice system to such an extent that the majority of victims simply give up and opt out of the legal process (Fisher et al., 2000; Fisher et al., 2003). Lawyers are often reluctant to take on rape cases because they know they are difficult to win. Child victims of male sexual violence are subjected to ritualistic humiliation in courts (Taylor, 2004). Child pornography victims are subjected to malicious attacks by bourgeois academics in high-ranking American legal journals (Lollar, 2012).
Young women, who sustain the majority of sexual assaults, not only endure court-licensed abuse, but they are now also bullied online for daring to speak out. Raped girls are urged to kill themselves by pack verbal abuse that is all too often uttered as mocking jokes (Salek, 2013). Victim-blaming has become lethal.
In a novel by feminist academic Yvette Rocheron, Double Crossings (2009), a mother decides to commit suicide after she is brutally raped by a cousin, knowing that, if she lives, the crime will destroy her family and her life. “For her loved ones, a sublime act of love … She would go down knowingly … [T]he vitriolic defacement of women, the misguided abortions, the rapes. She was a thousand years old” (p. 271). There is no humour in this novel as the mother leaps to her death, merely a solemn awareness of the barbarism of a crime against women that leaves the murderous poison of social death in her body.
I have lost count of how many women—friends, students, colleagues, relatives, and acquaintances—have told me they have been raped. All of the rapists have gotten away with it while the women are burdened with years of unspeakable shame and self-hatred, or shunned by their families for daring to speak out about male relatives who raped them. The stories involve horrendous child sexual abuse, rape at knifepoint, abductions in vans, group rapes, women being drugged and raped, rapes by colleagues, partners and ex-partners. A woman who was raped by her grandfather told me recently that it took her 30 years to understand that her body belonged to her. Another woman, a feminist activist and journalist, after going public about being raped at knifepoint, was subjected to online abuse along the lines that she should be ‘raped with a box cutter’. When I read the comment about the box cutter it took a few moments to sink in that the man who had posted the comment was saying that he wanted to butcher her vagina with a knife. Not surprisingly, many women keep quiet about being sexually assaulted. And all of this occurs in a world in which women who speak out about male sexual violence, or any form of male domination, are routinely subjected to online rape threats (Lewis, 2011). Again, the majority of threats never result in prosecution and women are often told to ‘get over it’, ‘toughen up’ or ‘lighten up’ or have sex with a man. ‘She just needs a good fuck’, is how the all too familiar saying goes … Oddly, having sex with men is meant to dispel fear of being raped, as though women who have an accurate assessment of the dangers of rape culture are hysterics who just need sex. The idea that women enjoy being raped still persists (Suarez and Gadalla, 2010); and if women are assumed to enjoy being raped then their protests about being harmed by rape can easily be reduced to a farce.
More about Abigail’s book and how to order can be found here.
Molly, 16, (at their request, only first names are used) was asleep in the home of a friend after a party a year ago when a boy snuck into the room.
The schoolgirl from regional NSW says she felt powerless. ”I felt threatened. I guess I knew he wasn’t going to take no for an answer, that all he wanted was sex.
”I do think he knew I didn’t want to do it, but he also knew he would be able to force me to anyway, and I do believe he had power over me.”
When others heard about it they called Molly – a virgin until then – an ”attention seeking slut” who was ”asking for it”.
Aurora, 16, was at a party where a drunk boy tried to assault her. If not for her friend’s intervention, she would have been raped.
”A friend had to pull him off me so I could get away. If she hadn’t been there I don’t know what might have happened. I am, petite, 5’6′, he was at least 6’4. He could have easily overpowered me.” She was shaken and distressed for days. Neither girl reported what happened.
This is the reality for so many girls in their sexual experiences. And the pressure isn’t just from strangers.
An idea floats around that girls are sexually freer than ever. That they are exercising ”agency” in their sexual decisions and having great sex lives. That’s not what I’m hearing as I talk to girls all over the country.
For so many girls it appears the boy calls the shots. It’s submission disguised as freedom. Many feel they are not allowed to say ”no”.
And the stories girls used to tell me at 16 and 17, they are now telling me at 13 and 14.
Somehow, despite the women’s movement, despite ”Girl Power” sloganeering, girls have become disempowered.
Shannon is bright, articulate and confident. I met her at a Tasmanian school recently. She is a leader among her peers. Yet she captured what so many girls are experiencing: a struggle to assert themselves in relationships with males.
