Ja feel men’s fashion label: corporate sexual predator promoting non-consensual sex acts
Ja feel men’s fashion label: corporate sexual predator promoting non-consensual sex acts.
Australian company, Ja feel, promotes the sexual abuse and degradation of women and girls (as well as pornographic imagery and racist stereotypes) all in the name of marketing their “lifestyle brand.”
The Perth-based retail company, which promotes itself as a clubbing and music festival label and ships its misogyny worldwide, is, in reality, a corporate sexual predator.
You can see how committed they are to promoting rape culture based on images from their social media accounts. Read more
We feel you need to be shut down
Just when you think it can’t get worse…
How is this Australian company allowed to promote the sexual abuse and degradation of women and girls in this way? Perth-based Ja feel, which promotes itself as a clubbing and music festival label and ships its misogyny worldwide, is, in reality, a corporate sexual predator.
Here are some images from their social media accounts.
See how committed they are to promoting rape culture (if the meaning is unclear, the reference below is to a man shifting from vaginal to anal penetration without consent then pretending to be sorry about it).
See how they love giving women the pornified treatment and teaching boys they are entitled to women’s bodies. (#TittyTuesday and #ThongThursday are among their popular hashtags).
See how they feature even a young girl in a sexually suggestive way, with the elephant’s trunk as phallic symbol (there’s a popular porn- themed racist stereotype in this one too).
And, here are stickers, complete with instructions on sticking them on a woman’s breasts.
Echoing rape culture slogans, migrating porn images into every day advertising, grooming a whole generation of boys to prey upon women because that’s what ‘men’s lifestyle’ means now, Ja feel is building the scaffolding which reinforces sexist attitudes creating an environment where violence against women is flourishing. We feel your hate.
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.
While there has been significant attention given to his suspected terrorist activities, his conviction and jail term for threatening to kill an ASIO officer and his angry claims that Parliamentary Secretary Steve Ciobo was inciting Australian Muslims to travel to Syria to join ISIS, less has been said about his threats to Australian women.
In January, shortly after the Charlie Hebdo terrorist attacks in Paris, Mallah threatened women columnists Miranda Devine and Rita Panihi in a twitter post:
I’ve always held the view that women who express opinions and are then subjected to violent threats and vilification should be defended, regardless of whatever political or ideological side of a fence they are on. I wondered, when some in the audience clapped in support of Mallah, if they were aware of his rape threats against Australian women or whether this didn’t matter enough to them to refrain from applauding?
And why don’t threats of sexual terrorism against women attract the same condemnation as other terrorist related threats? Mallah may have distanced himself from some of his earlier views, but his gang-rape tweet is only five months old.
Political scientist and commentator Dr Jennifer Oriel had been invited to be part of this week’s Q&A panel. She refused because of Mallah’s threats of sexual violence. She wrote this about her decision.
Last month, I was invited to appear as a panelist on the ABC’s political talk show Q&A.
Last night, Q&A featured a self-described “Muslim activist” who tweeted about gang-raping female columnists in January and pled guilty to threatening to kill an ASIO officer.
Why would I want to appear on Q&A following such an outrage against freethinking women and our nation’s protective forces?
The man who tweeted the idea of gang-raping female journalists also has expressed support for an Islamic caliphate.
I consider him such an inferior example of manhood that I would prefer not to stain the page with his name, but here it is for the record: Zaky Mallah.
After deploying the standard Islamist narrative on the ABC – i.e. Islamists are victims and anti-terrorism is unfair – Q&A’s audience applauded Mallah.
That tells us a lot about the state of Left-wing politics today.
In the 21st century, the hard Left goes soft on men who attack liberal democracy and promote violence against women as long as such men belong to a Left-anointed minority.
Q&A host Tony Jones upbraided Mallah, but only after he had blamed the government for jihadism.
Today’s limp corrective by the ABC falls well short of the explanation we need and the apology Australians deserve.
The terms of reference for the investigation into the ABC’s indulgence of Mallah must include why a man who threatened to kill an ASIO official was cast as a victim while offending our liberal democratic government’s anti-terrorism policy.
And why a man who promoted the gang-rape of female columnists was welcomed into the ABC studio and given the privilege of being a selected speaker from the audience.
What might have happened if either of the two female columnists Mallah proposed should be gang-raped in January were on the Q&A panel last night?
Unlike those female columnists, I was actually invited to be on a Q&A panel this month.
