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femtique 5:41 pm on November 9, 2007 | 4 | # |

This is what I wrote for a class grade in my Global Justice class at the University of Houston College of Social Work. I was supposed to send it to newspapers in Houston, but I never did. So here it is… for my fellow radical feminists. This blog entry will also be linked in the Nov. 24 Carnival of Radical Feminists.

Masses of stereotypes about black women flood across America from the “mammy” to the “jezebel”. They differ in scope, but above all else, what they have in common is this: black women and sexuality. The topic of black women and sex get people fired up in America.

If one types in the words “black women and sexuality” on Google, one will find an array of topics on how sex is viewed from the black female perspective. On the other hand, if one searches for “black women and sex”, the opposite is true. The perspective changes from one of black women to how others view the relationship between black women and sex. Fundamentally, the view that America has of black women and sex is one of sexual domination and exploitation.

The most popular tool used in America to dominate and exploit black women is none other than popular media. Take for example the new jam “Stronger” by Kanye West. Why do does Kanye feel the need to package Kate Moss (a white woman) as a black woman? The answer is harder to swallow than most Americans care to admit.

Americans have little empathy for black women who are sexually dominated and exploited. In pop media, Americans passively accept the desensitization of sexually dominated and exploited black women every day. How many Americans were in an uproar about Don Imus? Most of the people who were universally pissed off were American women.

American women differ in their cultural experiences, but all American women can agree that we are universally sexually objectified in mainstream media. As we women viewed in disgust at the racist and women-hating words Imus spewed at the Rutgers basketball team, there was an immediate connection between these female athletes and ourselves. Women today are fed up with feminine and racial identity being viewed as commodity to be sold without truthful representation.

All parts of my female and racial identity are angry. I cannot deny that I am affected by what I see and how others see me, but I also find comfort knowing that I am not alone in this struggle. There is no denying that we women are seen as how others perceive us. How others perceive us has a huge effect on our self-esteem. When black women are misrepresented in pop media all women are misrepresented. The misrepresentation of black women in the media is a painful example to all American women that the way we are portrayed is a bold face lie.

Can America empathize with the images of sexually vulnerable black women? I believe that all Americans can if they allow it. The problem we face as Americans is that we continually choose not to. When we shut ourselves away from empathizing with others different than us, we risk loosing our sense of humanity. We passively practice dehumanizing people on a daily basis to justify our lack of empathy for others who are different than we are. How do we passively practice dehumanization? We accept dehumanization when the #1 Billboard song in America is “Crank that (Soulja Boy)”. Mainstream rapper Soulja Boy Tell’em can successfully sell a song where he says the word “hoe” 30 times in his lyrics – and Americans still buy album.

Megan Williams is an example of where popular media has continually failed to show empathy for sexually vulnerable black women. When the news of Megan William’s incident managed to reach the mainstream media outlets, her story paled in comparison to the exposure given to Michael Vick, OJ Simpson, and Britney Spears. America was more interested in the controversy surrounding the lives of superstars rather than the real life horror of a sexually vulnerable black woman. Concern for Megan Williams only became priority in the mainstream media after thousands of outraged bloggers emailed complaints on the lack of news coverage on her story.

Americans show empathy for vulnerable black women, but not nearly enough. Only through empathy in those who are different than we are will our country be able to be the America we really want to be – a country that leaves sexism and racism as a relic of the past.
femtique 8:12 pm on November 8, 2007 | 1 | # |

One of the most prominent themes of this movie was the use of female sexual powerlessness as a means to strike fear in the audience. There are two lengthy scenes where sexual powerlessness occurs. I will discuss one. The protagonist Riggs (Lyriq Bent) is faced with a moral dilemma. He either saves his fellow detectives or saves a prostitute. Jigsaw convinces the prostitute that if she kills Riggs then she will not have to go to jail for her crimes. When Riggs first sees her, her head is covered with a pig’s head. Her entire body is in bondage. A 15 second screen shot from her high heels all the way up to the pig’s head shows her breasts and thighs. Even in a horror movie, a woman in bondage and being tortured must look sexy. No where in the film are the men required to be physically and sexually objectified.

