Fueling sexist attitudes which contribute to violence against women
Last month I responded to a piece by Brendan O’Neill, in The Australian, critical of our campaign against Tyler the Creator and Zoo magazine. It appeared in the on-line version at News.com (paywall means only subscribers would see it). Following this, my colleague Caitlin Roper took down O’Neill’s claims against us regarding Tyler the Creator in an interview with ‘I probably hate your band’ (O’Neill is interviewed too). Have a look at it after my letter.
If only Zoo Weekly was a ‘jokey mag for awkward 15-year-olds.’ We – and the too many women and girls subjected to the kind of abuse Zoo promotes – don’t see the joke. (Brendan O’Neill ‘Foot soldiers of the Empire of offence march on, laying free speech to waste’, Inquirer. August 22-23, p.23).
Zoo normalises the treatment of women as sexual objects, fueling sexist behaviours and attitudes which underpin violence against women. The men’s ‘lifestyle Bible’ provides step by step instructions for coercing women into sex by isolating her from her friends and using alcohol to make her more vulnerable. Readers are told if she is drunk, that’s a ‘green light’.
A recent edition encouraged young male readers to do “cool things…like hitting women”, joking about “backhanding the missus”.
People can’t distinguish between the statements taken from lads mags like Zoo Weekly and statements from convicted rapists, according to a 2011 UK study.
Tyler is renowned for his songs advocating rape, murder, genital mutilation, stuffing women into car boots, trapping them in his basement, raping their corpses and burying their bodies. The abuse he incited against Collective Shout activist Talitha Stone in 2013 was enough to cause Twitter to implement a ‘report abuse’ button. The footage she filmed undercover of him whipping up the crowd into a frenzy of anger contributed to NZ authorities denying him entry in January 2014. Our more recent campaign saw Tyler use dog whistle tactics to mobilise his fans into sending a deluge of death, rape and mutilation threats against another of our activists, Coralie Alison, as punishment.
In the original letter to the Immigration Minister signed by Coralie and myself, we argued it was contradictory for the Government to have a National Plan of Action to address violence against women while rolling out the red carpet to a rap artist who glorifies and glamourizes it.
We doubt the absence of Zoo from Coles or of Tyler singing “rape a pregnant bitch and tell my friends I had a threesome” at all-ages concerts is a threat to “great truths or breakthroughs”. It does, however, send a message that violence against women should be taken seriously.
Melinda Tankard Reist
Thanks so much for speaking with me. First of all, I want to say I, and IPHYB as a whole, are passionate supporters of women’s rights. In whatever individual definition that takes in today’s convoluted climate of modern feminism, we hold our own views very dear and close to heart. That being said, we’re also (as you can probably tell from the name of our website) staunch advocates of free speech. I wanted to gain your perspective on the issue, as it seems Collective Shout have come under fire from fans of Tyler, The Creator and free speech alike, for what some consider an act of censorship. Is it Collective Shout’s aim to engage in any kind of censorious behavior, and do you really believe his lyrical content is dangerous? To be frank, I struggle to make the connection.
CAITLIN: “We’ve obviously heard a lot of Tyler’s fans expressing a similar sentiment – essentially that we just don’t understand, and that we are trying to ban things we don’t understand, or that we are merely ‘offended’.
The suggestion that the issue here is about offence or personal taste is really missing the point. My feelings, my personal taste, like anyone else in this discussion, are largely irrelevant. Reducing criticism of Tyler’s brand of misogyny to offense is an attempt to deflect and undermine discussion of the real issue – the promotion and normalising of hostile and hateful attitudes towards women.
The whole offence argument also neglects to consider the fact that our campaign goes much further than Tyler’s sexually violent lyrics. While we strongly object to Tyler’s lyrics detailing rape, strangling, mutilating and chopping up women, stuffing their bodies into car boots, trapping them in his basement and raping their corpses, we are also talking about Tyler’s real-life behavior. When lesbian recording artists openly called out his misogynistic lyrics, he responded with a threat of corrective rape, offering them some “hard dick”. At his 2013 Sydney concert he unleashed a barrage of abuse directed at my Collective Shout colleague Talitha Stone, calling her a bitch, a whore, and a c**t while the crowd cheered, unaware she was present in the audience. I shudder to think what might have happened to her had she been recognised.
Both Talitha and Coralie Alison have been targeted with vicious abuse, rape and death threats after Tyler tagged them on Twitter. What did he think would happen when he called out Coralie, identifying her as the reason he wouldn’t be showing up for his scheduled tour? At any time, he could have so much as tweeted to call off his fans, to say it wasn’t okay to threaten a woman with violence, yet he remained silent.
This is not about offence, or even song lyrics. This is incitement to violence against real women. Real Australian women who have been forced to obtain police assistance, who have had to fear for their lives and have had to deal with the psychological toll of sustained, vicious abuse.
Tyler fans claim that Tyler’s music and treatment of women have no bearing on their attitudes to women. Wading through the steady stream of abusive emails, Facebook posts and tweets calling us bitches and whores, encouraging us to commit suicide and threatening to rape and murder us along with our children has made it very clear to me that that normalised misogyny has and does impact on attitudes. Essentially, I think it’s easier to paint all criticism of Tyler’s misogyny as uptight women who want to ban things they don’t understand than to actually engage with the issues.
There has been some speculation that campaigns like ours set a dangerous precedent in terms of free speech and censorship. I hope that as well as free speech, we value the rights of women to dignity, justice, equality and safety, and that as a community we are equally committed to upholding these rights.
In our letter to Immigration Minister Peter Dutton, we pointed out the hypocrisy in spending $15.6 billion on a National Plan to Reduce Violence Against Women – a plan including prevention strategies and education – only to welcome rappers who undermine the government’s attempts to address violence against women.