I have written extensively on Islamist terrorism and have been threatened for doing so.
The thought that a man such as Mallah might have been sitting a few feet away from me unrestrained is, quite frankly, horrifying.
There are serious questions which must be answered about the contemporary Left, and its continued indulgence of Islamist terrorism and misogyny.
We might begin by asking why the taxpayer-funded ABC indulged a man who promoted the idea of gang-raping female columnists.
Is it because the targeted columnists, Miranda Devine and Rita Panahi, are politically conservative and therefore considered deserving victims by Islamists and their Left-wing allies in the West?
Are we seeing a new form of politically correctness in Australia – politically correct misogyny?
Perhaps misogyny is permissible to the Left when the victim is a conservative woman.
As a female political commentator who leans conservative, my right to free speech and bodily security may not mean much to the ABC.
But I did not spend my formative years in the 20th century fighting for women’s rights only to surrender to an Islamist-Left alliance of misogyny in the 21st.
I expect a public apology from the ABC for its outrage against freethinking women, freedom of speech and the basic security of Australians.
Until such an apology is given, I will not consent to appear on Q&A.
Update: Mallah and some others have argued that he used the phrase ‘gang bang’ not ‘gang rape’. A man who calls two female journalists whores, and argues they need to be gang-banged on popular morning television, is not inviting them to join him in a mutually pleasurable experience. Note he has continued to tweet misogynist messages about and to them, in which he upholds his use of the term ‘whore’ to describe them.
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.
Petition Creator Laura Pintur writes for Mamamia on Collective Shout’s campaign to get Zoo Weekly out of Coles and Woolworths.
Laura Pintur has started an online petition calling for lad’s magazine Zoo Weekly to be removed from supermarket shelves. Today, she writes for Mamamia about why she’s taking on a mag that is read by 36,000 boys aged 14-17.
I was so happy when I heard Greens Senator Sarah Hanson-Young had won her defamation case against Zoo Weekly. When I saw what they did to her, putting her head on a semi-naked bikini model’s body, I thought – how can they get away with that? Happily, they didn’t get away with it in Senator Hanson-Young’s case.
But every day they’re getting away with objectifying women, teaching boys to be predatory, encouraging sexual harassment and violence, spreading rape culture – all while calling it ‘humor’.
My friends and I don’t think it’s that funny to say to men and boys: “If the object of your affection is drinking, that’s already a point in your favour… you want to pick the “loosest/skankiest” one of the lot and fetch her a drink…separate her from the flock. You’re off alone, boozed-up and charming — these are three green lights!”
Giving men and boys the green light to assault women who are under the influence of alcohol is inciting them to commit a crime – when what we need to be doing is educating young men and boys about respectful relationships.
A recent Zoo column joked about punching your ‘misses’ in the face – and this kind of language is important. A 2011 UK study compared lads’ mags’ – including Zoo – and statements from convicted rapists. It found many people could not distinguish the source of the quotes.
Zoo Weekly uses the same language as rapists in its magazine. Sexually objectifying imagery and demeaning content feature on Zoo’s social media sites.
Zoo contributes to a culture that is hostile and threatening to women. It puts my friends and I in danger.
The Australian Bureau of Statistics 2012 Personal Safety Survey found one in five Australian women over the age of 15 had experienced sexual violence. When big supermarkets like Coles and Woolworths sell Zoo it normalizes harmful attitudes to women. Zoo magazine is unrestricted, meaning there are no age restrictions on who can purchase the magazine. Zoo Weekly’s parent company, Bauer, has commissioned their own statistics that show 36,000 boys aged 14-17 read Zoo.
This is why I’ve started a campaign through Change.org, with the support of Collective Shout, calling on Coles and Woolworths to stop selling sexist Zoo Weekly. More than 37,000 people have now signed.
If Coles and Woolworths want to pride themselves on their corporate ethics and support for communities, why do they think it’s OK to profit from degrading women and girls?
I know there’s a lot more that has to be done. This is just one thing I felt I, as a 23-year-old woman could do. It’s my first campaign, the first time I’ve done media or spoken out. But I felt I had to do something.
I have seen first-hand the costs of what this magazine endorses, not only in my life but the lives of other young people. What chance does my generation, and those younger than me have when such major corporations help groom boys to treat us badly?
If you would like to sign Laura’s petition, you can find it here.
