Anita Sarkeesian, self-dubbed “social justice activist,” details that, had she not engaged with the sphere of contemporary feminist academia, she would not have become a feminist. A convert to the faith, it was only by adopting the “systemic and institutional framework” depicted by modern feminist writers that Sarkeesian was able to “see how oppression manifests in many subtle ways under the systems of what bell hooks calls white supremacist, capitalist patriarchy.”
Sarkeesian’s feminism wouldn’t exist without this systemic framework, a mode of thinking that has caused her to question the individualism she sees inherent within the “neo-liberal worldview.” Therefore, “choice feminism” empowers oppression, because a choice good for one woman isn’t necessarily good for all women.
Sarkeesian believes that “choice feminism obscures the reality that women don’t have a choice.” The real question is, if women refuse to believe in the “systemic and institutional framework” preached by feminist academics, are they free to embrace the reality of having more choices than they’ve previously been led to believe? What would a feminism free of oppression look like? Could it function outside the walls of the academic temple?
VIDEO: What’s More Sexist, Meghan Trainor Singing to Her Future Husband, or JCPenney’s Butt-Firming Jeans for Teens?
You have to admit the retro stylings of YouTube star Meghan Trainor make for some catchy little tunes. But in her latest video, Dear Future Husband, the siren dons pinup-wear while scrubbing the floor of a 50′s kitchen and warning her husband he’d better compliment her every day and buy her jewelry. Contemporary feminists are in an uproar over the classic imagery, but does Trainor have a better grip on the inherent power of her sexuality than the teenage girls who feel the need to buy “butt-enhancing jeans” at JCPenney?
The national department store catalog includes:
The “YMI Wanna Betta Butt Skinny Jeggings” boasts: “With a slight lift and shift and contouring seams, our wanna betta butt skinny jeggings hug you in just the right places to give you a firmer, more flattering look.”
“Rewind Smoothie Super Stretch Booty Buddy Skinny Jeans” features “rear-end-enhancing structure” designed to “augment your jean collection — and your backside” and comes in an acid wash finish.
Penney’s isn’t alone. Several online stores including Modaxpress, Hourglass Angel, and even Amazon offer butt enhancing denim to a teenage crowd. Where’s the feminist outrage over a wardrobe enhancement specifically targeted to those vulnerable teen girls suffering all those dreaded body-image issues? Perhaps they’re too busy in Trainor’s kitchen arguing over who gets to make the pie.
Lily James and Kenneth Branagh provided truly thoughtful, eloquent answers to the question of how Disney’s newest Cinderella embodies the reinvention of the princess in a 21st century feminist light.
Contrary to popular culture’s interpretation of sex as power through the crowning of figures like Queen Bey, the star and director of Cinderella each proffer the concept of a feminism that draws its power from a woman’s spirit rather than her body. It is Cinderella’s graceful attitude and her desire to treat others with goodness that is the source of both her beauty and ultimately her power as a woman.
The real question is, in a world full of Dunhams and Kardashians, is feminism ready to go spiritual to find the purpose it so desperately needs?
Camille Paglia sits with Reason TV’s Nick Gillespie to discuss the failings of contemporary feminism, specifically in relation to the contemporary feminist obsession with gender politics which Paglia dubs “gender myopia.” Tagging the culture’s current obsession with viewing the world through the lenses of “race, class and gender” (what Gillespie titles “the holy trinity”) as a “distortion of the 1960s,” Paglia, a self-described atheist, explains that “Marxism is not sufficient as a metaphysical system for explaining the cosmos.”
The powerful dialogue should be required viewing for all college freshmen and women, of course. A general in the culture wars, Paglia continues to be the only academic unafraid to conquer Marxist ideology and its subsequent theoretical fields on its own turf.
Melissa McGrath, an undergraduate student at Ohio State University, was invited to participate in her college’s TEDx Talk, because, although not in possession of a doctorate, McGrath has “a valid story to tell, and (she thinks) that will shine through.” Her thesis: Feminism proffers salvation.
Her “valid story” plays like a tent-revival testimonial about how feminist theory, reinforced by college professors, informed her that it was not her fault that she was sexually assaulted on campus. Avoiding the details of her assault, McGrath instead focuses on feminist liturgy as a method for teaching “intersectionality” that is, how the human race is tied together in a Marxist state of oppressor and oppressed.