In Saw IV, both women and men are in bondage. Both women and men suffer from a huge power differential between themselves and the torturer. The difference between the males and female is not the magnitude of the torture, but rather, how the tortured respond to pain and powerlessness. All of the men in the film attempt to fight their way out of being tortured. The female character begs for help. The way that men react to powerlessness and the way women respond is entirely different. The writers Patrick Melton and Marcus Dunstan characterize men in the film to fight for their rights even though they are “in the wrong” until the bitter end. There is an endearing quality to a person who fights for their lives until the very end … even if they are the antagonists. The prostitute was not written to have a fighter’s spirit. She was characterized as being self-defeating and desperate.

The two other female characters were protagonists of the film. Jill (Betsy Russell) was the wife of Jigsaw. From the very beginning, she was portrayed as a lier and as much of a crook as her husband. Quite the contrary, Jill did not believe that “the end justifys the means” as Jigsaw did. The cops discredited her testimony every step of the way. It was as if a wife cannot think differently than her husband. Jill maintained her autonomy throughout the film. The price for her autonomy was harassment by the police detectives.

The other female character was Agent Perez (Athena Karkanis). Like in Transformers, another highly trained professional was discredited by the patriarchy. Agent Perez took the moral high ground, but her superior, which just happened to be male, ignored her advice and morality. Agent Perez literally died of curiosity in the movie.

How could this film be feminist friendly and still maintain it’s pop appeal?

1. Characterize females in horror movies to fight out of torture as opposed to having a desperate and self-defeating attitude.

2. Exemplify female autonomy (independence) from male co-actors in a normalized manner instead of it being portrayed as atypical and out of the norm.

3. Rape and other forms of sexual assault where female are consistently the victim create a stereotype that females are the only victims of sexual assault. In horror films, why is it that only women are the targets of rape? Why not males? Either way it is just as brutal and adds some variety to the torturous encounters.

4. Stop making female physical and sexual objectification the norm.
femtique 10:45 pm on October 22, 2007 | 4 | # |

It may be Timbaland featuring OneRepublic, but it’s really a OneRepublic remix by Timbaland. In “Apologize”, OneRepublic conveys the emotional struggles many men have. The word that holds the most emphasis is apologize. OneRepublic echoes “It’s too late to apologize” many times in the song. In this regard, OneRepublic is doing many men a huge favor, in that, they are expressing the realities of being in a relationship with a woman without being misogynistic while doing it. The standard propensity of these types of songs is to insult the woman’s character to the point of generalizing (stereotyping) on how all women cannot be trusted. OneRepublic takes the high road and chooses to convey sadness in the loss of a relationship, but at the same time, a lesson that all men and women can learn from: being in a relationship can be abusive and manipulative. Where does one draw the line? OneRepublic says to an abusive relationship that “It’s too late to apologize”.

You tell me that you need me
Then you go and cut me down

Not only does OneRepublic, like Keisha Cole, Lil’ Kim, and Missy E., advocate that people in abusive relationships need to protect themselves by acknowleging that their partner is manipulative and emotionally abusive. This group also discusses gender role constrictions. The most poignant gender role deconstruction reflected in their song is that men should not express their vulnerability to women. OneRepublic challenges traditional masculinity by showing in their music that men should and do express vulnerability in relationships.

I’d take another chance, take a fall
Take a shot for you
And I need you like a heart needs a beat
But it’s nothing new
I loved you with a fire red-
Now it’s turning blue, and you say…
“Sorry” like the angel heaven let me think was you
But I’m afraid…

In fact, this song is truly not gender restrictive by any means. No where in the lyrics or the video does OneRepublic elude to the song favoring a heterosexual or homosexual relationship. This song could easily encompass heterosexual or homosexual relationships.
femtique 10:17 pm on October 22, 2007 | 0 | # |

As Kid Rock said in this song, it’s all about “sex, drugs, and rock n’ roll”. These are time old traditions in the history of not just rock music, but all pop music in the United States beginning with jazz. Kid Rock’s message is plain as day — he’s going to show you what rock music is really all about. He discusses in his lyrics some of what rock music is not:

“Been alotta bling bling but it ain’t real” … “Been alotta false prophets and quick hits, and a lot of unAmerican bullshit”

Rock goes further towards of the end of the song by communicating with his audience of a deeper message of class and race oppression in the U.S., and how music has the capacity to empower people in this position:

Like in old Mississippi’s dirty cotton fields
Or in Detroit City’s unforgotten wheels
It’s the same song spinning but the same song’s always been true

The fact that Kid Rock takes a political stand on this song shows that there is hope for pop music to convey a feminist friendly political message and still make it to #1 on album sales. Unfortunately, his songs “So Hott” and “Half Your Age” do not qualify as feminist friendly songs.
femtique 3:00 pm on October 20, 2007 | 1 | # |

The primary female characters were Alice (Milla Jovovich), Claire Redfield (Ali Larter), Betty (Ashanti), and K-Mart (Spencer Locke). The first image one sees at the beginning of the film is Alice half naked on the bottom of a shower stall. This is an example of sexual objectification. There is a pattern of horror, suspense, and action movies where at some point in the film a woman or several women are sexually vulnerable and / or physically objectified. It is as if these film makers are saying, “We can have a woman with a lead role as long as she looks sexy doing it. We need to make sure we see some skin somewhere.”

Particularly disappointing was the racial stereotyping of Betty. As soon as L.J. (Mike Epps) is hurt by one of the infected, nurse Betty comes to the rescue. 99.9% of the healing was a lot of flirting between the two characters. After the flirting was over with, Betty takes her exit, but not without a 3 second camera shot of her butt as she waved it side to side for the camera. I wonder if the director said to Ashanti, “Move your ass from side to side like that … oh no, like that … yeah, that looks sexier.” Of all the female characters, Betty was the most objectified character. This is a typical “Sapphire” black female stereotype that goes back to the slavery era in the U.S.:

Sapphire, the wise-cracking, balls-crushing, emasculating woman, is usually shown with her hands on her hips and her head thrown back as she lets everyone know she is in charge. [source]

Not only was Betty the most blatantly physically objectified character in the film, but she is also the martyr. Many people are familiar with how the black male usually dies first in the film. This time it occurs for the black female. This martyrdom is no surprise in the racial hierarchy of American film. It is not popular to have a lead female character, and it is certainly not popular to have a lead black female character outlast her fellow white female protagonists. In films, writers have the privilege of discriminating on which characters are to die first. More often than not, if there is a black character or anyone who is not white in the film, the person ironically gets killed. The opposite is the case for Alien vs. Predator, where Alexa Woods (Sanna Lathan) outlasts her male co-stars and ends up as the heroine of the film. There’s one caveat to her survival: there were no white female characters that co-star with her. She outlasted all white male co-stars. A heroine, and a black one at that, is truly atypical in pop movies.

Claire Redfield was the only female character not continuously physically objectified in the film. She was the leader of the group.

How could this flim be feminist friendly and still maintain it’s pop appeal?

1. Heroines should not be required by film makers to be sexually objectified. No woman in a film should be required to be physically or sexually objectified.

2. Write films without black female stereotypes. Black female stereotypes are not necessary to impress an audience.
femtique 12:56 am on September 30, 2007 | 10 | # |

Keisha Cole and Missy Elliot are reminding women of a very important lesson when in a relationship. If one’s boyfriend is not loving them the way they want, then “let him go”. Keisha empathizes with women everywhere.

I understand why you wanna try
Make him stay home late at night
But if wanna go he’ll be gone no lie
I can’t explain how many times I tried
How many times I cried

She, at one point or another, had been paranoid that her boyfriend was unfaithful. Keisha imparts many jewels of wisdom to women who are feeling they are not being loved.

You need to get it if he don’t wanna
Love you the right way he ain’t gonna
It ain’t where he’s at its where he
Where he wanna be

In the above lyrics, Keisha is reinforcing the idea that a woman who wants love should not wait. The key phrase is, “It ain’t where he’s at its where he wanna be”. In other words, a man (or woman for that matter) is going to be where they want because they want to, and one cannot force their partner to be faithful. Instead of despair and paranoia, it is important that if a lack of love exists in a relationship, then one should acknowledge this and seek love elsewhere.

