‘What I’ve learned from Twitter is that it doesn’t matter what I do. It didn’t matter what I’ve done, what I’ve said, what I’ve written. My body of work doesn’t matter and my actual thoughts don’t matter. Not to those who have decided to hate me’
I’ve got a problem with Meghan Murphy and her Feminist Current blog. Every time I go there I want to re-print pretty much everything she writes. Here’s her latest. And yes, if you’re wondering, this piece resonated. A lot. Especially a week into the twitter response to my piece in Fairfax papers on the need for Australia to follow France’s lead in adopting the Nordic approach to prostitution last week (no, I’m not ‘whorephobic’ and no, I don’t want all sex workers to die).
I love the internet. I really do. And I can’t stand the luddites who romanticize the days where people talked. Face to face. Or called each other. The phone? Really? Please. Fuck the phone. The internet is magic.
I have found dozens — I’d even be so bold as to say hundreds — of brothers and sisters across the globe who I would have otherwise never found, if not for the ability to connect online.
So I have no interest in blaming technology or social media for people’s behaviour or arguing that Twitter is unequivocally “bad” (or “good,” for that matter). Things are never quite that simple. But what I will say is this: Most days I hate Twitter. And many days I think Twitter is a horrible place for feminism.
While I would never argue that feminists stay off of Twitter and do tend to believe it’s a necessary evil, of sorts, if you are in media/writing/journalism, I don’t think it’s a place for productive discourse or movement-building. I think it’s a place where intellectual laziness is encouraged, oversimplification is mandatory, posturing is de rigueur, and bullying is rewarded. I think it’s a place hateful people are drawn towards to gleefully spread their hate, mostly without repercussion. And more than half the time I feel as though I’m trapped in a shitty, American, movie-version of high school that looks more like a popularity contest than a movement to end oppression and violence against women. Read full article here.
This message from a special fan landed in my public profile Facebook inbox this morning. I won’t include his name, as he would probably enjoy that too much.
You are a dickhead. You fk’n leso feminist. I bloody hate u bitch. You always have something to say. I bet you think “Playgirl” with pictures of men in porn magazines is all okay but when it’s women, it’s taboo as far as you are concerned. You have obviously had a very sheltered life. I would guess that I am not the only one who hates you. It is fair enough if women’s heads are photoshopped onto models bodies but when women SEND IN THEIR OWN PICTURES, it’s because they want to show off their bodies. They are not made or forced to do so. You have a very shallow mind bitch
It’s just one of many along these lines which come to me regularly. My friends all get them too, mostly through social media. We often compare them at the end of the day to see who got the ‘best’ one. I used to be the winner most days but now a couple of my mates are in the lead, especially those who have taken it up to the Lingerie Football League. All in a day’s work.
But it was good, just after reading the latest love letter, to come across this commentary by Van Badham on Women’s Agenda (a site I’ve only just discovered and which ran this really good piece about women and appearance). Here’s an extract but it’s worth reading the whole thing:
Whether it’s deliberate or non-self-aware, Brospherism is passive-aggressive sexism that foments social awkwardness and inflicts personal damage, because it masquerades as the instruction of colleagues whilst relying upon same old, same old sexist traditions of dismissing women’s agency and enforcing gendered standards of behaviour. You know you’re up against the Brosphere when you encounter subtly gendered language to dismiss the (unheard) sound of written women’s voices as “yelling”, “shrieking” or “shouting about nothing”. Call out this or any other kind of discursive marginalization in an online forum and you risk invoking the wrath of Brospherus Maximus, a pack-attack of mutually reinforced conclusions that the feminist doesn’t know what sexism is, that she is “over-reacting”, “over-sensitive”, “crazy”. The gender-doom of denunciation as “hysterical” is only ever one connotation away, the words “calm down” or “settle” apparently inevitable, while substantive content of whatever comment made by a woman displeased the original Bro is ignored in favour of a defensive schooling in how feminists who criticize sexist behaviour just can’t, um, engage criticism. Read more here.
Readers wanting something of substance from Dolly’s June issue would do best to skip the first half and go straight to the second. Articles on self-harm, hate pages and unhealthy attitudes toward food redeem the insubstantial nature of the pages that go before.
‘Would you “like” a hate page?’ explores the phenomenon of online hate pages. A hate page is explained as any page set up on social media to incite hatred, violence or racism towards a group or individuals. Susan McLean of Cyber Safety Solutions explains there are more hate pages around now. “Many people who participate in hate pages wouldn’t behave this way in the real world. There’s a lack of accountability online, so people think they can get away with it,” McLean says. A pack mentality can also be at work, where the more ‘likes’ a page gets the more others join in. Readers are reminded that under state cyber bullying laws, people posting comments or threats on hate pages can be charged. Psychologist Meredith Fuller explains that ‘liking’ the page is the cyber equivalent of looking on while someone gets bullied. Readers are encouraged to report hate pages. A related piece is ‘How I fight bullying’, with three girls telling their stories of addressing bullying in groups including The Hope Project, Angels Goal and Student Harassment Investigation Team (S.H.I.T).