We’ve been critical of various artists – and not just artists, but advertising, media and popular culture – yet some issues and campaigns certainly do seem to attract more media attention than others. As a non-profit organisation, we don’t have the resources to organize and carry out campaigns against every artist who promotes the sexual exploitation of women, nor has it ever been our goal to pursue every artist with questionable lyrics.
We’ve been critical and sparked a dialogue about various artists over the last few years and campaigned against a few, including Redfoo, Brian McFadden, Robin Thicke, Snoop Dogg/Lion and Eminem. Some also suggest we unfairly target hip hop, but a look at our website will prove the wide range of issues and campaigns we have run. Is hip-hop somehow off-limits for critical analysis? Should hip-hop culture not be held to the same standard as the rest of society?
The reason we called on Immigration to deny Tyler a visa back in 2013 was because we felt his lyrical content vilified women and arguably incited violence against them. We felt it was impossible for us to remain silent. We only became more convinced after seeing his treatment of women on Twitter, setting his fans on women who were openly critical of his work, and his onslaught of abuse to Talitha at his 2013 concert – the footage of which was instrumental in his 2014 ban from New Zealand.
This has been expressed to us repeatedly over the last few months, that we haven’t done our research, that it’s art, that Tyler is playing a role, that he’s evolved as an artist, etc. I’m well aware of all of these arguments as well as the nature of Tyler’s work. We have done our research. We’ve listened to his songs, watched music videos, interviews, performance footage, read numerous articles and even attended his concert. It’s not that we don’t understand the arguments – we just reject them. We have taken this knowledge and come to a different conclusion.
I think it’s entirely possible for musicians and artists to use art, humour and irony to pose meaningful questions and comment on the state of the world and society, and even to explore dark subject matter. But I reject the notion that that is what is going on here. Tyler’s near constant uncritical exploitation and abuse of women for entertainment purposes doesn’t even come close to that. What is the statement being made? Where is the condemnation of abusive treatment of women? Rather, the men who degrade and demean women are positioned as badasses who don’t give a f**k and women are reduced to bitches. None of this is challenging the status quo or posing meaningful questions. Tyler’s “art” is at the expense of women, even survivors of rape and physical violence.
If Tyler has truly evolved as an artist as he claims (a notion I’d reject based on his recent behavior), why is he yet to take responsibility for it? Even now, he continues to justify and excuse it, never owning it. He’s built a career of the degradation of women, made a name for himself and profited from this material.
Tyler claims he doesn’t even perform his earlier work anymore, but concert set lists from as recently as last year show that he has. He’s also made his earlier albums available to stream via his Golf Media App. A few weeks ago he performed Rella on Jimmy Kimmel – here’s a few of the lyrics: ‘Nigga my d*ck’s in her jaw … my bitches white and I need f*cking head … bitches on my d*ck … Your girlfriend had a really nice meeting with my d*ck, I killed that p*ssy and grabbed that knife … met up with bitches, gave ‘em c*m on their dimples.’
Is this supposed to be progress? Is this an indication he’s concerned with equality now? It’s ironic that those men arguing for freedom of speech here have failed to notice that the women they are criticising don’t share this same freedom. These men are not impacted by misogynistic ‘art’ – they aren’t the ones being targeted. They aren’t likely to be on the receiving end of rape and death threats, won’t need to engage the police, nor be genuinely in fear for their safety as a result of sharing their views.
For these men to dictate how women, including survivors of rape and sexual violence, should feel about, respond to and challenge misogynistic attitudes demonstrates a complete lack of understanding of the issues and perhaps more disturbing, a lack of empathy.”
Sexualised Violence isn’t Alright, Just because a Woman is the Perpetrator
BBHMM revels in the eroticization of total power, control and domination over another woman. But we are expected to see it as empowering, because Rihanna and her henchwomen are the agents of this control
By Melinda Tankard Reist
A frame from Rihanna’s new video for Bitch Better Have My Money (BBHMM) zooms in on Rihanna’s bikinied bottom. Floating horizontally beside her is Rih’s half-drowned victim.
The singer’s “hot bum” is more significant than the woman floating beneath Rihanna’s lilo. Men are enjoying it. They love her blood soaked “titties” too.
BBHMM revels in the eroticization of total power, control and domination over another woman. But we are expected to see it as empowering, because Rihanna and her henchwomen are the agents of this control.
And because Rihanna is black, and because the victim is white and because so many black women have suffered because of white privilege, the rest of us should shut up.
But if we are going to call out other expressions of physical, sexual and emotional brutality men enact on women (Tyler the Creator, Snoop Dog, Eminem, to name a few) and the kind of white girl cruelty led by Lady Gaga (in Telephone), we can’t quarantine the mega star’s video because of her colour.
The clip has been acclaimed as: badass feminism, subversive, sassy, funny, bossy, ballsy, edgy, unapologetic. Call it what you like. What you’re left with is the 7 minute sadistic abuse of a woman for entertainment (garnering more than 16 million views so far).
The story line: Rihanna is mad because her accountant ripped her off (which happened in real life). So Rih and her girlfriends kidnap the accountant’s pearly white, filthy rich, Pomeranian-toting wife and hit the road for some ritualised torture and pornified abuse.
The hostage is stripped, assaulted, hung upside down and swung by a hook in an abandoned barn, plied with drugs and alcohol, made a plaything for a party and knocked unconscious with a bottle to the head when she calls out for help.
When torturing rich-white-lady-who-had-it-coming doesn’t get her money back, greedy dude is quickly dispatched. He keeps his clothes on, there is no drawn out persecution, no sado-suffering at the hands of our rubber suited vixen. His death doesn’t even get that much airtime, really. Five seconds later, Rih is smeared in blood, her naked body adorned with dollar bills in the trunk which once held her victim (who is dead or alive, we’re not sure; there’s more concern over what became of her dog).
To put it bluntly, it is the woman whose humiliation we’re expected to enjoy. A Huffington Post reviewer writes that the line, “Your wife’s in the backseat of my brand new foreign car” was “brought to life” at a live rendition of the song on Saturday Night Live in March, with a “crying, bound and gagged woman utilized as part of the performance”.