Pulling all the approved contemporary feminist buzzwords from “white privilege” to “rape culture” McGrath weaves the kind of soap box narrative trademarked by the best faith-based snake oil salesmen (and women) of the 20th century. Her’s is a speech proving that feminism isn’t just ideology, but idolatry; a religion whose places of worship are in university classrooms, whose holy texts are available at your nearest bookstore, and whose icons live on “Pinterest boards” and social media outlets.
Cover image “Female Jesus” by Juno.
In last night’s episode of HBO’s Girls, Hannah’s father came out of the closet.
Blah, blah, blah, right? At least until the end of the episode when Hannah confronts her father and says, gay or straight, she doesn’t want to know about his sex life.
Wait a minute? Is there something slightly traditionalist about Ms. Dunham after all?
No kid in her right mind wants to consider that her parents have sex. Yet for Ms. Dunham, who grew up around a considerable amount of father-generated sexual art, scripting a character who makes such a pedestrian proclamation is actually out of the ordinary.
Where is the line drawn in the progressive mind when it comes to loved ones and their sexual exploits? Could it be that the Queen of Sharing doesn’t want to share so much after all? Or is it more like others aren’t allowed to share as much as she does?
Wayne Goss is a 37-year old makeup artist with 15 years of experience and nearly a million YouTube followers. Lately he’s been receiving a lot of requests from female clients to make them up drag queen style, in large part due to the popularity of the drag queen look on television and social media. As Goss illustrates, drag queens use makeup to create the feminine look already inherent in female faces. Essentially, he’s been asked to mask natural femininity with a false face, leading him to question how we interpret the female look and concepts of natural female beauty.
Last year the UK police refused to respond to video footage of doctors agreeing to perform sex-selective abortions that target female babies, claiming that prosecution would “not be in the public interest.” In response to law enforcement’s blind eye, MK Fiona Bruce presented an amendment before Parliament that would ban gendercide in the UK. Originally received with an overwhelmingly positive response, the amendment failed to become law this past week ironically thanks to the seemingly pro-feminist protests of the Labour Party and Trade Union Congress. The language and nature of their protests against this amendment act as yet another illustration of how contemporary feminist ethos, in this case motivated by demented multiculturalism, is actively working against the cause of women’s equality across the globe.
This afternoon, MPs are considering following Fiona Bruce into restricting abortion rights and giving foetuses more rights than people.
— Another Angry Woman (@stavvers) February 23, 2015
Breitbart London reports that the protest against the amendment was spearheaded by Yvette Cooper, the shadow home secretary, who referenced the language of the Trade Union Congress (TUC) in a letter to Labour party representatives. In the letter she claims that banning sex-selective abortions would lead to “troubling consequences” such as a limitation on abortions for “gender specific abnormalities.” She also opposed the amendment’s use of the term “unborn child” as “children” are granted more legal protection in the UK than “foetuses.”
Her pro-choice defense was so stereotypical it garnered criticisms dubbing it “at best ludicrous misinformation, and at worse pernicious scare mongering.” As to the “gender specific abnormalities” claim, the law contained a caveat permitting abortions for medical reasons, regardless of gender. For advocates of the amendment, Cooper’s preferential treatment of the word “foetus” over “unborn child” turned her argument into a pro-choice one, plain and simple. If only it were that easy.
The real perniciousness came in documents circulated by the TUC regarding the gendercide amendment that stated:
“The amendment does not attempt to address the root causes of deeply entrenched gender discrimination but rather has divided communities.” It also said that banning sex selective abortions might leave women vulnerable to domestic abuse.
Sex-selective abortion is rooted in specific cultural beliefs. That’s right: Stop everything and sound the multiculturalist alarm bells, lest we step on anyone’s toes, child, foetus or otherwise. In a 2012 report titled “Why do feminists ignore gendercide,” the Heritage Foundation details:
“Son preference is a symptom of deeply rooted social biases and stereotypes about gender,” a representative of the National Asian Pacific American Women’s Forum said in congressional testimony. “Gender inequity cannot be solved by banning abortion.”