Lads’ mags, sexual violence, and the need for feminist intervention
Magazines such as Zoo not only reproduce and legitimise sexist and predatory views of sexual violence and gender roles. They also make such attitudes seem normal and acceptable.
Laura Pintur’s accusation that Zoo reproduces “rape culture” is particularly insightful because of the emphasis on cultural and socio-political contexts of these media texts. The implied understanding is that sexual violence is woven into the very fabric of our wider society and culture. Full article.
Lost Innocence: Why girls are having rough sex at 12
They know, or think they know, a few other things, too. That oral sex doesn’t count as sex. That sending nude pictures via text or Facebook is the new flirting. That boys their age watch porn regularly, and demand from their girlfriends the sexual menu they see online – hairless, surgically-enhanced bodies, ‘girl-on-girl action’, and much, much more.
They are learning from the 21st century’s version of sex education class, the internet…But these lessons are a dangerous mix of misinformation and distorted images of sexuality, which is contributing to behaviour that can leave young women with deep psychological and physical scars. Full article.
Maybe next time there could be an exhibition for survivors like me?
Last month a new exhibition – X-Rated; the sex industry in the ACT – opened at the Canberra Museum and Gallery (CMAG).
The exhibition is funded by the ACT Government and the Interchange General Practice.
It is of particular interest to me as I spent some years exploited as a prostitute in Canberra in the 1990’s. I wanted to see how an industry that I have firsthand knowledge and experience of would be depicted within an art gallery.
I wondered if it would it be an honest and realistic insight into what actually happens.
I left the exhibition after 20 minutes, feeling sick and numb.
I went home and cried.
I cried because of the ignorance of those putting this exhibition together.
I cried because the exhibition was one sided – it clearly had an agenda to glamorise the sex industry.
I cried because there was no story of a survivor of the sex industry.
And I cried because some of the images caused disturbing memories to come flooding back – memories that I have spent 20 years healing from. In 20 minutes I went back to that horrible time in my life.
Anyone who has experienced Post Traumatic Stress Disorder will understand my experience that day.
The exhibition includes photos of several brothels from across Canberra. I had done time in just about all the brothels on show.
Working in a brothel is not like any other job. It’s unbelievably stressful . You don’t generally have any other options for earning money, so poverty is a main driver. It’s hard on your body, hard on your mind and hard on your overall wellbeing.
You tend to not be able to stay more than a few months in one place.
I was 17 when I first started work in a Canberra brothel. The owner knew I was underage and was fine with it. He knew the younger I looked, the more desirable I would be to punters and the more money I would make for him. There was no duty of care toward me.
Seeing pictures of these brothels brought back to me the many violations that were done to me. The pressure to do anal sex, the extra money offered to go condom free, the drugs offered in lieu of money, group sex with a football team who treated me like a piece of meat, the call-outs to hotels where I had no idea who I would encounter and the guys who wanted to dominate me –happy to rough me up to get what they want.
There was also a very large photo of a peep show booth – which is the small black room where men sit alone. They insert coins to make a flap open for them to view a live strip show. The man is unseen by the woman – he leers at her while masturbating into a tissue and calling out vulgar instructions.
It is a pretty degrading experience. I know because I experienced it.
The exhibition shows a range of photos showing stills from porn movies. Many show women receiving oral sex from an attentive man, with the woman depicted with her back arched and her head thrown back in pleasure.
This is nothing more than glamorising the sex industry, where the man paying for the service has the power.
A woman is normally the one with a dick shoved in her mouth, while a john holds her head still, ‘encouraging’ her to deep throat.
The reality is that in prostitution your vagina is rubbed raw from all the johns you have serviced; often so painful after a particularly aggressive john that you have to use numbing gel to keep working. And all the while expected to like a porn star as though the overweight public servant on top of you is the greatest fuck you’ve ever had.
I was not surprised that the Interchange General Practice would fund this exhibition as it was always the place to get a script for drugs if you weren’t coping or to get an STD check signed off on the spot. But for the ACT Government to be funding the exhibition – with the people’s taxes – is appalling.
Is our government in the business of keeping vulnerable women supressed and making a buck from their hardship, happy to make money on the registration and taxation of these businesses? Do our elected representatives really have no problem supporting something that so degrading to women?
It seems that it has bought into the ridiculous lie that the selling of time share on you vagina is a really good thing for everyone.
The exhibition blatantly glamorises the sex industry.
There was nothing from survivors, nothing showing the sordid, abusive and damaging elements of this industry, it was just presented as an interesting look at the history of the industry.