Of course, there’s a risk in calling out women’s violence against women. It gives entitled men who don’t like their violence named an excuse to say, “Women are just as bad!” But while the global statistics on violence show it is mostly men who are the perpetrators, we can’t gloss over such brutality when it is women normalising and embedding it in the culture. Though Cosmopolitan – a magazine which has supported campaigns against violence against women – manages to do just that: “She throws her phone into the ocean and shoots it. Plus NSFW nudity!”
BBHMM sends a message that female power comes from inflicting pain on other women while still being sexually appealing to men. Through the bloodied rampage, Rihanna is represented as a badass, cool and confident, while her powerless captive flails. At the BDSM-themed party, we are led to believe the inebriated victim is enjoying her torture. The viewer also learns that this is how black women get power: by punishing white women who are portrayed as a privileged pampered bitches.
It has been posited that Rihanna is a grand philosopher making some elaborate comment on race, or gender or class, and that the video represents some kind of proletarian uprising of poor black women. (The fact Rihanna is a brand seems to be forgotten). “I see a black woman putting her own well-being above the well-being of a white woman,” writes Mia McKenzie. Poor black women have to put themselves first if they are to pay the rent and such like.
There is no denying the hardship faced by black women in cultures where they suffer the double indignities of race and being female. But Rihanna’s character is hardly symbolic of oppressed black women. Her victim, remember, is in the back of a new car p a car our heroine sets on fire a short time later because, well, there’s plenty more where that came from. She can afford to hurl her phone into the sea and can lay out wads of cash for Louis Vuitton chests (perfect for storing hostages in). And how many black women – indeed, any women – can afford Rihanna’s wardrobe? (her BBHMM outfits are listed in the “definitive ranking” on one fashion site: “Kidnapping, nudity, murder: the video of the year is here, and it’s got the style to prove it”).
How many black women have the kind of power and fame Rihanna possesses – and why is that power being used to promote sexual torture of women? And how does her personal power help other women who are oppressed by race, gender and class? One woman’s popularity does not equal the freedom of many.
Can’t we start from the basis that no woman deserve to be hurt? It is problematic that, as a survivor of violence herself, Rhianna would make a video sending cultural signifiers which imply that violence is a way of solving problems. In so doing, she has contributed to a hostile environment for women everywhere.
Rihanna has 81 million Facebook, 42 million Twitter and 16 million Instagram followers. Many will be young women, and many of those young black women. They observe a script loaded with eroticised violence, themes inspired by the sex industry and pimp culture, lyrics celebrating the debasement of women. For many young women imprisoned in America’s juvenile justice system, violence was not a pathway to empowerment and success. The enculturation of violence as a normalised pattern of behaviour has been identified as a key factor in their criminal behaviour.
Girls looking to Rihanna as an icon of success, wealth and power deserve better than brutal, pornified snuff which plays into harmful cultural, racist and misogynist stereotypes in which all women lose.
Inciting Violence Against Women Isn’t ‘Art’, and Tyler the Creator Shouldn’t Be Granted Entry
By Caitlin Roper
“It’s just irony” seems to be the go-to defence for misogyny these days.
As a female activist for grassroots organisation Collective Shout, I hear it all the time.
After the global backlash to Kanye West’s sexually violent Monster music video – which featured lingerie clad female corpses hanging from the ceilings, West in bed with two dead women and holding the decapitated head of another – West’s team was quick to issue a disclaimer that is was “an art piece, and to be taken as such.” This exempted the video from critical analysis, apparently.
When we campaigned against Redfoo for his misogynistic Literally I Can’t video, in which women were mocked, abused and told to “shut the f*ck up” for refusing the sexual advances of men at a party, Redfoo played the victim, claiming his “art” – there’s that word again – was misunderstood.
When so-called “ute art” in Townsville depicted a chilling life-sized sticker image of an unconscious woman bound in the back of a ute next to a shovel, women who spoke out were accused of just not getting the joke.
Art. Satire. Irony. A joke. The premise is we just don’t get it and are therefore not permitted to comment.
So it should come as no surprise that our campaign calling on the Immigration Minister Peter Dutton to revoke U.S. rapper Tyler the Creator’s visa should attract the same predictable response. The real issue is uptight women who can’t take a joke and who “need a good dick,” rather than hate speech and incitement to violence against women.
Tyler fans argue his earlier work is satirical, that he is simply misunderstood, defamed, in fact, by feminists. His cult-like followers not only deny their idol’s problematic real life treatment of women who dare to openly disagree with him, but even fuel it.
In 2011, Canadian recording artists Tegan and Sara published an open letter on their website, accusing Tyler of misogyny for his extremely sexually violent lyrics detailing rape, strangling, mutilating and chopping up women, stuffing their bodies into car boots, trapping them in his basement and raping their corpses. Tyler responded in a tweet:
In less than 140 characters, Tyler sent a clear message about women who dared challenge his authority.
The notion that women who speak out against male violence against women just need some “hard dick” is not new. It’s a common way of deflecting from and trivializing our abuse. This method also intimidates many women into silent compliance. It’s all the more sinister in this case, given the fact that Tegan and Sara are lesbian women, and the historical significance of so-called “corrective rape” – a horrific hate crime against lesbian women based on the belief that they can be “cured” of their sexual orientation through rape.
Tyler the Creator also responded to the Kanye West campaign on Twitter by naming two of the women involved, Sharon Haywood of Adios Barbie and Melinda Tankard Reist, Collective Shout co-founder, calling them “f*cking bitches” and inviting them to “suck [his] d*ck.”