”I felt this overwhelming feeling of being lower than my boyfriend,” she said. ”I felt as though he was the male therefore he was dominant over me and I was there purely to fulfil his physical needs.
”I feel my needs, both sexually and emotionally, come second to my partner’s.”
At a private girls’ school in Melbourne, girls shared their experiences. Jen, 16, said: ”When you are in love they are allowed to treat you however.”
”If you say you want to wait, you are asked ‘why?”’ said Marly, 16.
”Girls want love and they are willing to compromise themselves to get it,” said Marina, 16. ”They need that validation. Boys feel they have more worth. They often think when they are in love, even when he treats you badly, they think this is meant to happen, I deserve this, this is how relationships are meant to be.”
”We are stuck in mindset of them having power over us,” said 16-year-old Micaela. Samantha, 16, believes girls are taught by media and popular culture that having sex will give them a sense of worth. ”If you don’t have sex he will leave for someone else.”
A 15-year-old Tasmanian student, teased for being a virgin, was planning to ”get it over and done with” with a 19-year-old she had met twice. He was happy to oblige, telling her feelings didn’t have to come into it. She told me this with tears streaming down her face. It was clear she wasn’t ready.
Girls say that it’s hard to keep feelings out. ”Girls get affected more, they are more emotionally connected and think they are in love,” said Marly.
”For girls sex is more of a sacred thing with someone you love. With boys it is seen as more of a joke … they have a different mindset. Girls have different attitudes, guys don’t seem to care that much,” said Jen.
Girls describe being touched inappropriately, frequently pushing away unwanted hands.
”At parties boys come up and just touch you,” said Micaela. ”You are there as an object. If you don’t do what they want they call you frigid”.
But girls are growing tired of being reduced and degraded in these ways. They are increasingly demanding respect-based relationships in which their wishes and desires are treated equally, not last. ”I stand up for myself now,” Aurora told me.
The sexual landscape is grim, but let’s hope more girls are empowered to follow Aurora’s lead. Listening to girls’ experiences and supporting them to stand up for themselves – as well as calling boys out on their abusive and too often criminal behaviour – is more helpful to them than persisting with media fantasies about the wonderful and liberated sex lives of Australian girls in the 21st century.
A female teacher at a Tasmanian school where I spoke on the objectification of women could not stay to hear the end of my talk.
The images I showed were too confronting, bringing back traumas suffered two decades ago.
”The very acts that have become part of my trauma were there on display as a part of mainstream culture,” she said.
Do advertisers, editors, fashion, music and video-game producers think about how their violent images traumatise female survivors of sexual abuse and degradation?
T-shirts in surf stores depict women naked, bound and splattered in blood. Mainstream advertising shows women pinned down in simulated gang-rape scenes, tied up in cars boots, buried, chopped into pieces, decapitated. Women are shown as passive, vulnerable, often naked and as sex aids.
These images, among 200 in my presentation, took Genevieve back 20 years.
Once an idealistic young person, Genevieve worked hard to turn her love of acting and performing arts into admission to a prestigious performing arts school.
”It went without saying that you did not get in just on talent, but on marketability,” she says.
”I remember consciously dressing in a low-cut body suit and tight jeans aware that my acting skills were only part of my ticket in. From that moment on, I was a commodity and accepted treatment as such.”
Groomed by a lecturer, she ended up drugged and sexually assaulted for three days by five men. Each played out fantasies that were listed in explicit writing on the walls. Because of their power and status, she didn’t go to the police, fearing retribution.
She also felt that being cross-examined in the courts would retraumatise her. She had seen what had happened to other victims.
What Genevieve suffered came back to her as I spoke. Seeing my images caused her to panic. Her heart beat rapidly, she went into a hot sweat and she felt herself dissociating and losing time.
She says she felt retraumatised. ”I could feel a rising wave of fear. I’ve spent 20 years rebuilding my life. Every day I have to make a wall between me and the world. I’m so busy trying to protect myself. Deviant behaviour is now on public display every day.”
Do those who profit from the images they use to sell things even care about the impact on women like Genevieve? She is worried about the normalising of these images to children. ”What hope do my boys have of knowing where the line is? What hope does a girl who experiences these things have of getting understanding and support when she is confronted by constant exposure to images that say it is OK?” Genevieve asks.