The feature on self-harm is very welcome. Exploring the distressing phenomenon of ‘cutting’, Dolly tells the story of Emily, 15, who started cutting when she was 12. “I do it in secret and hide it as best I can. Sometimes I feel so overwhelmed that the only relief I can get is to hurt myself,” she says. An estimated 10 percent of teen girls self-harm. It should not be put in the category of attention-seeking (most girls try to hide the habit) – it is a response to intense emotional pain. Those who engage in the behaviour get a temporary sense of relief, with emotional pain transferred to physical pain. Jasmine, 16, shares her journey of recovery, replacing the act of cutting with positive activities until the urge to cut has passed and talking to trusted people about it. Jasmine has a blog called Perks of Recovery. Read more
‘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.
Many girls and young women look to girl’s magazines for advice on life, relationships, bodies, health and sexuality. But too often they receive conflicting advice and mixed messages and even, sometimes, outright contradiction.
Take for example, information provided in the sealed section of Girlfriend this month, where, within four pages of each other, two medicos give different information about age of consent laws. A 15-year-old, in a relationship with a boy the same age, enquires about age of consent laws because the two want to have sex. Dr Philip Goldstone replies “generally, if you are both under the legal age of consent, it is still illegal for you to have sex.” However Dr Sally Cockburn, under the heading ‘What if you’re both under the age of consent?’ writes: “If two people are both under the age of consent, but are the same or similar age, and both decide to engage in sexual activities, it’s not a legal issue – as long as there’s no coercion, violence or power imbalance involved. Basically, as long as you’re both in control and making informed decisions, there are no legal problems.” So who is the reader to believe? Isn’t this important enough to get right? How does the editing process work at Girlfriend for a contradiction like this not to be noticed? Girls don’t need confusing advice about where they stand under the law.
Not a matter of legal confusion, but something that is consistent is that I have to comment on the ‘Project You Reality Check’ again like I have to on the equivalent in Dolly. The logo is used so inconsistently I have little choice. On the front cover the ‘Reality Check’ provides the vital information that a tag was removed from fashion girl Kylie’s top and that the water in the background was darkened. Seriously, why bother? Then inside, ‘Style School’ features four girls with the ‘Reality Check’ telling us “We haven’t retouched any of these images – we didn’t need to! All the girls look great just the way they are”. So if that’s the case, does it mean that when girls are airbrushed they didn’t look ‘fine the way they were’? Do some need to be airbrushed while others don’t? Also confusing is that the young women featured are specifically clothed to highlight and play down certain parts of their bodies. For example Alex, 15, is dressed to give “the illusion of longer legs” and a mix of large and small prints “also disguises any unwanted bumps”. Eloieese, 14, is lanky, so given curves and a defined waist and “fuller figured” Gemma, 18, is put “in a peplum top, as it draws attention to the slimmest part of her body – her waist”. No airbrushing – but they are still dressed to give the illusion of something other than what they are, and to hide unwanted bumps. I’m all for the disclosure…but it needs to be consistently applied and align with what else is in the magazine as a whole. Otherwise it loses all meaning. Read article here.
This would have to be the best analysis of the rise of the ‘selfie’phenomena I have read. Meghan Murphy, love your work.
Clearly the world is engaged in an elaborate plot to make me LOSE MY MIND. You win, world! You are the dumbest and the worst at everything. I concede.
This morning’s episode of CBC Radio’s The Current featured a debate about ‘the selfie’. Listening was a little agonizing at times, but it provided an excellent portrayal of our culture’s mass confusion about what it means to do something ‘for ourselves’ vs. performing for the (male) gaze.
Self-centered as we are, we like to believe that everything we do is ‘for ourselves’, even it’s it’s clearly for others. It’s comforting, yes. But it’s also bullshit. It’s simply not possible that, if we put images of ourselves, or really, if we put anything at all online, that it’s ‘for ourselves’. If it were just ‘for ourselves’ we wouldn’t put it on the Internet.
Now, doing things for others is not terrible. We live in a world with other people, naturally we are going to care what they think of us, which makes it all the more ridiculous that people are so very committed to this imbecilic idea that everything they do ever is all about them.