In 2013, Collective Shout ran a campaign calling on then Immigration Minister Brendan O’Connor to revoke Tyler the Creator’s visa, arguing he was a controversial visa applicant who posed a danger to women. One of our young activists, Talitha Stone, wrote a tweet accusing Tyler of misogyny. Tyler shared the tweet with his 1.7 million followers, who took the bait and turned on her with an onslaught of abuse and rape threats. One Tyler fan threatened to “cut her tits off” and another – a 16 year old Melbourne private school boy – posted what he believed was her home address for the mob to do with what they would. (He was one street off). We were up half the night liaising with police trying to ensure Talitha’s safety.
Talitha bravely attended Tyler’s Sydney concert to report on it for us. She had no idea he would launch a vicious tirade of abuse against her, unaware she was in the audience filming. The crowd cheered as he called her a bitch, a whore, and a c**t, and dedicated his song “Bitch Suck D*ck” to her.
While our own Minister failed to act, we were heartened to learn the following year that New Zealand had denied Tyler entry, with his incitement of violence against Talitha being instrumental in its decision.
Two years on, Tyler is set to return to Australia for a series of all-ages (no age limits) concerts. We have called on Immigration Minister Peter Dutton to revoke his visa, arguing that Tyler meets the Department’s definition of a Controversial Visa Applicant. This is a person:
“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.”
Domestic violence is at epidemic proportions in Australia; women are being murdered by men at a rate of two per week. The groundswell is growing, with increasing pressure on the Government to take action to save women’s lives. And yet, at the same time as extolling its National Plan of Action to Address Violence Against Women, the same Government rolls out the red carpet to recording artists who rap about raping and mutilating them for entertainment, and who have personal histories of inciting violence against women.
Why are we so quick to condemn men’s violence against women yet so hesitant to acknowledge the drivers of this violence – the attitudes towards women, the ingrained sexism, a culture where women are routinely reduced to mere sexual objects for men’s use and entertainment?
Tyler’s own fans are helping us prove our point. We are being targeted with threats of violence and abuse from fans demonstrating a cult-like loyalty to their idol. These same fans claim that music that glorifies extreme violence has no impact on their attitudes towards women, and they remind us of this between threats of rape and calling us bitches, whores and worse.
Collective Shout co-founder Melinda Tankard Reist was tweeted a picture of herself with a pro-gang rape slogan, one of Tyler’s lyrics, alongside the words, “What you gonna do now bitch you surrounded” (sic):
Our National Operations Manager, Coralie Alison, was similarly targeted by U.S. Talk Radio host Shane Powers, who called her a “feminazi,” offered her “dick pics” and went on to make lewd comments about Immigration Minister Peter Dutton’s wife. He seemed to enjoy intimidating a woman in this way, taking pleasure, with his male guests, from the thought of her violation and humiliation.
What are these men really saying when they tell us we need some d*ck? It sounds very close to “you need to be raped.”
We predicted that Tyler’s presence would incite discord into our community and pose a danger to women. It’s already happening and he hasn’t even stepped onto our shores. We need our Government to act on its promises to address violence against women and send a clear signal by not letting him.
The Hon. Mr Peter Dutton MP
Parliament House Ministerial Office
Minister for Immigration and Border Protection
We are writing to you regarding visa applicant Tyler Gregory Okonma -stage name ‘Tyler the Creator’- who is due to arrive in Australia for a national music tour September 3.
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.”
We believe the application by Tyler the Creator meets the Department’s definition of ‘Controversial Visa Applicant’. Our views are based on the content of his song lyrics and his behavior during his July 2013 tour.
Tyler the Creator seeks to enter Australia in order to profit from the broadcasting and selling of these lyrics. While his activities are therefore commercial, the content of the product he sells propagates discriminatory ideas about women and other groups, and represent a danger to a segment of the Australian community on the potential basis of incitement to acts of hatred.
Tyler the Creator has received widespread media attention over the span of his career for misogynistic hate speech against women, as well as homophobia. He is renowned for his 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.
A characteristic feature of his songs is retribution against women who he perceives have wronged him. For example, he sings about strangling and chopping up women who reject his sexual advances and raping their corpses.
“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 homecoming.’”
“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.”
Other lyrics include:
“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?”
The messages propogated in these lyrics pose particular risk to the Australian community by conveying the message that interpersonal conflict might be legitimately resolved through violence. Unfortunately this message still enjoys resonance in significant parts of our society which heightens the risk posed to women and children of his entry.
We draw your attention to a previous Collective Shout campaign in June 2013 calling on the former Minister to revoke Tyler’s visa. As a result of our actions, Talitha Stone, a young activist who led our campaign, was subjected to multiple rape and death threats from Tyler’s fans, with the artist himself inciting violence against her on twitter and at his Sydney (all-ages) concert, where a young woman was also raped.
The footage can be viewed on You Tube:
The abuse continues and police have been involved. The incident attracted widespread international media attention and resulted in Twitter implementing a ‘Report Abuse’ button so it could address more quickly online abuse and threats made through its platform.
In January 2014, New Zealand Immigration denied Tyler entry to the country, citing his incitement of violence to Ms Stone at his 2013 Sydney concert as well as inciting crowd to riot at a 2011 concert which left a police officer hospitalized.
Tyler the Creator is a Controversial Visa Applicant also because of specific conditions that continue to prevail in Australian society. In Australia today, two women are killed each week by an intimate partner. Victoria Police respond to domestic violence calls every ten minutes. In this social context, Tyler’s lyrics pose a particular risk for incitement to violence against women. The manner of the propagation of these lyrics in highly energised, crowded, loud, and technologically staged produced environments makes their threat greater. The fact that concert audiences will be dominated by young men exacerbates the risks.
The Commonwealth Government’s National Plan of Action to Reduce Violence Against Women and their Children 2010-2022 notes that violence against women and their children costs the Australian economy around $13.6 billion a year. If prevailing social conditions continue, “an estimated three-quarters of a million Australian women will experience and report violence in the period of 2021-22, costing the Australian economy an estimated $15.6 billion”.