Jonathan V. Last, who writes about cultural and political issues, begs to differ. The choice is clear, he argued last summer in the Wall Street Journal. “Restrict abortion,” Last wrote, “or accept the slaughter of millions of baby girls and the calamities that are likely to come with it.”
— Stop Gendercide Now (@SGNIreland) January 27, 2014
Let her walk uncovered down a Saudi street and come back and tell us how about feminism in Islam. pic.twitter.com/yz57JlCX8R
— Tommy Robinson (@TRobinsonNewEra) February 5, 2015
Owen Jones opines in the UK Guardian that women are “taken less seriously than men” and, as a result, the “pandemic of violence against women will continue.” Coming on the heels of the famed Arquette faux pas at the Oscars, his essay easily reads as more of the same old “War on Women” schtick, and to a great extent it is. However, his opening argument is worth noting for what it does say and for what Jones does not. Somehow, like most contemporary feminists with a platform, he manages to acknowledge the grotesque abuses of women living in Islamic cultures while completely refusing to point out that radicalized Islam is the number one serious threat to women across the globe.
— Revolution News (@NewsRevo) February 21, 2015
Jones begins by recounting the story of Özgecan Aslan a 20-year-old Turkish college student who was tortured, raped and murdered, her body then burned as evidence, by a bus driver.
Across Twitter, Turkish women have responded by sharing their experiences of harassment, objectification and abuse. But something else happened: men took to the streets wearing miniskirts, protesting at male violence against women and at those who excuse it or play it down. Before assessing how men can best speak out in support of women, it’s worth looking at the scale of gender oppression. The statistics reveal what looks like a campaign of terror. According to the World Health Organisation, over a third of women globally have suffered violence from a partner or sexual violence from another man. The UN estimates that about 133 million girls and women have suffered female genital mutilation, and believes that nearly all of the 4.5 million people “forced into sexual exploitation” are girls and women.
He stops there, short of pointing out that the WHO statistics cited clearly show that the greatest threat of violence against women exists in primarily Islamic countries. While he mentions female genital mutilation, he again neglects to tie in the fact that FGM is most commonly practiced in Muslim countries and among extremist Islamic cultures.
Jones bases his argument in a story of a Muslim girl tortured and murdered by a man in a Muslim country that is growing more religious by the day, only to devolve into the same demeaning politically correct tropes of contemporary gender feminism. He finds it ironic that men dare to call themselves feminists and decides “…men will only stop killing, raping, injuring and oppressing women if they change.” Change what? Their gender? For Jones, as it is for so many other feminist activists, it is easier to just throw a blanket of blame onto men than to confront the source of evil that exacts a real “campaign of terror” against women: radical Islam.
What’s worse, Jones doesn’t hesitate to make his case for women all about gay men. In yet another ironic twist, after accusing men of co-opting the feminist movement for their own egotistical needs, he uses gender feminist theory to defend a tangent on gay rights:
And while men are not oppressed by men’s oppression of women, some are certainly damaged by it. Gay men are a striking example: we are deemed to be too much like women. But some straight men suffer because of an aggressive form of masculinity too. The boundaries of how a man is supposed to behave are aggressively policed by both sexism and its cousin, homophobia. Men who do not conform to this stereotype – by talking about their feelings, failing to objectify women, not punching other men enough – risk being abused as unmanly. “Stop being such a woman,” or “Stop being such a poof.” Not only does that leave many men struggling with mental distress, unable to talk about their feelings; it also is one major reason that suicide is the biggest killer of men under 50.
If gender stereotypes are a cause of male suicide, they only have gender feminists to blame. Wait – wasn’t this supposed to be an argument in favor of feminism and the female voice?
Self-dubbed “meninists” have gone on defense after a Superbowl commercial inspired women to proclaim to the world the power of being #LikeAGirl. Ironically, the sexism inherent in their response pales in comparison to the gender bias expressed in defense of the commercial. Once again, gender feminists out themselves as a group bent on erasing gender, specifically female gender, from American culture. The problem is that they are so bloody brainwashed in indoctrination that they don’t even realize they’re doing it.
In an attempt to defend the pride a woman should take in acting #LikeAGirl, gender feminists only manage to uphold the notion that women are weak and oppressed and need public approval in order to be “empowered.” Moreover, in order to gain that much sought-after public approval, women must take on androgynous appearances, hobbies or careers that require them to leave their femininity at home under lock and key.