Writer, Sarah Nicole Prickett, is given the task of defending the selfie in the debate, along with two others: Andrew Keen and Hal Niedzviecki. I imagine she felt the need to exaggerate her points because debates are often intended to be combative and inflammatory, the fear being that, without going a little over the top, the debate becomes boring. But yeesh. I’m not sure how one could put forth the idea that the selfie is just something women and girls do ‘for themselves’ or that it somehow subverts the objectification we are subjected to throughout their lives with a straight face.
Keen makes the most practical and accurate points in the debate, calling the selfie trend “an extreme form of narcissism” that will contribute to a thoroughly embarrassing legacy. Historians will surely regard our culture as one made up of a bunch of spoiled, disgusting ninnies who have an inexplicable obsession with reconstructing our faces and bodies to look like cartoonish parodies of ourselves and who are so thoroughly engrossed with our own lives that we document every single thing we think/do/put in our mouths (Henceforth to be known as #saladtweets, be sure to follow every one of these posts with ‘LOL’ so everyone knows your engrossing tale of WAITING IN A LINEUP or witnessing your baby acting like a baby is entertaining).
Keen is right that we’re living in a narcissistic time, but Prickett points to the ways in which this ‘narcissism’, if you want to call it that, impacts women and girls in a particular way, pointing out that more ‘girls’ participate in this activity than ‘guys’. Disappointingly, she is unwilling to follow through on her own analysis.
Prickett responds to Keen’s critque by saying “a man has not lived inside the experience of a teenage girl” and therefore, how could he possibly critique this clearly gendered phenomenon? Her response to Keen’s argument that the selfie is pure narcissism is particularly revealing: “You have not spent your life as a girl who is looked at, who is judged by how she is looked at, [and] who might have some interest in showing the world how she thinks she looks because that is preferable to how they think she looks.”
Yes! You might be thinking. But no. No because now is when we pull out all our hair.
While, yes, women and girls are constantly looked at and no, men don’t understand what that’s like and what kind of impact that has on our lives and how it shapes our view of ourselves, Prickett completely misses an opportunity to point to some of the implications of moving through life as an object of the male gaze. Instead of looking at the selfie through this lens she veers off into the well-trod ground of ‘it is what it is’, leading into the self-fulfilling ‘male gaze as opportunity for empowerment’ line.
It’s both disappointing, but also a little telling that a man (Keen) seems to understand the meaning of the selfie in a cultural context as well as in a gendered context much better than Prickett does, pointing out that it isn’t actually ‘empowering’ to perform for the male gaze, simply because this is what our society teaches us to do.
Here’s what I think (you were wondering, weren’t you?): Women are brainwashed! It’s a trick, you guys! If we think we’re being empowered, then we can forget about challenging sexist norms and trends. If we convince ourselves that we’re REALLY just objectifying ourselves and that REALLY these stilettos are for MYPLEASURE (oooooh, rolling my ankle makes me feel sexy and free!) then we don’t really need any feminist movement now, do we? Also, believing we aren’t victims of an unfair and oppressive system it helps us to feel non-shitty.
Photographer, Elena, comments that the selfie is simply about self-expression or self-love, going on to argue that we can’t judge a person or assume they are simply ‘vain’ because we have no idea what the selfie-taker’s motive is. Well OK. So it’s perhaps true that not every person who takes a selfie is being ‘vain’. I mean, at this point the selfie is a pretty common and unremarkable part of our culture. I’ve done it, we’ve all done it. THAT SAID, just because we DO THINGS doesn’t make those things universally ‘OK’ or neutral.
Can we create some kind of mantra? Like, “Just because you like something doesn’t make it ‘good’!” “Just because you ‘feel good’ doesn’t make something ‘right’!” “Just because you have a feeling doesn’t make your feeling an unexaminable truth!” Didn’t our parents drill this into our heads when we were kids? “If everyone else jumped off a bridge… blah blah blah.” Just because people do things doesn’t mean you have to do them or that those things are ‘OK’.
Prickett understands that women and girls are treated as commodities and learn to navigate their lives as commodified objects BUT STILL she is unwilling to use her powers of critical analysis to move past the ‘this-is-happening-so-it’s-happening’ analysis.
She even goes so far as to compare critique of the gendered popularity of selfies to some kind of hysterical “Victorian bullshit where we don’t want girls to get pleasure from themselves alone because it upsets the whole order” (like masturbation!). UUUUUUGGGGGGGGGGGH. Do people even KNOW WHAT WORDS MEAN ANYMORE???