Two years ago, Brian McFadden (his fiancee at the time, Delta Goodrem, was an anti-violence ambassador) released a song titled Just the way you are (Drunk at the Bar), which contains the lines: ”I like you just the way you are, drunk as shit dancing at the bar, I can’t wait to take you home so I can do some damage … I can’t wait to take you home so I can take advantage.”
In response, one survivor wrote in a comment on my blog:
”So, Brian McFadden, do you think this is something to poke fun at? Does my story deserve its own catchy tune and rounds of laughter and applause because you were so clever to come up with something witty that ultimately diminishes the trauma of my experience and belittles my feelings about it?”
Such imagery and words, as used by McFadden, create a harmful cultural narrative about what it means to be a woman today. Media and popular culture reflect values. Any reading of the social landscape tells us women are really only good for one thing: to be used sexually.
Anti-violence campaigner and sexual assault survivor Kate Ravenscroft points out that one in three women is a victim of violence, yet the trauma of their experience is diminished and belittled.
The cultural messages that make violence appear sexy are part of the same culture in which victims of sexual assault have to survive.
”Seeing that violence treated flippantly, carelessly, can be devastating,” she says.
Women like Genevieve battle to control rising panic most days, everywhere they go, because the acts done to them are on display so casually, with the tacit approval of governments who love to repeat a mantra that self-regulation is working. It’s not, and it’s real women who are hurt because of it.
When murderer John Coombes was convicted for a second murder, what did the Adult Parole Board do? Let him out of prison in 2007 to murder his friend, foster mother Raechel Betts, and throw her body parts into the sea.
When violent offender William Watkins was convicted of raping a neighbour in 2000, what did the board do? Let him out of prison to rape and murder Laura and Colleen Irwin, two sisters living next door.
When drug trafficker David Clifford was convicted for physical assault and harassment offences, what did the board do? Let him out in 2008 to bash and murder hairdresser Elsa Corp.
When Steven Hunter was convicted of assault, false imprisonment and drug trafficking, what did the board do? Gave him parole in 2009, meaning he was free to murder Sarah Cafferkey three years later (just after parole ended) and dump her body in a wheelie bin.
When Francis McCullagh was convicted for burning, kicking and bashing the mother of his three children with blocks of wood in 1997, what did the board do? It let him out of prison to bash his girlfriend Melanie Harnden to death.
When Jason Dinsley committed a drug-fuelled rape at knife point, the board overlooked his 100 prior convictions and released him. He then battered Sharon Siermans to death in April with a cricket bat while her son hid in a bedroom.
And when convicted rapist Adrian Bayley was given his leave pass, he raped and murdered Jill Meagher last September.
This prompted the commissioning of the just-delivered report of former High Court judge Ian Callinan on the board’s catastrophic failures.
All these women might still be alive but for the board’s decisions.
In 1991, Bayley was given a five-year sentence for raping three women. He served only three years. In 2002, he was convicted of 16 counts of rape against five prostituted women, and received just under half the maximum sentence. In the year before he killed Meagher, the board was warned five times about his behaviour.
”There was no single documentation containing a straightforward complete chronology of his criminal history or analytical material relating to it on the files,” Justice Callinan said.
While violent sexual offenders and serious sexual offenders including paedophiles ”constituted an obvious and greater threat to society than most other offenders”, victims’ rights came second to the rights of offenders. Victims were often not even given notice of the release of sex offenders.
”I have no doubt that many of the victims of serious violent and sexual crimes do not believe that their concerns are fully taken into account by the ‘authorities’,” Justice Callinan wrote.
Victorian Premier Denis Napthine has said that a number of the 23 recommendations, including tougher criteria for release, will be adopted ”swiftly”. Why not all of them? Why not immediately? Delay could be lethal. (There have been 401 arrests for breaches of parole just this year).
Of course Victoria isn’t the only state where the criminal justice system fails women. Terrence Leary allegedly assaulted a woman in June after being out on parole for the 1990 murder of a 17-year-old girl.
In 2001, Sean Lee King, 27, beat his girlfriend Jazmin-Jean Ajbschitz, 18, to death in a ferocious, drug-fuelled murder. He was on parole for drugs and firearms offences and was facing separate assault charges.
The NSW State Parole Authority has been criticised for deciding to release murderers, sex offenders and other serious criminals based on deliberations lasting often only five minutes.