— Project Pat Sajak (@ParisBurned) January 25, 2015
A few days ago a friend of mine who loves and lives vintage shared this gem from HuffPo showing a series of modern-day “pin-up” pics paired with the argument that “every body is gorgeous.” The pin-ups, all retro-themed, featured a varying number of body shapes and types in clever poses and even cleverer clothing designed to hint at sex. Because sex, good sex, ultimately relies on stimulating the human imagination. Bad sex, on the other hand, has everything to do with telling the mind what to think instead of letting it take the hint. Which is why sex today, quite frankly, stinks.
Play the body-positive feminist angle of the photos all you want. What really makes these photos awesome is that they are a reminder of a time when sex was a hint and women were in control of exactly how far they went with the nudge, the wink, the euphemism, and the nudity. Contemporary feminists love to argue that being completely naked in public is the ultimate proclamation of sexual power, because they cannot comprehend the unspoken language of sex. Anything that isn’t laid out clearly in a multi-part contract is somehow an inconclusive sexual assault. No wonder they love gays and lust after drag queens. These are the only demographics still allowed to speak the unspoken language of glamour and inference. The shaggy-haired, pantsuited crew wishes they could be that comfortable in a sparkling evening gown and heels.
The truth is, contemporary feminists don’t know how to handle the power that comes with the clothes. Naked they get. Naked comes with a contract and court protection. The resulting shock value, best left to celebrities on red carpets protected by the lens of the camera, is especially defended and praised. Second-wave theorists once decried cinema’s voyeuristic male gaze. Now they taunt it openly, flashing breasts and bottoms to the point of sheer boredom, arguing that familiarity with the naked figure will somehow both grant women ownership of their bodies and tame evil male lust. (Tell that one to the booming porn industry.)
No one is more adept at the naked game than Miley Cyrus, Disney’s good girl-gone-bad who has apparently decided to challenge Lena Dunham at her own flesh-revealing game. Her latest shoot for V magazine wasn’t a shoot, per se, as much as a catalog of naked Polaroids (the Insta-variety no doubt) snapped by a friend while on her latest tour. Compare her nude antics to original Disney bad girl Annette Funicello, who ignored Disney’s advice and dared to bare her navel in a two-piece for a series of bikini beach movies in the 1960s. Funicello’s legacy is that of teen sex symbol. Miley’s on the other hand is that of teen slut.
— Nora (@nora_da_xplora) November 1, 2014
In the Slut Walk era, Miley is just another bare-breasted woman in the crowd of feminists bent on denying psychology and biology through visual over-stimulation and court-protected denial of responsibility for inevitable consequences. As Camille Paglia so smartly comments to the pro-slut crowd:
Don’t call yourself a slut unless you are prepared to live and defend yourself like one. My creed is street-smart feminism, alert, wary, and militant—the harsh survival code of streetwalkers and drag queens. Sex is a force of nature, not just a social construct. Monsters stalk its midnight realm. Too many overprotected middle-class girls have a dangerously naive view of the world. They fail to see the animality and primitivism of sex, historically controlled by traditions of religion and morality now steadily dissolving in the West.
The sexual revolution won by my 1960s generation was a two-edged sword. Our liberation has burdened our successors with too many sexual choices too early. Their flesh-baring daily dress is a sex mime to whose arousing signals they seem blind. Only in a police state, and not even there, will women be totally safe on the streets. Honorable men do not rape. But protests and parades cannot create honor.
Contemporary feminism isn’t just about nudity. Its ancient, paganesque obsession with body image puts more demands on a woman’s body than the simple shedding of attire. Ancient Jews who desired to fit in with their Greek overlords painfully reversed their circumcisions. Today’s women go to great lengths to emasculate their otherwise feminine figures to do what, exactly? Pursue a level of strength biologically and psychologically associated with the male gender? Or carve a comfortable trans-niche of their own, not quite glam like the drag divas but not nearly as boring as the Hillaryesque powersuit crowd?