There are therefore economic grounds to examine Tyler the Creator’s application on the basis of conditions recognised by the Commonwealth Government to cost more in their aggravation.
The National Plan also states that, “While living safe and free from violence is everyone’s right, reducing violence is everyone’s responsibility”. There is further grounds to consider Tyler’s application on the basis of this assertion.
As a society which claims to be serious about eradicating violence against women, there should be no place for singers who glorify misogyny and degrade women for entertainment. Welcoming artist like Tyler sends a message that our leaders don’t really care about stopping the promotion and glorification of violence against women, and that the National Plan exists in word only.
The artist’s presence here would contradict the Plan, in that his commercial product and behavior undermines the human rights of women and girls and respectful relationships, and impedes attitudinal and behavioural change especially in young people.
It is our view that your Department has failed to conduct due diligence prior to advising you to grant this visa.
On behalf of women and girls, and all who care about them, we ask that you place the safety of our female citizens before a recording artist with a criminal history, who wants to exploit women for profit and who will contribute to a harmful cultural environment for them.
We request that you act urgently to revoke Tyler the Creator’s visa so that he cannot promote his misogynistic attitudes here. Please demonstrate that your Government is serious about addressing the scourge of violence against women by taking this action as a matter of urgency.
Activist speaks out about mock twitter account, rape, death threats and police inaction
By Caitlin Roper
Earlier this year, Germaine Greer argued that women now are worse off than ever, citing the proliferation of pornography and the level of harassment and abuse directed toward women on social media as evidence. I tend to agree.
For a feminist campaigner like myself, threats of violence and rape have become part of the territory. I am used to being called a bitch or a slut (or worse) by unidentified men online for expressing an opinion. I’ve been singled out by Men’s Rights Activist group A Voice For Men after writing a piece on the media’s bias against women. I am no longer surprised when I receive unwelcome sexual comments from men online about my body or to let me to know they are masturbating to my image. I am no longer shocked when I receive rape threats while campaigning against sexual violence. And no, the irony is not lost on me.
So it came as no huge surprise when I received rape threats this week for publically sharing a petition against rapist Ched Evans. I received tweets calling me “rape bait”, “f*ck meat”, a “bitter whore”, “cum slut” who “likes it rough” and “spreads without thinking” and warning me to “start prepping my anus”. While these comments would never be accepted in the offline world, women are expected to just ‘deal with it’ online.
However, this time I decided to go to the police when I found a copy of my twitter profile offering sex to men on the Internet. It was so close to identical it even fooled me, and I initially thought my account had been hacked. My profile picture had been sent to an online community sharing images of women for masturbation purposes. My twitter bio had been updated to include graphic descriptions of sex acts I would perform for men, inviting men to follow me, “the biggest slut in Australia”. My website was changed from collectiveshout.org to a pornographic website. Various tweets were sent out in my name, asking men to “f*ck me” and claiming that I enjoyed being raped.
I was gripped with panic. There were so many thoughts running through my mind as I watched tweets going out in my name soliciting some men I knew, and others I didn’t.
I reluctantly went to the police station. As many women know, abuse and threats against women online are not regarded as a priority. My colleague Talitha Stone received international media attention when she was targeted with thousands of rape and death threats after criticizing Tyler the Creator’s songs. (See here, here and here). His lyrics include ‘rape a pregnant bitch and call it a three-way’. Tyler’s 1.7 million twitter followers went after her. One tweet to Talitha threatened to ‘cut her tits off’. A student from a Melbourne Catholic boys school shared her home address with the angry mob. He was out by one street.
Local police sent Talitha home with a stack of cyber-safety pamphlets.
Another colleague went to the police after one man described how he intended to mutilate her body and dissolve it in acid. The police officer suggested that the internet was “not a very nice place” and maybe she should stay off it.
Yet another colleague had to explain to police, who thought she should just go offline forever (despite the fact that the vast majority of her work was done there) that it was actually an offence in the Commonwealth Criminal Code to use a carriage service (e.g. the internet) to make a threat. The police seemed unaware of this fact.
These threats are criminal. They are designed to erode any sense of safety and security and to keep women in our preferred place. As Anita Sarkeesian from Feminist Frequency observed, Elliot Rodger used the Internet to make threats preceding his violent killing spree. How many other men, including unstable ones, feel supported if not justified in their hateful attitudes by an online culture of misogyny?
When I reported the man who was pimping me out online, the officer at my local police station suggested, “Maybe you should use a more plain picture.” As if my standard portrait shot was somehow ‘asking for it’? From my experience, how I look is irrelevant. I’ve been called both “fat, ugly and bitter” and “f**ckable”. Regardless of the headshots women use, men will target us if they feel so inclined.
Women and feminist campaigners in particular, are increasingly being targeted, abused and intimidated online. Caroline Criado Perez was pursued relentlessly for her campaign for more equal representation of women on bank notes. Anita Sarkeesian of Feminist Frequency continues to be attacked for her educational videos highlighting the sexist and one-dimensional depiction of women in video games.
There is a pattern- women call for better treatment of women, they are vilified by men on social media who perceive this as a threat and feel the need to silence their voices. They believe if they can make us fearful enough, we will stop doing our work and stop challenging systems that privilege their rights and interests over ours. They are wrong. We just get back to work.
The man who targeted me has been identified. His name is Nader, he is 25 and lives in California. He has been linked to at least eight different twitter accounts he uses to abuse women, including survivors of sex trafficking. In fact, the first rape threats he sent me came from the fake account he had created of yet another feminist campaigner he had been targeting.
He is so brazen about his incitement to rape me, so sure he is untouchable, he barely even tried to conceal his real identity. Unfortunately for him in the course of harassing countless women on twitter, he left a trail leading to his name, image, phone number, email address, Facebook page and pictures of him exposing his erect penis which he had previously circulated on one of his trolling accounts.