Former authority member Noel Beddoe told NSW Attorney-General Greg Smith that the ”safety of the community wasn’t always uppermost” in the parole process and that it was increasingly difficult to give complex cases the attention they deserved. Smith had asked Corrective Services NSW for a review of the handling of serious sex offenders on parole.
State governments should also take another look at sentencing. Alison Grundy, a NSW clinical psychologist in the field of sexual assault for more than 20 years, recalls a case in which a man convicted of sexually assaulting her client received a suspended sentence. But for stealing a caravan he was sent to prison for three years.
”I thought at the time – yep that about sums it up – women’s safety is not an issue and women’s lives are pretty cheap,” Grundy says. ”The right to freedom for men is infinitely more important under the law than the safety and lives of women.”
A Change.org petition calling on federal and state attorneys-general to enact stronger rape sentencing has more than 27,000 signatures.
Sentencing and release issues have become too much about the rights of offenders. More attention needs to be given to the rights of women, to value our rights to live a decent life. Or simply to be allowed to live.
US RAP artist Tyler the Creator sings songs advocating rape and extreme violence against women. His lyrics include themes of murder, genital mutilation, stuffing women into car boots, trapping them in his basement, raping their corpses and burying their bodies. In Tyler’s world, women are sluts, bitches and ‘‘hos’’ who invite criminal acts. They have it coming. It’s what they deserve. And we just welcomed him to Australia. Many are calling on Immigration Minister Brendan O’Connor to explain why he has given a platform to an artist who raps about rape as fun. The rapper’s concerts begin in Perth today. He’ll be in Melbourne on Friday. His Brisbane gig at Eatons Hill Hotel is listed as for ‘‘all ages’’. Tyler the Creator gets a free pass to promote male entitlement to do anything to women. Some of his lyrics include:
‘‘ You call this sh– rape but I think that rape’s fun, I just got one request, stop breathin’’
‘‘ F– Mary . . . keep that bitch locked up in my storage, rape her and record it’’ ‘‘ Chop her up in the back of a Wrangler’’ ‘‘ I wanna tie her body up and throw her in my basement, keep her there, so nobody can wonder where her face went’’
There’s lots more, but it’s unpublishable.
In Australia, violence against women costs the taxpayer an estimated $13.6 billion. The Australian Government says it is strongly committed to reducing domestic violence and sexual assault, and has provided funding of $75.7 million over four years via the Women’s Safety Agenda.
The Victorian Government’s action plan to address violence against women allocates $90m to the cause this year.
To violence against women Australia says . . . it’s just entertainment?
If we are serious about addressing violence against women, should a visa be granted to a man who makes a living treating it as entertainment? What’s the point of programs if we tolerate those who fuel it?
In a plea to Immigration Minister Brendan O’Connor and Foreign Affairs Minister Bob Carr, Perth woman Caitlin Roper wrote: ‘‘As a survivor of sexual violence, I can honestly say the impact is devastating, not only for the woman, but our families and those who love us. I believe we need to have zero tolerance for those that encourage violent and dehumanising acts on women.
‘‘I realise of course that asking you to revoke Tyler the Creator’s visa is a huge ask. However, I would ask you to consider the message you could send to Australians about the serious nature of violence against women and the Government’s lack of tolerance for hate speech against our female citizens.’’
The rapper’s hate speech include gays. Tyler the Creator’s rap group, Odd Future, was banned from the NZ Big Day Out line-up after complaints about his lyrics; in that case, homophobic slurs. Tyler responds to women (including this writer) who criticise his misogynistic lyrics, with sexually intimidating comments on social media.
Australian Immigration Fact Sheet 78 on Controversial Visa Applicants refers to ‘‘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 a segment of that community, or represent a danger to the Australian community or a segment of that community’’.
Shouldn’t vilifying women and contributing to an environment that puts them in danger qualify for a reconsideration of his visa? Many of those attending his concerts will be boys forming their opinions about women. They will get a message that abusing women is cool. Inciting criminal acts does not deserve the protection of free speech.
When musicians Tegan & Sara criticised his lyrics he offered them his erect penis. They had written:
‘‘When will misogynistic and homophobic ranting and raving result in meaningful repercussions in the entertainment industry? When will they be treated with the same seriousness as racist and anti-Semitic offences?’’
Is there one political leader in this country who will declare Tyler the Creator’s brand of hatred unwelcome?