Whether it’s female body building or superhero chic, flat abs, four-packed and more, are now the ultimate pursuit in female happiness. Women once considered themselves liberated from the forced flat abs of the corset generation. Now they’re demanding their own bodies do the work of the whale bones. Cinched in tight, these picture-perfect bodies eliminate the belly pouch made famous in elegant female art for centuries. (The un-tightened belly pouch that also makes the round ligament pain common in an expanding pregnant belly easier to bear.) Goodbye, Botticelli’s bellies and all the promise of fertility within, hello flat abs and the emasculated figures that come with them.
Hyper-muscular demands on a feminine physique can have more than just an aesthetic effect on their womanhood:
A Norwegian population-based survey of nearly 4,000 women under 45 found a clear link between exercise intensity and fertility. Women who were active most days were more than three times more likely to have fertility problems than inactive women. And those who exercised to the point of exhaustion were more than twice as likely to be infertile than those who engaged in less strenuous activities, according to results published in Human Reproduction.
It is the great irony of flat abs and nude figures that women, who claim to possess a greater hold over their own sexuality, are in fact rendering themselves powerless over their own sex. Whether they are work-out freaks who reduce their chances of becoming mothers or women insisting that baring it all isn’t an invitation to a dangerous sexual encounter, contemporary feminism has crafted a cadre of goddesses willing to sacrifice themselves on the altar of so-called liberation. The only thing they’ve been liberated from is the one thing they’re after: Being thought of as sexy.
This Little Girl Just Schooled Tesco Over A Sexist Sign Because “Anybody Can Like Superheroes” http://t.co/Gp9rGmNvlA
— Natalie Brown (@Natalie_Brown) January 11, 2015
When you’re constantly relying on a third party to define your sexuality, you’re inevitably going to write yourself onto the sidelines of social activism, which is precisely what contemporary feminism is currently doing. With its insane Marxist belief that biological “sex” and “gender” are two separate entities that do not overlap or influence each other, contemporary feminism has bought into postmodern subjectivity. Issues are left to be parsed in terms of value judgments rendered by individuals on the basis of sheer whim. This includes defining what it means to be a woman.
It’s bad enough when contemporary feminists attack shopping malls for categorizing “boys” versus “girls” clothing. The complaint is always the same: “My daughter wanted a superhero shirt that was unavailable in the girls’ department!” Pants were unavailable in the girls’ department 100 years ago. Women wore them anyway. Instead of raising independent thinkers, contemporary feminists raise dependent complainers who derive their entire sense of gender identity from a store’s marketing department. This is the dark side of allowing society to define your gender. Suddenly a generation of women is convinced they have male tendencies because they have a penchant for Superman. It couldn’t be that they want to wear his logo because they find him strong, appealing, or — God-forbid — attractive. Because his logo is sported in the boys’ department only, it must mean any little girl who wants to wear his shirt is obviously a trannie.
Don’t let the stereotypical G.I. lunks distract you with their butt-smacking, “don’t you need to file something” portrayal of 1940s masculinity. Marvel’s Agent Carter is far from your oh-so-played-out second wave feminist portrayal of manhood – and womanhood, for that matter. Which is why it’s the best show going on television for feminism today.
For every lunk there’s a hero, Carter’s colleague Agent Sousa being one of them. One brilliant expository exchange sets the tone, demonstrating exactly how appealing real men find Carter’s fearless independence:
Carter: “I’m grateful. I’m also more than capable of handling whatever these adolescents throw at me.”
Sousa: “Yes, ma’am. Doesn’t mean I have to like it.”
Carter: “Well that’s another thing we have in common.”
Carter is a fully empowered female. Sousa knows it, respects it, and likes it. And Carter likes him for it. This kind of His Girl Friday exchange gets equity feminism the screen time our culture so desperately needs. Unlike her Avengers’ counterpart the Black Widow, Agent Carter isn’t squished into slicked up body suits and forced to perform gymnastic feats in order to intrigue her male audience. And unlike gender feminists, Carter draws authority from her sex and uses it to save the day.
Take one look at Mic’s list of feminist triumphs for 2014 and you’ll get the feeling that most of us have over the course of this rather petty year: American feminism doesn’t know what to do with itself. Sure, it pays lip service to international women with its only PC figurehead, Malala Yousafzai, taking the list’s lead. And yes, the editors made sure to include a proportional number of women of color on the list, even if they included Ferguson protestors, leading one to ask why the feminist movement would want to associate itself with the kind of race riots we haven’t seen in this nation in nearly 50 years. But when your greatest triumphs include hashtag activism, conquering “manspreading,” and harassing Bill Cosby over decades-old alleged rape accusations, you illustrate how pathetic you’ve become.