Copies of Nader’s threats and his personal information have been supplied to the LAPD, to Penn State (listed as his school on social media) and to Australian police, to be referred to a California branch of the FBI. I am also aware of complaints against him from women in Sweden and the UK. This has not stopped Nader.
To their credit, Twitter acted quickly to suspend the fake account once I had verified my identity with photo ID. However, the victory is only short lived. Once an abusive account is suspended, there is nothing to stop the user simply signing up for a new account- immediately. Why has Twitter failed to shut these abusive accounts down permanently? What is stopping them from flagging the email addresses of users who continue to use their service as a means to threaten women?
What is Twitter’s response to victims? Contact the police. What do the police say? Contact Twitter.
There is a common assumption among police, and perhaps the wider community, that if men are threatening women online the solution is for women to go offline.
“Why don’t you just close down your account?” asked the officer taking my statement. I explained how I used twitter in the course of my work for a non-profit organisation to share our campaigns with a broader audience. She pressed further, “But why do you need to use it?” as if it was somehow unreasonable for me to believe I had as much right as anyone to access social media without threats.
My experience with the police illustrates widespread cultural attitudes that place the responsibility to prevent crimes of violence with victims instead of perpetrators. Just as campaigns to reduce sexual violence have traditionally focused on women, advising them how to ‘not get raped’ rather than calling on men to treat women with respect, in an online scenario, the onus is again on women to bear the burden of responsibility for men’s abuse. What did we expect, thinking we could use social media and have an opinion? We kind of brought it on ourselves, didn’t we?
Whether it is rape, domestic violence, abuse or online threats, telling victims to modify their behaviour is a fruitless endeavor- the power to prevent men’s violence against women lies completely with (surprise!) men.
I have encountered too many men on twitter who dish out vile abuse and threaten rape, confident they are doing so with impunity, with a firm belief that they will never be held accountable for their crimes. That’s been true, so far.
The silver lining is that I have had the privilege of connecting with strong, incredible women online. These women are dedicated to challenging attitudes and institutions that promote and profit from sexism, exploitation and men’s violence against women, despite the emotional toll. (Believe me, there is a real emotional toll to doing this work.) These are the women who stand with me and other women time and again in the face of ugly threats and misogyny, bonded by our shared experiences of victimisation and our refusal to be silenced. Together we are unstoppable.
This is an extended version of an article which appeared inThe Guardian last week.
It started, ostensibly at least, with an online debate about Ched Evans – a British soccer player who escaped fame but found notoriety after his conviction for rape in 2012. Last month he was freed from jail. Evans, just 25, wants to play soccer again. To that end, he released a video professing his innocence and describing the incident as regrettable but “consensual” infidelity. An online petition opposing his reinstatement to the professional leagues attracted more than 150,000 signatures.
One of those signatures belonged to Caitlin Roper, a feminist activist based in Perth. Quickly, the debate inflamed the world wide web and became a conflagration of sexualised threats. Roper was targeted. “In a way, given the nature of my work, I’m somewhat used to abuse and threats from men online,” she tells me. “You have to try and disconnect from all of it emotionally, you put on a brave face and get back to work. As the threats kept coming, though, I felt my anxiety levels rising. There’s a sense of panic, and I think that’s the point. These men think if they threaten us with violence then we will be forced to stop campaigning against the objectification of women. They want us to be scared.”
Roper’s aggressor established a fake Twitter account under her name. He adopted Roper’s profile picture, and in the hour before it was suspended, published personalised obscenity. The following examples are graphic, but representative: “Hi I’m Caitlin Roper, as a professional prostitute…” and “I sell my wet panties #anal #porn” and “Hey!! It’s me Caitlin, just wanted to let you know I’m a rape loving little whore”. There are many more. From other accounts, the man harassed different women: “You’re a fucking whore and a slut” and “Perhaps when one day a random man rapes you, you will rescind your ignorance.” There are hundreds of messages like these. Read more
An anti-violence activist who stood up to superstar rappers Tyler the Creator and Snoop Lion (aka Snoop Dogg) has revealed that she was terrified to leave her house and lived in fear of attack after receiving thousands of messages of vile abuse from fans of the rappers.
Talitha Stone, 25, has told MailOnline about the heavy toll her work has taken on her saying she wanted to ‘hide away and never do anything like this again’ after her attempts to have the rappers banned from entering Australia led to threats of rape and death from rap fans.
The abuse, which mainly took place on Twitter, included ‘death threats and saying things like they’re going to grab me in the alleyway, that I need a good f***, that they’re going to go for my family first. One said that they would hire someone to cut my t**s off,’ she said.
Talitha Stone, 25, is an anti-violence campaigner who received thousands of messages of abuse on Twitter after she protested Snoop Lion and Tyler the Creator being allowed in the country
Talitha Stone, 25, is an anti-violence campaigner who received thousands of messages of abuse on Twitter after she protested Snoop Lion and Tyler the Creator being allowed in the country
A high school student in Melbourne even posted what he thought was Talitha’s address online. The address was wrong, but it was only a street away from where Talitha was sharing a house with another girl.
‘Who knows what could have happened. It was not a fun time, I didn’t sleep much and jumped at noises. Every time I was alone I was panicked, I was so afraid, but at the same time I was so angry that this was my reality,’ she said.
The abuse started after Talitha created a petition to have Tyler the Creator denied a visa to enter Australia last year, on the grounds that his lyrics incited violence against women.
His songs include lines like: ‘You call this s*** rape but I think that rape’s fun, I just got one request, stop breathing’ and ‘I wanna tie her body up and throw her in my basement, Keep her there, so nobody can wonder where her face went.’
Talitha came to the attention of Tyler the Creator when she tweeted that he would be at a signing event in Sydney and suggested that the event organisers needed a lesson in what misogyny was.
Tyler the Creator retweeted her comment to his 1.7 million fans and suddenly her phone went crazy.