Clearly if we are taking photos of our faces and bodies and sharing them on the Internet, we are not doing this ‘for ourselves’. Just as boob jobs and wearing makeup and making porn isn’t ‘for ourselves’. While other panelists seem to understand this concept, Prickett continues along her merry way, trying to convince us that the selfie is about TAKING BACK OUR POWER AS WOMEN, or something. See, by learning to love and perform for the male gaze, we are empowered! It’s classic burlesque-brain logic. I’m doing this, therefore it’s for ME.
Just because you grow up in a culture that turns you into an object against your will, it does not mean that, somehow, if you ‘choose’ to further objectify yourself it is somehow subverting the enforced objectification.
Prickett says she “doesn’t want to revert to [the] first year university, ‘it’s the male gaze’ [thing]” but feels she has no other choice. And OH how I wish she’d paid attention during male gaze class (Quick plug: Learning about the male gaze is great incentive for taking Women’s Studies in college and university!).
When we internalize the male gaze, we see ourselves through that lens. So we turn the camera on ourselves, or we objectify other women, or we objectify ourselves — because that’s how we have learned to see women and to see ourselves. Simply because a man is not literally looking at us at the very moment we ‘choose’ to objectify ourselves or simply because our audience may be comprised of some women, does not erase the male gaze from our psyche.
Keen says, near the end of the debate: “If we can’t judge our culture, what can we judge.” And I wish feminists would take that into consideration before repeating the horrid and useless (yet, ever-popular) “don’t judge me!!!” mantra that pops up when anyone tries to critique any social phenomenon or behaviour.
As Keen notes, in response to Prickett’s attempt to compare critique of the selfie to ‘Victorian’ hysteria around masturbation, public masturbation is different than private masturbation. Posting photos of ourselves on the internet makes those photos public, therefore not ‘for ourselves’ (i.e. private).
The selfie is narcissistic, yes. And of course I’m not saying that people who take selfies are terrible people. It’s just kind of how things are these days. It’s a thing we all do. THAT SAID. Many girls do the selfie because they see themselves as objects of the male gaze and their selfies reflect his. PARTICULARLY (yes, I’m going to say it), when we’re posting photos of ourselves posing in porny ways, in underwear and/or bikinis, focusing on sexualized body parts, etc. It isn’t ‘taking anything back’, it’s just part of the game.
This issue contains an explanation of the ‘Retouch Free Zone’. “DOLLY is all about healthy body image – that’s why we only feature photos of girls that haven’t been altered or ‘perfected’ in any way. Whenever you see this stamp, you know the girls pictured are real and unretouched!”
Wonderful. But if only.
“Whenever you see this stamp”? What if you don’t see it? What does that mean? The declaration does not appear on every image of every female in the magazine. It occurs inconsistently, which raises doubt. Why ‘retouch’ free’ on this one and not this one? And what about the ads? They are never ‘re-touch free’.
Selena Gomes is on the cover. Not a ‘re-touch free’ logo in sight and Selena’s skin is as flawless as the day she was born. Was she re-touched? Don’t readers have a right to know that? A consistent approach would be helpful.
More helpful (though somewhat lightweight) is ‘The 7 deadly sins of facebook’, on online etiquette – how to avoid looking like a stalker, keep control of your online image by setting your privacy settings high (the context is avoid being tagged in ugly pictures of yourself posted by others prior to approval…not so helpful), taking it easy with the ‘like’ button and avoiding angry outbursts.
‘The downside of YOLO’ – the motto ‘You Only Live Once’ and LWWY, ‘Live While We’re Young’ discusses the risks to young people of living by these codes. Dolly asks: “Do these cute shorthand mantras really warrant their sometimes long-term effects?” Psychologist Gemma Cribb says these mottos attempt to justify crazy behaviour regardless of consequences. “When somebody tweets ‘Oh well, YOLO’ it means they’re already aware that their decision might not be sensible.” Another psychologist Sally-Anne McCormack, says YOLO can be used as an excuse to deal with peer pressure or embarrassment. “Girls might be pushed into situations that they don’t want to face and instead of saying no, they think ‘What do I have to lose?’”. Rapper Ervin McKinness and four friends were driving in a speeding car when the 21-year-old tweeted: “Drunk…going 120 drifting corners…#YOLO.” Minutes later all were dead. Brain development is discussed. The frontal lobe – responsible for impulse control, problem solving and considering consequences – isn’t properly developed until 25. Girls are advised to think smart rather than by the YOLO mantra. Read more here
The erosion of childhood is becoming a social and cultural trend of great concern to child development experts as well as the broader community. Commercialisation, sexualisation, body image dissatisfaction and over exposure to violent imagery are some of the key factors. A growing body of scientific evidence and expert opinion has transformed the debate about this trend into an important issue with major implications for mental health, public health, education and policy. We look forward to meeting you at this unique event.
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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.