In writing this piece, painful though it is, I want to give voice to all the survivors who were ignored and disappeared by this exhibition. Maybe next time there could be an exhibition for survivors like me.
*Name suppressed by request
Sex industry’s cultural celebration of female sexual exploitation in the ACT
Dr Caroline Norma
The Canberra Museum and Gallery obviously called in a range of favours to stage its latest exhibition. The ACT’s most successful pornography distributor, Robbie Swan, gave it access to his private collection of sex industry memorabilia; a local Canberra medical centre formerly undertaking STD checks on women in prostitution supplied corporate sponsorship, and the commonwealth Censorship Board conferred the exhibition with a ratings classification.
The resulting ‘X-rated: The Sex Industry in the ACT’ production pays homage to the business of prostitution and pornography in the Territory: the venues, products and operating environment of the sex industry are showcased in glass-boxed exhibits featuring brothel photos, pornographic video covers, industry magazines and government whitepapers.
The pimps and pornographers whose financial interests drive the sex industry, and the sexual interests of the customers who supply their income stream, are mostly the authors of the perspective that shapes the exhibition.
The industry’s hard-fought battles in throwing off government ‘repression’ and ‘censorship’ are narrated in great detail, as are its trials and tribulations in achieving brothel legalisation in the Territory. There are humorous anecdotes about a sex industry association running a brothel ‘open day’ fundraiser in 1992 for World AIDS Day, and a pornographer applying for a government export development grant.
Declines in the industry’s $34-million-dollar turnover in the 1990s are lamented; the internet, and the fact that police don’t raid illegal pornography sellers, are blamed. Stories about profit-making and industry deregulation are the threads that run through the sex industry’s exhibited history of its operations in the ACT.
Amidst the industry’s alternating self-congratulation and self-pity, exhibition goers are led to forget how pimps and pornographers actually make their money, and what cost Canberra residents continue to pay for their commercial activities. The exhibition mentions these costs only briefly: the rape and sexual enslavement of Thai woman ‘SK’ in a Braddon apartment in 2007, the death of 17-year-old Janine Cameron in a Fyshwick brothel in 2008, and the arson attacks on legal brothels in 2010 and 2012 are cited in a far-off corner of the room.
The fact that ACT Police failed to undertake checks of any sex industry venue in the Territory for a period of five years in the early 2000s, and reports that a Canberra pimp estimated 20 women were being brought into the ACT for prostitution each week in 2014, do not warrant a mention.
Public funding of the Canberra Museum and Gallery appears to have given no pause to the curator in compiling an exhibition that showcases the private business achievements of an industry that wreaks havoc on the lives of the citizens it exploits and the communities it infiltrates. Indeed, from the exhibition’s design, it’s not entirely clear Rowan Henderson brought with her any awareness of the human rights violations that fundamentally underpin the business of prostitution and pornography. Her glass boxes offer evidence of the sex industry’s abuses openly and unselfconsciously, and entirely uncritically. Exhibits are blithely presented as merely part of the industry’s spectacle, as if they couldn’t possibly pose any ethical challenge to visiting patrons.
One exhibit, for example, describes the sexual use of an Aboriginal woman, ‘Regina’, in the production of a pornographic film ‘The passion of the Canberra brickworks’ in the early 1990s. Another presents the first-hand testimony of a woman named Nikki Stern that poverty and pressure from her boyfriend caused her entry into prostitution and subsequent use in pornography. A few other exhibits narrate the fact pornographers from countries like the US and Germany flew into Canberra immediately after the industry was legalised and brought women with them for filming.
Patrons are confronted with no ethical challenges arising from the exhibition’s inclusion of women who have been used in Canberra’s sex industry. There is no mention of how their lives ended up after years of being pimped and made into pornography; in fact, the exhibition features close-range photographs inside brothels showing women’s faces clearly in colour.
For museum curators and others in the creative arts, making a public spectacle out of the sex industry and its activities might be a titillating and curiosity-satisfying endeavour performed in service of the leisure and entertainment needs of middle-class people who have never been homeless, exploited or destitute. They will never be held to account by the sex industry victims they put on show.
Victims don’t have a platform allocated at the Canberra Museum and Gallery from which to speak back to the sex industry’s six-month long, government-funded public assertion of its historical legitimacy in the ACT. Their suffering, humiliation, physical and psychological pain, and lost sense of self are nowhere explained in Henderson’s exhibition, and their murders, suicides and overdoses are almost wholly undescribed.