‘It was instant, oh my gosh, the barrage of threats, I couldn’t believe it. I was just sitting there looking at my phone, I was like: “Holy crap, what is happening? What have I done?”‘
When Talitha went to the police about the thousands of messages she had received, she said they laughed at her.
‘They were like: “Do you think we’re going to do anything about this? Do you know how often people come in here about threats of abuse and death on Twitter?” They just laughed at me like I was so stupid, they gave me a cyber safe brochure and sent me out.’
Talitha ended up going to Tyler the Creator’s Sydney show to film evidence of misogyny and she stood in horror as the rapper mentioned her during his set, dedicating his song, B**** Suck D***, to her.
Video of the concert shows Tyler the Creator, who seemed unaware that Talitha was in the audience, call out to the ‘f***ing w****’ who tried to get him kicked out of the country.
‘F***ing b****, I wish she could hear me call her a b****, too, f***ing w****. Yeah, I got a sold-out show right now b****. Hey this f***ing song is dedicated to you, you f***ing c***.’
He also said he hoped Talitha’s children ‘get some messed up STDs’.
Talitha said she was petrified that someone in the crowd would recognise her. ‘I honestly didn’t believe what I was hearing when he called me out. I was terrified.’
She reported him to the police, but they said there was nothing they could do.
The abuse continued for months after the concert and led to Talitha meeting with two executives from Twitter, which led to the introduction of the ‘Report Abuse’ button on the site.
‘I was like: this is ridiculous, where’s the protection for women? I got told to delete my account, that was my option. They were like, “Why are you fuelling this?” Me fuelling this? Are you kidding me? I’m speaking out against rape and I’m getting rape threats in return, yeah that makes sense,’ she said.
‘So much in me wanted to hide away and never do anything like this again, but at the same time it also fuelled me to keep doing this, I was like: There’s no way they’re going to silence me. It made me more determined,’ she said.
This determination gave her the energy to try to get Snoop Lion (aka Snoop Dogg)’s visa revoked when he came to Australia in January.
Her main objection to Snoop Lion was that he had admitted to pimping out girls in a Rolling Stone article in 2013, saying he had a bus follow him on his 2003 tour with ten women on it.
‘I could fire a b****, f*** a b****, get a new ho: It was my program. City to city, titty to titty, hotel room to hotel room, athlete to athlete, entertainer to entertainer,’ he said.
Again Talitha petitioned (unsuccessfully) to have Snoop Lion denied access to the country, again she was hit with an onslaught of abuse from the rapper’s fans.
She said that this time she received less abuse and Snoop Lion did not engage with her directly, but the impact of the abuse was a lot worse.
‘I didn’t have anything left in me, I couldn’t do it. I was completely drained. It’s just so exhausting and you just feel like, what’s the point sometimes, when is there ever going to be change?’
The Snoop Lion campaign was the third campaign the young activist has headed up, the first involved her trying out for the Lingerie Football League in 2012.
Talitha said she wanted to see what the experience was like and whether the League’s insistence that the women would be treated as athletes was true. She found that it wasn’t.
She said that walking into try-outs ‘was like walking up to a nightclub. We got told we had to have a dress code at the try outs – sports bra and short shorts. I had to take my top off so I had my sports bra on.
‘If we lost they would scream at us and call us a pussy and make a ‘pussy symbol’ above our heads. It was a huge joke.’
The reaction to Talitha’s exposé was her first experience of serious online abuse, with people taking to Twitter to threaten and attack her.
‘They were trying to scare me, with rape or death,’ she said.
Talitha is speaking out as she is about to return to work with women’s advocacy group Collective Shout after a six-month hiatus.
The Sydney woman became involved in advocacy work for women and girls after ‘frequent unwanted sexual experiences’ as a child and teenager.
‘It’s so sickening, I hate that this is a reality for women and it’s becoming more and more common,’ she said.
She began researching different organisations and read news articles before she stumbled on Collective Shout, a grassroots Australian advocacy group headed up by Melinda Tankard-Reist.
After the draining experience of her campaigns against the two rappers, Talitha took some time out – travelling to Europe, working a series of odd jobs and spending time with family and friends.
It is only in the last few weeks, almost six months after Snoop Lion was in the country, that she has felt able to pick up her advocacy work again.
‘I took a lot of time out. I had to put in boundaries. I’ve only just in the last month slowly, slowly got back into it,’ she said.
The next step for the young activist is a new role at Collective Shout speaking at schools around the country about issues to do with violence, pornography, eating disorders and the sexualisation of children.
She has been visiting schools for years alongside Melinda Tankard-Reist and can’t get over the fact that many of the students recognise her.
‘The young people at schools I’m going to, they’ve heard of me. I have young kids come up to me and say: “It is an honour, can I please shake your hand? You’re my hero.” It makes no sense to me. It is just overwhelming.
‘I’m doing this because I have to. I need to do this for them.’
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.
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.
Abused, threatened, but Talitha Stone won’t be stopped
One of the great rewards of this work is seeing a growing wave of young women go into battle against violence against women in all its brutal manifestations, calling out and naming this violence as unacceptable. One such woman is 24-year-old Talitha Stone. Talitha decided she had to speak out and has been involved with the work of Collective Shout for a couple of years. Talitha’s passion and gutsy activism gives me hope that things can change. I first introduced you to her when she infiltrated try-outs for the Lingerie Football League last year. You can read about what she experienced here.
Talitha copped a raft of violent threats, including death and rape, when she participated in Collective Shout’s social media campaign against US rapper Tyler the Creator, who we believed was in breach of his visa conditions for vilifying women and celebrating violence as entertainment. She didn’t think his behaviour should be supported and naturalised and threw herself into the fray. The level of venom and abuse she received provided further evidence for our arguments. You can read about the online harassment here. (There have been even more threatening tweets since then, forwarded to police).