When a society doesn’t take violence against women seriously, and even considers it a form of entertainment, it has devastating results for women and girls.
The human rights violations Tyler raps about happen to real women. He is contributing to a culture that enables and excuses it. In a country that claims to care about the treatment of women, why would we give him a platform?
*TRIGGER WARNING* Graphic descriptions of rape and violence against women
Collective Shout is urgently calling on the Minister for Immigration and Citizenship, Hon. Brendan O’Connor, to revoke the visa granted to Tyler the Creator.
Rapper ‘Tyler the Creator’ is due to arrive in Australia for a series of concerts beginning on Tuesday June 4. Tyler is reknown for songs advocating rape and extreme violence against women, including murder, genital mutilation, stuffing them into car boots, trapping them in his basement, raping their corpses and burying their bodies.
Here are some of his lyrics:
“Raquel treat me like my father like a f*ckin’ stranger, She still don’t know I made Sarah to strangle her, Not put her in danger and chop her up in the back of a Wrangler, All because she said no to homecomin’”
“F*ck Mary in her ass.. ha-ha.. yo, I tell her it’s my house, give her a tour, In my basement, and keep that bitch locked up in my storage, Rape her and record it, then edit it with more sh*t”
“You already know you’re dead, Ironic cause your lipstick is red, of course, I stuff you in the trunk”
“You call this sh*t rape but I think that rape’s fun, I just got one request, stop breathin”
“I wanna tie her body up and throw her in my basement, Keep her there, so nobody can wonder where her face went, (Tyler, what you doin’?) Shut the f*ck up, You gon’ f*ckin’ love me bitch, Sh*t, I don’t give a f*ck, your family lookin’ for you, wish ‘em good luck, Bitch, you tried to play me like a dummy, Now you stuck up in my motherf*ckin’ basement all bloody, And I’m f*ckin’ your dead body, your coochie all cummy, Lookin’ in your dead eyes, what the f*ck you want from me?”
“You’ll be down in earth quicker if you diss me tonight, I just wanna drag your lifeless body to the forest, And fornicate with it but that’s because I’m in love with you…c*nt”
Tyler responds to women who criticise his misogynistic yrics.
And I got one too:
Controversial Visa Applicants
Australian Immigration Fact Sheet 78 on Controversial Visa Applicants refers to “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 a segment of that community, or represent a danger to the Australian community or a segment of that community.”
Tyler the Creator promotes hate speech against women, perpetuating male entitlement to use women’s bodies, to regard women as “bitches”, “sluts” and “hoes” for their sexual use. Tyler the Creator’s glorification of rape and violence against women could be considered inciting his fans to commit violent crimes against them.
We are callling on the Minister to consider the best interests of Australia, including the safety of our female citizens.We ask him to act urgently to revoke Tyler the Creator’s Visa so that he cannot promote his misogynistic attitudes here.
CALL TO ACTION:
Please URGENTLY email or tweet Minister Brendan O’Connor.
Following our protest against 30 Rock stand-up comedian Tracy Morgan – who spread his anti-women pollution at the Melbourne International Comedy Festival this week – and our calls for Regal Theatre in Perth not to give him a platform to spread his hate speech further, Morgan responded on Monday night. According to The Real Steve Gray, this is what he said:
In front of a sold out Regal Theatre in Perth last night, 30 Rock star Tracy Morgan addressed the bad press he received in Melbourne on the weekend.
“All I’m trying to do is make people laugh,” he said onstage.
Fans allegedly stormed out of Hamer Hall during the Melbourne International Comedy Festival in disgust – some demanding refunds – claiming he was misogynist and lacked humour.
It was all sexually related. He said he was a pervert and this is the sort of stuff he liked and then it went on from there,” she said.
“He went everywhere, he discussed disabled people having sex, what his experiences were, everything he discussed was just disgusting.”
Women’s rights campaigner Melinda Tankard urged for the cancellation of his remaining Australian dates.
Morgan has been called out for offensive material in the past..
“Collective Shout is calling on Regal Theatre to not give Morgan a platform for Morgan’s misogynist hate speech,” Tankard posted on her website.
“It’s fear, [Tankard] doesn’t understand me,” Morgan told Perth fans. “I love her anyway,” he added.
Social media exploded with conversation after the initial MICF reviews surfaced.