Museum curators, along with their patronising publics, are never confronted with the human toll the sex industry inflicts on society’s most vulnerable people. Exhibitions like that currently spruiked by the Canberra Museum and Gallery supplant this reality with a predictable stream of comforting propaganda about the sex industry’s flamboyant history, colourful characters and whimsical endeavours.
The sex industry exhibition runs till September this year, and so for a full six months the Canberra Museum and Gallery will be giving cultural endorsement to female sexual exploitation in the Territory. This endorsement will forever stand in the Museum’s own history as an act of betrayal of the ACT’s most vulnerable women and girls. I hope this history is one day narrated in an exhibition where the sex industry’s victims are finally able to respond to elite cultural celebration of their degradation; then we will see many curators, creative producers and artists ducking for cover.
Dr Caroline Norma is a lecturer in the School of Global, Urban and Social Studies at RMIT University.
Collective Shout’s Coralie Alison and Sydney activist and educator Paula Orbea asked Lonely Planet to stop promoting misogynist camper van hire company. Lonely Planet responded:
“thanks for flagging this important matter, Coralie. Listing was removed from our Australian 18 guide (produced last year; hitting shelves in Nov)…the listing still on the site has been raised with the online editorial team.”
Paula launched a petition against Wicked Campers last year after her daughter was confronted with a disturbing misogynist slogan on a Wicked Camper van. Collective Shout wrote about the campaign here.
The campaign achieved widespread media attention. As the petition approached 130,000 signatures Wicked Campers agreed to remove the slogans over a period of 6 months. They lied. Here’s the latest update at Paula’s site.
As Paula pointed out in her article, it is worth continuing to speak out.
Contact camp sites and caravan grounds, ask if their policy is to turn away Wicked Camper vans with sexist or explicit slogans and imagery.
If you see a tourism, travel guide site or publication promoting Wicked Campers, let them know why Lonely Planet has stopped promoting the company and ask them to do the same.
Let us know about any action you take and especially if you receive a response via comments section below.
Here’s the exchange with Lonely Planet
UPDATE: Violence against women just a joke says Wicked
This would have to be the most condescending media statement I’ve ever read. Those who object to Wicked’s women hating slogans lack a sense of humour.
But see how things are suddenly not so funny when protestors took the company up on its recent offer to anyone who doesn’t like their slogans to paint over them?
Re-facing of their vans is more serious than the degradation of women.
Protestors, let this fire you up for further action.
A new wave of indignation
Since publishing the last update on this petition, I have continued to work toward attaining what was asked for of Wicked Campers in the first place – to eliminate degrading and misogynistic slogans and images from their vans.
Obviously, Wicked Campers themselves have made it abundantly clear that they will not be upholding their promise as evidenced by my ‘Literally Wicked’ post that I keep updating with images as they’re sent to me. Sign petition now
Reddit ignores calls to pull ‘corrective rape’ forum
The Philosophy of Rape
By Mark Potok, Senior Fellow
In an online world that is increasingly fraught with extreme hatred of women, the subreddit named PhilosophyOfRape may actually be the most vile and malicious English-language expression of misogyny on the Internet.
The subreddit, a forum that was created by an anonymous user last Sept. 28, promotes the “corrective” rape of “sluts,” “harlots” and just about any other woman or girl, and promises to help readers get away with it. Its founder reportedly claims to have personally raped seven women, and a visitor to the site recently bemoaned his own arrest and 10-year sentence after following the site’s advice.
“These harpies need to be humbled,” the forum’s creator, who also goes by PhilosophyOfRape, wrote in his opening statement, which he described as “serious as a heart attack.” “We’re talking about filthy, unmitigated sluts. Obvious and loud. Shameless. Belligerent. Entitled. Selfie taking, Tindr-whoring, Teenage-walking-herpes-sores. We are talking about bad, bad individuals. Unruly, neglicted [sic], children, run-amok. That badly need to be punished. Badly. For the good of society, these women need to be raped. Here we will teach how to do it safely.”
…The site attracts more than its share of the criminally minded. “Do you think fathers should fuck their daughters?” one wrote in, adding without irony that that “would ingrain in them a healthy view of men.” Another user asked when a girl is too young to rape and was told that “9-15 is a decent range to start corrections.” And still another user who said he had “fucked a girl while she was unconscious” was told by someone else on the site that if that were true, he had “done good.”
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