A few of these so-called feminist triumphs were listed among the top feminist fiascos of 2014 in the L.A. Times, along with some real head-hanging, shame-filled moments stretching from #ShirtStorm to #BanBossy. One item on the list, however, strikes a sobering note: Rotherham. The complete lack of American feminist response to the sex trafficking of women in this British town for over two decades should be enough to shame feminists into pursuing a new direction in 2015. Feminism as a biblically grounded, non-sectarian movement for women’s independence can once again play a vital role in American and global culture, as long as its gaze is redirected from the navel to the critical issues facing women today.
Corinne Fisher and Krystyna Hutchinson, two wannabe-famous New York twenty somethings, teamed up to talk sex via their “running soap opera,” “almost reality TV show” podcast Guys We F*cked. Broadcasting under the “anti-slut shaming” banner makes Guys We F*cked appealing to the contemporary feminists at Salon who never turn down the chance to normalize twisted sexuality. Salon assistant editor Jenny Kutner sat down with the comedy duo more commonly known as “Sorry About Last Night” who, as they enter season 2 of their famed podcast, are looking to crowdsource funds from fans while noting that their careers are “…getting better because of the podcast, which is really exciting.”
Performing an editorial feat, Kutner defines the duo’s narcissism as “comedy with a purpose” in her attempt to define the two as feminists. In doing so, the assistant editor at Salon exposes exactly why contemporary feminism is failing 21st century women: Today’s feminists have worked to sever feminism from its historical roots as a biblically-grounded movement for women’s independence. What they’re replacing it with, a “social media feminism” as artist and feminist April Bey has dubbed it, is a mere mask for narcissistic, death-obsessed, goddess worship.
I’m not opposed to lying to very young children. In fact, my family considers it one of the finer points of good parenting. The art of storytelling, when done appropriately, can soften a harsh reality and bring it into an easy-to-swallow, child-sized bite. In “6 Lies You Should Tell Your Kids“ I shared a few of our family secrets for doing just that. The Elf on the Shelf, however, is a Christmas tale with a dark side that could produce some unintended character flaws that could show up later as adults. Adults, no doubt, that will be living in a very different world.
Before you dismiss the whole idea as harmless fun, it’s important to understand two basic truths that Christmas traditions, as with all family traditions, are vitally important to children. You are always teaching your child–intentionally, or unintentionally.
The Elf on the Shelf is a cheap looking stuffed doll that looks like it came from a dollar store in China. The elf itself is not what has made it a multi-million dollar success. It’s the story behind it.
That’s where we get into some real life issues.
This elf is placed somewhere in the house to observe the children’s behavior. Apparently, this generation’s Santa can’t really see who’s naughty and nice. He needs surveillance elves. The elf is adopted into a family or classroom, given a name and perched somewhere to observe the children’s behavior. Then he receives his magic. Each night the little snitch flies back to the North Pole to let Santa know if the kid being watching is good or bad.
There are two rules, one for the elf and one for the kid: The elf cannot be touched. If he is, he loses his magic and can’t fly back to the North Pole (hence, no Christmas for the kid, and they’re stuck with just the elf). The elf’s rule is that it can’t say anything– only watch and listen carefully. Not a problem for a stuffed doll, even a cheesy one.
This type of tradition fits this generation of parents well. We all know the NSA is listening in, and it produces some great Instagram shots. By the looks of what a simple #elfonshelf search will uncover, naughty and nice parents are having as much fun with it, if not more than their kids.
So what could go wrong with an Elf on the Shelf?
A story about two old Jewish ladies is making the rounds in the Jewish press, but not for the reasons you may think. Sure, they’re bubbes. They’re children of a Holocaust survivor to boot. But the real reason they’re attracting so much attention is that they happen to be retired professional whores.
Dutch twins Louise and Martine Fokkens (probably not their real last name, since “Fokken” is a Dutch term for “old whore”) have become international celebrities since the 2011 release of their biographical documentary Meet the Fokkens. Women’s magazines like Cosmo picked up on their story shortly after the film’s release, publishing quick little details like:
Louise and Martine (mothers of four and three respectively) became prostitutes before the age of 20 in order to escape violent relationships.