On Thursday Talitha attended the rapper’s gig in Sydney, to gather more evidence in our quest to have Immigration Minister Brendan O’Connor withdraw his visa. She captured video of Tyler engaging in sexually degrading insults of her, which has since gone around the world and had more than 13,000 views at time of writing. View here. Note the crowd’s response to the tirade, pumping their fists, jeering and cheering, in a ritual celebration of abuse.
I have found out what happens you decide to take on one of the biggest rap artists in the world.
The Australian grassroots movement of which I am a part of, Collective Shout, is currently in a dispute with music artist Tyler the Creator. We believe his lyrics – which often mention raping women – are inciting hatred, and we have been calling on immigration minister Brendan O’Connor to revoke his visa.
This Wednesday, I tweeted both Tyler the Creator and the clothing store Culture Kings. I wanted to inform Culture Kings that the artist they were hosting for a signing event regularly promotes violence against women through his lyrics – some of which promote the rape of dead or pregnant women, and also refer to locking women in car boots and basements. Read more.
A woman who claims she was verbally abused on stage by an American rapper in Sydney on Thursday evening has reported the incident to police.
Talitha Stone, a 24-year-old blogger and campaigner, says she felt “petrified” following “terrifying and disturbing” abuse which she says was levelled at her by US rapper Tyler, the Creator.
Stone, who is a member of the online feminist activist group Collective Shout, had previously been part of a social media campaign to have the rapper banned from Australia. She had received a slew of abuse including rape threats on Twitter after the rapper, who has 1.7 million followers on the microblogging site, retweeted one of her posts, which said: “have to visit @Culturekings tomoz to protest against @fucktyler he will be there at midday. I think they need educating on #misogyny.” Read more
Stone and anti-misogyny organization Collective Shout had been trying to get the Odd Future leader’s Australian visa revoked, citing rules against visitors who “vilify or incite discord” and “songs advocating rape and extreme violence against women.” (Sample lyrics: “Rape a pregnant bitch and tell my friends I had a threesome,” “Keep that bitch locked up in my storage, rape her and record it.”) When Stone tweeted about protesting a concert in Sydney, Tyler retweeted her, prompting cyber harassment from his fans and Stone filing a police report. Read more
The rapper certainly isn’t a stranger to controversy or being totes offensive, and now he’s set off some serious dramz in Australia.
It started when the group Collective Shout and female protestor Talitha Stone petitioned to have his Australian visa revoked because his performance would go against Australia’s rules against visitors who “vilify or incite discord” and “songs advocating rape and extreme violence against women.” A number of rappers, including 2 Chainz, haven’t been able to obtain visas to perform in the country in the past.
NSW Police have confirmed they are investigating a sexual assault at a gig where US rapper Tyler, the Creator was performing.
A NSW Police spokesman confirmed it was investigating a sexual assault report made by a woman during a concert at the Enmore Theatre on Thursday night. He said no formal statement had been taken yet.
Police are also investigating a tirade against blogger and campaigner Talitha Stone at the Sydney concert and a Twitter campaign against Ms Stone through Tyler’s 1.7 million followers.
Ms Stone, 24, of Sydney, told Fairfax Media that when she made her complaint to Newtown police on Friday, she was told police were already investigating a ‘‘sexual assault’’ of a woman at the same concert. Read more
See this ABC News video shown Saturday just prior to Tyler’s final Australian gig at Brisbane Eatons Hill Hotel (nice try hotel management saying you didn’t know who the artist who was coming was). Management had earlier received a visit from two of our Brisbane supporters, bearing a 14,000 plus signature petition calling on them to pull the event (the signature list rose another nine thousand a mere 48 hours after that).
Despite the tsunami of hostility against her, unlike many attacking her Talitha chose not to hide behind the anonymity of the internet. She could have used a false name, or requested that her image not be used. But her intimidation is what Tyler and his fans wanted, it’s what misogyny always wants of women. Talitha refused to fear them or to be silenced. If they were going to attempt to abuse a woman, it was going to occur in the light of public scrutiny.
I really like the way ‘Hecuba’ expressed it in a blog comment.
Tyler obviously didn’t like that brave woman who held him to account for his women-hating insults, because Tyler reacted by directing sexually degrading insults at her. Typical male behaviour whenever a male is challenged on his women-hating views, he reacts by uttering male threats and sexualised insults.
Unfortunately all but one of our elected officials gave a damn. The Immigration Minister didn’t reply, and not one female MP had even a word to say about it.
But we press on. Women like Talitha Stone give us the inspiration to do so.
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
“As you read, be prepared to feel both grief and rage.” Robert Jensen
“These accounts are among the most unsettling you will ever read.” Steve Biddulph
“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
Purchase Big Porn Inc, Getting Real, Faking It, Men of Honour, Sexts Texts & Selfies, Raising Girls, Raising Boys, MTR DVD, Ruby Who? DVD & book, Girl Wise guide to friends, Girl Wise guide to being you, Girl Wise guide to life and Girl Wise guide to taking care of your body, and the new Wise Guys for the combined discounted price of $250.
‘The foremost authority in Australia cyber safety lays it on the line and challenges parents to find their digital spine.’ – Dr Michael Carr-Gregg
Whether it is problems with friends, worrying about how you look or just feeling a bit down in the dumps – these books are written especially for you – to help you in your journey. Purchase all four together and save $18.50 on postage! Author: Sharon Witt
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
In this easy-to-read updated book, Steve Biddulph shares powerful stories and give practical advice about every aspect of boyhood.
“Overflowing with incisive understandings…a comprehensive and in-depth guide.” – Dr Michael Carr-Gregg, Consultant Child and Adolescent Psychologist
Men of Honour -written by Glen Gerreyn- encourages and inspires young men to take up the challenge to be honourable. Whether at school, in sport, at work or in relationships, we must develp our character to achieve success and experience the thrills life has on offer.
Purchase the Ruby Who? DVD and book together for only $35 saving 10% off the individual price.
“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.