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Amelia Hamilton

Originally from Michigan, Amelia now spends much of her time on the road writing and blogging with Virgil the labrador as her navigator. A lifelong writer and patriot, she also loves hockey, old books, old cars, and old movies. She has written two patriotic children's books. The first, One Nation Under God: A Book for Little Patriots was released in 2011. The second, 10 Steps to Freedom: A Little Patriot's Guide to the American Revolution will be out in February 2013. Amelia has a master’s degree in both english and 18th century history from University of St Andrews in Scotland and a postgraduate diploma in fine and decorative arts from Christie's London.
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How 8 Songs from the ’90s Define Third-Wave Feminism

Friday, October 17th, 2014 - by Amelia Hamilton

Editor’s Note: See part I here in Amelia Hamilton’s series exploring the transformations in feminist history and ideology: The Relevant and the Ridiculous: A Guide Through Feminist History

The third wave of feminism got started in the 1990s as a reaction against the second wave fought by their mothers (both figuratively and, sometimes, literally). There were some central tenets at the heart of third-wave feminism, and they can be illustrated in contemporary music. Join me on a walk through ’90s music, and the ways in which these songs illustrate third-wave feminist ideals.

1. Third-wave feminism went beyond legal equality for women, but empowered women to fight for other social issues as well.

One key way in which third-wave feminism differed from earlier waves was that it wasn’t just about women. Take, for example, the Third Wave Direct Action Corporation, founded in 1992. One of the founders was Rebecca Walker, daughter of second-wave feminist Alice Walker. In 1997, the group became the Third Wave Foundation, and was not only dedicated to traditional women’s rights issues, but worked to “explicitly connect women’s issues to issues of race, sexuality, class, and ability.” This was bigger than simply legal equality for women.

Arrested Development’s “Mama’s Always on Stage” (1992)

Key lyrics:

Mama’s always on stage

Can’t be a revolution without women

Can’t be a revolution without children

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The Relevant and the Ridiculous: A Guide Through Feminist History

Thursday, October 9th, 2014 - by Amelia Hamilton
Mrs. Beeton’s Book of Household Management was a guide for women, teaching them to run a Victorian household. Published in 1861, it was considered typical of the kinds of information women were thought to need, while requiring little or nothing else.

Mrs. Beeton’s Book of Household Management was a guide for women, teaching them to run a Victorian household. Published in 1861, it was considered typical of the kinds of information women were thought to need, while requiring little or nothing else.

1. Early feminism had a point. There were actual societal changes that needed to be made.

In the late 18th and early 19th centuries, feminism was fairly easy to understand. It was a movement of those who believed that women should enjoy the same freedoms as their male counterparts. This included access to the same level of education and freedom in choosing what they wanted from life–marriage, family, a career. Early feminists were fighting for this equality of status, to be seen as equal to men and, if married, to have rights separate from their husbands. Much of this was a reaction against the “feminine ideal” in Victorian society, which argued that women belonged in the home rather than in educational institutions or the workplace. Hooray for these early pioneers of equality!

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Why Women Ruin Everything For Women

Thursday, February 14th, 2013 - by Amelia Hamilton

It’s Valentine’s Day and romance is in the air. Am I allowed to say that? It would seem that romance is no longer allowed in American society, and I’ve recently figured out why. It’s not because of men, as women like to think. It’s because women ruin everything for women.

I’ve suspected this for some time but, last week, events transpired to confirm my suspicions. It all started with the Audi Super Bowl commercial. For those of you who missed it, a geeky guy is so overcome with confidence at being lent his dad’s Audi that he marches right into the big dance and kisses the prom queen. I loved it and, by the reaction shot, so did she. You know why? Because he was a man. Because it was romantic. No, the political correctness police opined, it was not romantic at all. In fact, it was “rapey.” Rapey.

That was bad enough, but it didn’t end there. The feminist shrews among our population then went after the iconic image of the sailor kissing a nurse in a spontaneous celebration for the allied victory over Japan in World War II. These were, by any measure, extraordinary circumstances. This VJ day kiss, one of the most romantic moments ever committed to film, the image that has made women swoon since 1945? Turns out that’s rapey, too, according to modern-day feminists. Do you know why men think women are crazy? It’s because women act crazy. And that, dear reader, is how women ruin everything for women.

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