It’s an interpretation that, at best, qualifies as a half-truth. Louise was forced into the sex trade by an abusive husband. Martine, however, became a prostitute out of spite:
Martine followed her sister into the trade, working first as a cleaning lady at brothels before she began turning tricks herself. “I was angry at how everybody around us shunned Louise,” Martine said. “I did it out of spite, really.”
Both women eventually divorced their husbands, whom they now describe as “a couple of pimps.” But they continued working in the district “because that had become our lives,” Louise said.
“Our life in the business became a source of pride, a sport of sorts,” Louise added.
In retrospect, both women say they regret becoming prostitutes.
Reading their story, one can’t help but wonder if mainstream feminist advocates for slut walks and “Yes Means Yes” legislation would condemn the pair for regretting the life they chose. After all, their body, their choice, right? They took control of their bad marriages, divorced the husbands they referred to as “pimps” and chose, fully of their own volition, to remain in the sex trade after their exes were fully out of the picture. Martine and Louise, it would seem, are the originators of the Slut Walk.
Conservative columnist Ross Douthat has declared his love for Lena Dunham. It hardly comes as a surprise that a New York Times writer, even one who dwells to the right of the aisle, would find the Girls prodigy appealing. What makes Douthat’s devotion disturbing is that he has managed to transform a goddess chained to a slew of liberal causes into a sacrificial lamb for conservative culture. In his struggle to do so, his misses the mark in what could have been one of the most culturally relevant critiques of Girls to date.
The critic defends Dunham’s showpiece Girls, writing,
She’s making a show for liberals that, merely by being realistic, sharp-edge, complicated, almost gives cultural conservatism its due.
It’s a seemingly ironic observation, based in the idea that Girls “often portrays young-liberal-urbanite life the way, well, many reactionaries see it…” That is, a subculture on the verge of self-destruction due to excessive amounts of what sociologist Robert Bellah dubbed, “the view that the key to the good life lies almost exclusively in self-discovery, self-actualization, the cultivation of the unique and holy You.”
In other words, as Gawker so simply put it:
He likes watching the show because it allows him to feel superior to Dunham and her fellow sluts.
By employing a rote, traditionalist perspective, Douthat argued himself into a hole, turning his love into judgement and burying his point in poorly-worded theory and equally bad theology.
I didn’t fully appreciate how spiritually free I am as an American woman until I set foot on an El Al plane.
“Do you speak Hebrew?” the fretting woman in front of me asked.
“No, not really.”
“It’s okay, I speak English,” she hurriedly replied, obviously looking for a friendly face. “These Orthodox,” she motioned to the people sitting next to her, “they don’t like sitting next to women.”
“Well, that’s their problem.” My response was pointed, matter-of-fact, American.
She smiled as if a light bulb went off in her head. “You’re right!” Her expression grew cloudy. “But what if I take off my sweater? They won’t like that I expose my shoulders with my tank top.”
Again, I simply replied, “That’s their problem.”
She smiled, empowered. Removing her sweater, she took her seat and stood her ground.
And at that moment I thanked God I was raised in pluralistic America, and realized, oddly enough, that the Holy Land was giving me my first chance to practice the biblical feminism I’ve preached.
Israel is a Western nation in that women have equal rights by law. Israel is also a confluence of religious and ethnic cultural attitudes, not all of which are friendly to women. Two days into our trip to Jerusalem, a family member who also happens to be a retired journalist explained the latest story to hit the nightly news. A man accused of spousal abuse was released to return home. Later that evening, police found his wife had been shot dead. The husband confessed to the murder. Apparently, domestic violence and death is a relatively small but significant problem in Israel. When I asked my former journalist why, he pointed to the influence of Middle Eastern (both Arabic and radical Islamic) patriarchal culture as the primary source.
Yet, even religious Jews in Israel (and around the world), despite their insular nature, are far from immune to sexual abuse. Sex scandals among the Haredim (ultra-Orthodox) show up frequently on the evening news. In this case it’s not the Arab/Muslim influence, but perverted behaviors that arise from rabbinic abuse of biblical teachings. How do you expect a man to relate to a woman sexually when he’s not even allowed to look her in the eye?