In the lyrics below, Missy Elliot warns women of how men who spend most of their time physically objectifying other women are not worth staying in a relationship with:

Yo man he be callin me back
Cause see I’m fine and a matter of fact
(Eh he he he he)
He asked how I do dat dat
Fit my jeans over baby fat
Listen
I don’t know the type of tricks he playin
But I should warn you I don’t want ya man

Lil Kim said, “don’t trust him, though I love him, no longer want him lookin at his cousin”. The pattern is clear. If you’re in a relationship with a man who is with you, but looking elsewhere, then “let him go”, because he really does not love you — he loves your body. If you want love, then do not stay with a man who is sexist. No equal, committed, respectful loving relationship will transpire with a man who behaves like that. No one male or female, who believes in love, should expect love from a person who epitomizes sex but cannot see the priceless value of love.
femtique 5:07 pm on September 29, 2007 | 14 | # |

How many times does Soulja Boy use the word “hoe” in his song? 30 times. Since we know words carry meaning, let’s take a closer look at what the term “hoe” really means.

According to the Urban Dictionary, the #1 most popular definition for the term “hoe” is:

1. A skank
2. A woman that is too loose in the booty.
3. Woman or man that fuck anything with two legs.
4. A promiscuous person.syn: slut

Here are the phrases where Soulja Boy uses the word “hoe”:

1. “Soulja Boy Up In This Hoe…”
2. “den Super Man Dat Hoe…”
3. “Watch Me Super Soak Dat Hoe…”
4. “Hoe, So Don’t Do It Like Me…”
5. “All too clean off in dis hoe…”
6. “Watch me crank dat roosevelt den supa soak dat hoe…”
7. “supa soak dat hoe(supa soak dat hoe)…”

Another favorite term that Soulja refers to women in this video are “bitches”. The Merriam-Webster dictionary online defines “bitch” as:

1 : the female of the dog or some other carnivorous mammals
2 : a lewd or immoral woman b : a malicious, spiteful, or overbearing woman — sometimes used as a generalized term of abuse
3 : something that is extremely difficult, objectionable, or unpleasant
4 : Complaint

Soulja uses “bitch” 10 times in his song. Here are the phrases where he uses the word “bitch”:

1. “I’m Jocking On Yo Bitch Ass…”
2. “Den im cockin on ya bitch ass…”
3. “All too fresh off in dis bitch…”
4. “Den supaman dat bitch(yooouuu)…”
5. “I’m fresh up in this bitch…”
6. “supaman dat bitch(supaman dat bitch)…”

Interesting enough, there are two times where Soulja Boy repeats the same lyrics, but replaces them respectively with either the word “bitch” or “hoe”.

“Den supaman dat bitch(yooouuu)…”
“Den Super Man Dat Hoe…”

“All too clean off in dis hoe…”
“All too fresh off in dis bitch…”

When watching the video, he refers himself as a “Super man”. He dances an elaborate dance on beat with a superman emblem. Here’s my question — when did Superman start referring to women as bitches and hoes? I suppose Soldier Boy decided to reappropriate what the nature of a “super man” is.

Here’s the breakdown of what Soulja Boy constitutes as greatness … it’s a man who, at will, associates a “Superman” stance as a dance and the way to enter into a woman’s vagina to seek pleasure for himself and as he so aptly put it, “super soak that hoe/bitch”. Now remember, according to Soulja Boy, a woman is a female dog who is begging for a good fuck by none other than him, but he would gladly share his hoe with an Arab –

I’m Bouncin On My Toe
Watch Me Super Soak Dat Hoe
I’ma Pass It To Arab
Then He Gon crank it up fo show (show)

What an appealing song that Soulja Boy has created. It’s no wonder teenage girls and women alike are thrilled about this song. We just adore it when our fellow women are de-humanized to millions of listeners on radio stations worldwide! Hell, he’s teaching young men, young women, adult women, and adult men all around the world how to enjoy a song while simultaneously degrading women with a coke and a smile.

And if you’re lucky enough, you can get picked by the “Superman” himself as a “Soulja Girl”. That’s right ladies, step on up! Enjoy the respect you deserve by letting him physically objectify you!