“Unfunny, sexist, racist, misogynistic, disgusting rubbish,” one Melbourne attendee posted.
“I left thinking he is chauvinist pig and I can’t believe I paid almost $80 for it!” commented another.
On occasion last night Morgan made jokes at the expense of his enemies and refused the censor his material. “Go home and blog some shit ’cause you ain’t gettin’ any,” he said. “I don’t give a fuck what you think.”
The deluge of apologists for Morgan’s behaviour has been remarkable, even by usual standards. I’m still processing it and will write about it further. Seems anything is justifiable in the name of ‘art’ or ‘entertainment’. Here’s the Regal Theatre’s response to a Collective Shout supporter:
Date: Tue, 16 Apr 2013 11:27:12 +0800
Subject: Re: Tracy Morgan hate speech
I appreciate your email, but the Regal does not engage in discrimination when selecting acts for our venue.
Regal Theatre 474 Hay St Subiaco Western Australia 6008 0448 111 308 9388 2066
That’s right folks, we allow acts at our venue to discriminate against ANYONE!
If you don’t like it don’t go?
There’s this idea that the problem with us, for being ‘offended’, not with Morgan’s speech.
My colleague Nicole Jameson addresses this really well:
‘If you don’t like it leave, or don’t go in the first place’ IS a defence of misogyny – it’s based on the false, apologetic premise that hate speech against women is only subjectively offensive. Sexism doesn’t go away if we ignore it, nor if we dress it up as ‘edgy humour’ or ‘boundary pushing’ in order to swallow it.
Call on Regal Theatre to pull Morgan off the program
How much more women-hating are we expected to endure? And this latest manifestation in the name of ‘entertainment’?
Steve Bennett has written this review of 30 Rock’s Tracy Morgan’s stand-up Performance at the Melbourne International Comedy Festivalfor UK comedy guide Chortle. Here’s an extract:
So here’s the problem. There’s only one reason Tracy Morgan can fill Melbourne’s 2,600-seat Hamer Hall twice in one night, and that’s 30 Rock: a sophisticated, endearing and witty sitcom. But Morgan’s stand-up is none of those things.
This is an unpleasant, graphic, charmless 45-minute tirade – brevity being a rare redeeming feature – sharing his baser instincts in putrid detail, and very little humour.
‘Fucking women are crazy’ he tells us, with his advice to the fairer sex being both, ‘get yo’ ass in the fucking kitchen’ and ‘give that pussy up and stop this bullshit.’ For ‘bullshit’, he means ‘conversation’, I think, for as he taps his head, he warns the men: ‘Once a woman get in there, she live rent-free.’
Let us not assume he is discriminatory about ‘bitches’, though, as he shows no prejudice as to where he sticks his penis: Fat, thin, black, white, disabled – all women can be a receptacle for him. He is something of a vaginal connoisseur, sharing his informed reviews: ‘That pussy be burnt out’; ‘That crippled pussy stays wet’; ‘that pussy stink just a little bit’… there was something about the lubricating ‘discharge’ from a disabled woman too, but I was too busy gagging to write that line down verbatim. Read full story here
It was good to know at least some people walked out. Even better would be if those planning to attend his gig at the Regal Theatre tomorrow night boycotted it. Collective Shout is calling on Regal Theatre to not give Morgan a platform for Morgan’s misogynist hate speech.
‘We showed companies all over the world that rewarding rape is not just wrong, it’s a bad marketing strategy’
So happy to report some good news.
U.S based women’s protest movement UltraViolet led a massive protest against rapper Rick Ross and his endorsement deal with Reebok, prompted by his lyrics in the Rocco song ‘U.O.E.N.O’., about drugging a woman and having sex with her without her knowledge.
Ross’s segment on the song featured spiking a woman’s drink with the drug MDMA, also known as Ecstasy or molly:
Put molly all in her Champagne
She ain’t even know it
I took her home and I enjoyed that
She ain’t even know it.
Only 13-months-old, UltraViolet harnessed a groundswell of protests that forced Reebok to end its relationship with the rapper. Much of the action took place through social media, resulting in a mammoth 90,000 signature petitions, 10,000 phone calls and 2000 tweets.
Protest outside the Reebok store in Manhattan (NYT)
Here’s an email I just received about the campaign’s success.
YOU just dealt a big blow to rape culture.