Also check out Leslie Loftis’ analysis of Beyonce’s performance at last night’s MTV Video Music Awards here.
10. “Bow Down/I Been On”
The Church of Bey has clearly gone to the pop goddess’s head. A critic at New Wave Feminism writes:
Aside from repeatedly yelling “bow down bitches”, the song also contains lyrics such as “I know when you were little girls / You dreamt of being in my world / Don’t forget it , don’t forget it / Respect that, bow down bitches”. Apparently, Beyoncé thought the appropriate response for young women who admired her and looked up to her was to call them misogynistic slurs and demand they genuflect in her presence.
This Bey Anthem doubles as the death knell of the sisterhood.
10. Americans are all obese.
From the messy buildup in the fat folds of Mama June’s neck (affectionately known to her children as “neck crud”) to Honey’s proclivity for bathing in mayonnaise, Here Comes Honey Boo Boo embodies the myth that everyone in America weighs a minimum of 300 pounds. One of the best episodes involves Mama June dumping a 5 pound bag of sugar into 2 gallons of lemon juice in order to make homemade lemonade. For the record, 64% of Americans are not obese. But with shows like HHere Comes Honey Boo Boo, The Biggest Loser, Extreme Weight Loss, Shedding for the Wedding, Thintervention, Dance Your A** Off, Celebrity Fit Club, I Used To Be Fat, and Ruby, we’re just a bunch of big, fat Americans.
11. Wonder Woman
Her fresh, All-American face premiered on comic book stands during World War II, making her the greatest enemy of the Axis powers. Daughters of original readers would go on to be inspired by Lynda Carter’s televisual portrayal of the superheroine in the 1970s. The Wonder Woman arsenal includes a dual-function tiara with bracelets to match and the awesome Lasso of Truth. Before there was Lara Croft or a chick named Buffy, Wonder Woman proved that strength could be sexy and gave Captain America a run for his patriotism with her flag-bearing style.
13. Bess Myerson
Recognizing a woman who appears to have parlayed her Miss America recognition into a minor-league acting gig may not seem logical, until you realize that Bess Myerson, the first Jewish Miss America, paved an uphill path for diversity in the pageant circuit. She was told by one Miss America exec that she ought to change her name to something “more gentile” and refused. Pageant sponsors refused to hire her as a spokeswoman and certain sites with racial restrictions refused to have her visit as Miss America. This was of no consequence to Miss Myerson, who was the first Miss America to win an academic scholarship. The racism she confronted was motivation for a lifetime’s work with organizations like the ADL, NAACP, and Urban League. She would go on to co-found The Museum of Jewish Heritage in New York and make boundless contributions to the city’s art community. Along with becoming a television personality, Myerson received several presidential appointments in the 1960s and ’70s and would receive two honorary doctorates.
Bought the book in the morning. Finished it in the afternoon. Literally could not put it down.
That may sound odd when you learn that I’m a 52-year-old father of four and I’m talking about a nonfiction book written by a geeky teenaged girl about her efforts to become popular. But it’s weirder than that: I actually had to reach for the Kleenex more than a time or two.
In Popular: Vintage Wisdom for a Modern Geek, Maya Van Wagenen, 15, lives and writes an engaging adventure — a social experiment, in which she tries to apply the lessons of “Betty Cornell’s Teenage Popularity Guide,” which her Dad found in a thrift store. Maya manages to bring precocious insight into the human condition through a fun, often dramatic, personal story.
Did you ever wish you could go back to high school knowing what you do now about human nature? Maya actually does it, but as a middle-schooler willing to test out principles of grooming, attire and attitude tailored for 1951. And she doesn’t update them. She lives out the vintage popularity guide as written.
How could paleolithic advice about makeup, girdles and etiquette survive the onslaught of feminism and political correctness? Quite well actually — surprisingly well. But ultimately, what Maya learns has little to do with superficial attractiveness. It really gets at the core of why some people seem to naturally attract friends, and have more fun, while others live lives of quiet desperation.
It’s easy to understand why this book, out since April 15, has already been optioned for a movie. I hope that the studio realizes that this is much more than a story of teenage angst — that it has broad appeal, and deep meaning.