This past Friday, E. Faye Williams, chair of the National Congress of Black Women said:

“We have allowed greedy corporate executives – especially those in the entertainment industry — to lead many of our young people to believe that it is OK to entertain themselves by destroying the culture of our people. From Imus to Industry: The business of stereotypes and degrading images,” was the title of the hearing, referring to former radio host Don Imus, who lost his job after making derogatory comments about the Rutgers women’s basketball team. The Imus incident has sparked debate within the music industry about black artists using offensive, misogynist and violent language.” [source]

In contrast to Ms. Williams, Philippe Dauman said:

“We have a responsibility to speak authentically to our viewers,” said Philippe Dauman, president & CEO of Viacom Inc., which owns such cable networks as MTV, Comedy Central, Nickelodeon and BET. [source]

How could this song / music video be feminist friendly and still maintain it’s pop appeal?

1. Stop de-humanizing women by calling them “bitches” and “hoes”.

2. Show respect for women by not objectifying them and teaching the world that it’s acceptable.

3. Sing about how both women and men play a part in sexual relationships — as opposed to men being “in control” while the women are more than willing to accept whatever rules a man puts forth when it comes to sex.

4. Stop teaching females and males that being sexist is cool.
femtique 1:41 am on September 4, 2007 | 12 | # |

N-now th-th-that that don’t kill me
Can only make me stronger

The above lyrics to “Stronger” is a widely held moral belief that what does not kill someone makes them stronger. They are admirable lyrics that perfectly coincide with the title of the song. Here’s where things get hairy:

Let’s get lost tonight
You can be my black Kate Moss tonight
Play secretary im the boss tonight.

Why do the producers of this video use Cassie, who is a competent singer in her own right, represent the “black Kate Moss” Kanye is referring to in the lyrics? If you watch the video in it’s entirety, Cassie, who is a gifted singer… is reduced to eye candy. Check out the latest cover of Complex Magazine.

By the way, “Complex is a metropolitan men’s style/lifestyle magazine founded by Marc Ecko in 2002. The publication offers mainstream readers insight into the latest trends in urban America’s niche cultures, such as streetwear, sneaker culture, hip hop, and graphic art.” [link]

Complex always has two different covers. One cover is a male superstar and the other side is a female superstar. In the above magazine covers, Kanye’s title reads, “Guest editor Kanye West talks style with T.I.” while the other side of the magazine cover with Cassie reads, “Kanye West gets Cassie to Reveal all Inside”.

What I am wondering is this… what exactly is so complex about a magazine that objectifies women and optimizes males? It’s not complex at all; in fact, in feminism it’s called patriarchy or male supremacy, if you will. Simple… not so complex… and happens frequently, often without repercussion.

Cassie is not utilized in this video or song as a singer, but merely as eye candy. Watch this video on how her body is used to sell his album:

Heard they’d do anything for a Klondike
Well I’d do anything for a blonde dyke
And she’ll do anything for the limelight
And we’ll do anything when the time’s right
Ugh, baby you’re makin’ it
(Harder, better, faster, stronger)

And what is up with Kanye singing that he wants a “blonde dyke”? Blonde dyke could refer to many things, but most obviously… it’s a slang term for the word lesbian. Supposedly, it has also been reappropriated to mean “assertiveness and toughness”. If Kanye wants a Kate Moss and an assertive blonde woman, then why exactly does he exploit a multi-ethnic black woman instead of a white woman? Exploiting either woman would be just as sexist, but based on racial stratification (social power hierarchies) it would not be as acceptable to the American public.

How could this song / music video be feminist friendly and still maintain it’s pop appeal?

1. Kanye, the writers of the song, and the producers should focus more on the original message … “stronger”… that whatever doesn’t kill one makes them stronger. The addition of “blonde dykes” and a “black Kate Moss” are random attributes that merely reinforce sexism in pop media.

2. Utilizing a singer should not be about extracting “looks” alone, because Cassie has more to offer. She is a competent singer who, if Kanye and his associated wanted to, could have been utilized musically. She could have had a part to sing in the chorus, etc. If Cassie had a part to sing in the chorus, who is to say that the song would sell less records? Maybe Kanye would sell more records by connecting more with his female audience by portraying Cassie as a “singer”.