Thanks to 100,000 UltraViolet members and our allies who spoke out, Reebok just ended their endorsement deal with Rick Ross, the rapper who brags about raping a woman on his recent single. The 90,000 petition signatures, 10,000 phone calls, 2,000 tweets, the letter signed by 500 rape survivors, and the nearly 100 people who rallied at Reebok’s New York City flagship store sent a clear message: we won’t stand for a company that rewards rape.
And Reebok listened. In fact they issued a strong statement, saying “We are very disappointed [Ross] has yet to display an understanding of the seriousness of this issue or an appropriate level of remorse.”1
When a company does the right thing, it’s important that we thank them–so we’re going to send them a thank you card, signed by thousands of UltraViolet members. We’ll also send the card to the press to help Reebok get good publicity for taking a stand against rape. Can you sign the card?
This isn’t just a blow to Rick Ross–it’s going to have an impact on how companies like Reebok choose their spokespeople in the future. We showed companies all over the US–and all over the world–that rewarding rape is not just wrong, it’s a bad marketing strategy.
After Todd Akin, Rick Ross, Steubenville, and far too many similar stories, it’s clear we have a lot of work to do together to end rape culture. But right now, we need to take a moment to thank Reebok, and show companies everywhere that if they stand up for women, it will pay off. Can you sign the thank you card?
Thanks for speaking out,
Nita, Shaunna, Kat, Malinda, and Karin, the UltraViolet team
Ross part of another video eroticising violence against women
Remember Rick Ross’s part in a behind-the-scenes clip for the Kanye West Monster video which showed him eating a plate of meat between the spread legs of a dead woman? Collective Shout, Adios Barbie and others joined together in a global campaign against the Monster video which was described as a rape scenario set to a soundtrack – and won. MTV refused to screen it.
Antoinette Jones – Principal – Mitcham Girls High School
“Intelligent, passionate, brilliant, fearless… I could not recommend her more highly”
Dr Michael Carr-Gregg
“You continue to reset my shock meter…”
“As a teacher and parent I recommend all parents, in fact all people, to attend a talk by Melinda- it will open your eyes and awaken your subconscious.”
Heather Douglas – Parent – Pembroke School
“Melinda’s presentations to our parents, staff and full day workshops to students was inspirational, transforming the attitudes and thinking of all involved”
Paul Teys – Principal – Hunter Valley Grammar
“Melinda Tankard Reist’s presentation to Middle and Upper School students at Pymble Ladies’ College was absolutely brilliant!”
Justine Hodgson – English Faculty, Pymble Ladies’ College
“Melinda Tankard Reist has had a transformational affect on our school.”
Ms Stephanie McConnell, Principal – Turramurra High School
In this DVD, Melinda takes us on a visual tour of popular culture. “Melinda’s presentation leaves audiences reeling. She delivers her message with a clarity and commonsense without peer.” – Steve Biddulph, author, Raising Boys, Raising Girls
Purchase Big Porn Inc, Getting Real, Faking It and the Ruby Who? book and DVD in one bundle for $100 and save 20% off the individual price.
Purchase Big Porn Inc, Getting Real and Faking It in one bundle for $70 and save 20% off the individual price.
Purchase Getting Real, Faking It and Ruby Who? DVD in one bundle for $60 and save 12% off the individual price.
Purchase the Ruby Who? DVD and book together for only $35 saving 10% off the individual price.
“This powerful and humane book is a breakthrough…Big Porn Inc shows us we are poisoning our own spirits.” – Steve Biddulph
“A landmark publication” – Clive Hamilton
“Getting Real contains a treasure trove of information and should be mandatory reading for all workers with young people in health, education and welfare” – Dr Michael Carr-Gregg, Adolescent Psychologist
Do you read women’s lifestyle magazines? Have you thought about how magazines might affect you when you read them? Faking It reflects the body of academic research on magazines, mass media, and the sexual objectification of women.
Ruby Who? is the sweet and innocent story of a little girl’s adventure in re-discovering her identity. Ruby wishes for so many things and dreams of being like others. Will she end up forgetting how to just be herself?
Ruby Who? is the sweet and innocent story of a little girl’s adventure in re-discovering her identity. Ruby wishes for so many things and dreams of being like others. Will she end up forgetting how to just be herself?
Defiant Birth challenges widespread medical, and often social aversion to less than perfect pregnancies or genetically different babies. It also features women with disabilities who were discouraged from becoming pregnant at all.