3. The gender stereotype of a woman being a “secretary” and a man being “the boss” reinforces male supremacy in a patriarchal society. Reinforcing male supremacy is not necessary to sell records… it is a choice.
femtique 8:33 pm on August 27, 2007 | 4 | # |

Episode after episode Kino is a heroine. At no point in this anime is she written to endure sexism. Many men whom she meets in her journey believe that they can assert their dominance on her and quickly find out they cannot. The women that Kino met during her journey were strong and independent women. One of characters invents an airplane in the world Kino lives in. This female engineer does not allow her fiance or any other male with political authority to stop her goal … to fly. The women in Kino’s Journey were, for the most part, not designated to gender roles established by the patriarchy. Quite the contrary, the writer Keiichi Sigsawa, wrote a avant-garde seinen anime. The writer provided a television show that challenged gender roles and oppression in society.

The glorification of violence in this anime is a long time established patriarchal value, but because the focus was on a heroine, the reason behind the violence is questionable:

The use of violence and whether or not it can be justified is a recurring theme in Kino’s Journey, from whether animals should be killed in order to sustain the life of others to whether an entire population should be destroyed in order to save two other civilizations. [link]

One might be able to categorize this anime as josei.
femtique 10:00 am on August 15, 2007 | 17 | # |

Welcome to the August 15, 2007 edition of carnival of feminists. These entries are extraordinary and diverse. Sit back, relax, and enjoy reading these submissions with a good cup of java or tea.

Tracee Sioux presents Give Me An “A” posted at So Sioux Me, saying, “Can I still be a femimommy if I let my daughter take cheerleading camp?”

Dewey presents The Penelopiad by Margaret Atwood posted at Dewey.

Marcella Chester presents Support Law To Create Consensual Sex Registry posted at abyss2hope: A rape survivor’s zigzag journey into the open, saying, “Here is my tongue-in-cheek suggestion for how to make the bill in Ohio requiring either written permission from men or rape reports into a workable system.”

Deborah Siegel presents Rebecca Walker and Katie Roiphe Revisited posted at Girl with Pen.

blue milk presents Playboy kids, more Bratz hatred, and how to stop this thing! posted at blue milk.

Red Jenny presents Women & Children are 14 Times More Likely to Die During a Disaster, yet Gender Perspective Missing in Climate Change Discussions posted at Red Jenny.

marguerite manteau-rao presents Converse ad posted at La Marguerite, saying, “Fashion power and green politics, from a green girl wannabe perspective”

aeonsomnia presents Feminism Friday: Pedagogy of the Oppressed.

Penny Richards presents Friday Bookshelf: Triangulating Women in Math posted at Thus Spake Zuska.

J.E. Remy presents Let’s talk about objectification… posted at Die Wachen, saying, “In “Let’s talk about objectification…” I discuss objectification through personified representations. Gender stereotypes are also highlighted using recently released comic book statues as a basis for the discussion.”

cest.la.vie presents Part Three: Enabling Misogyny posted at writing evolution, saying, “This article discusses the trend of lumping all men into one category, as well as the dangers inherent with such generalizations. In particular, it emphasizes the need for feminists to focus on equality for all.”

Ann Bartow presents Proposed Ohio Law Would Require Man’s Permission For Abortion posted at Feminist Law Professors.

TherapyDoc presents THIS is love? posted at Everyone Needs Therapy, saying, “An avatar can be the ‘other woman’ in your relationship.”

artThailand presents artThailand: We Put The World Of Contemporary Art From Thailand Within Reach posted at artThailand.

Leisha presents Gender-segregated spaces and the power they have posted at Inside the Box.

Greta Christina presents Professionalism = Selling Your Soul: A Feminist Rant on “The Devil Wears Prada” posted at Greta Christina’s Blog, saying, “A feminist rant about “The Devil Wears Prada,” which has recently been airing on HBO. The gist of it is that all the things the heroine does to supposedly “sell her soul” for her career are actually completely reasonable and understandable examples of professionalism, and would have been accepted without blinking in a male protagonist. And it points out that the movie’s message seems to be that — for women — professionalism, ambition, and even temporarily prioritizing your career over your personal life means “selling your soul.”"

Jaymi presents Progressive Morons Unite. posted at The Feminist Pulse, saying, “a funny conversation sparked by a news blip that demeans girls’ toys”

That concludes this edition. Submit your blog article to the next edition of carnival of feminists using our carnival submission form. Past posts and future hosts can be found on our blog carnival index page.

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