Recall the previous post about Guante’s vid and its takeaway about being PC is really about not being a jackass. Well, this next pop cultural item is exactly why political correctness came into being in the first place.
Longtime Racialicious homie Angry Asian Man tweeted this:
The shit he’s referring to is the latest anti-Asian vid called “Asian Girlz” by some band called Day Above Ground. Well, one person didn’t listen…
Sis, I learned from your example. I listened and didn’t watch, but I did try to read the lyrics to understand why AAM said what he said. All I’m going to say is prepare yourselves for gross amounts of fuckery.
As usual, Mad Men delivered a wreck of a season ender. Don Draper had to say goodbye to what and whom he knows–”had to” being the operative phrase. And quite a few other characters had to do the same, voluntarily and involuntarily.
Tami and I grab our summer drinks and chat about what the fuck just happened.
Andrea: I’m still recovering from that last episode, Tami! Though the song may have been anachronistic, I thought a perfect song for it would have been “It’s So Hard To Say Goodbye To Yesterday” or some other leaving ditty because there were a lot of leavings, some voluntary and some forced.
One leavetaking song I can think of is “She’s Come Undone” as it applies to Sally getting kicked out of boarding school, Megan leaving Don, and Peggy getting dumped (again) and wearing pants for the first time. In their own small ways, they’re foreshadowing feminism’s Second Wave as it trickled into white women’s lives. And, what I appreciate is that Weiner and Company doesn’t make their every action a feminist one, unlike Downton Abbey and the Crawley sisters.
Rachel Jeantel is a teenager, a 19-year-old girl who told the world what she heard that fateful February night on the phone with her longtime friend Trayvon. From the news reports produced by the mainstream media, you got the impression that Jeantel was genuine and believable. Of course reporters from outlets like the New York Times, Miami Herald and the AP are not going to feel the need to describe Rachel’s attitude or overuse of black English vernacular, but they will feel compelled to describe the effectiveness of her testimony. And I saw them use words like “transfixed” to describe the all-female, nearly all-white jury’s reaction to what Jeantel was saying. Perhaps if the prosecutors had done too much coaching of their star witness, her genuineness would not have shone through.
I also saw incredibly mean things said about her looks on social media, even seeing her described as “Precious”—referring to the movie character brought to life by Gabby Sidibe, who was nominated for an Academy Award for her portrayal of the troubled overweight teen. Disturbingly, this has become the go-to moniker for overweight, dark-skinned girls—aided by rapper Kanye West, who leveled that scarily ignorant line in his song “Mercy.”
“Plus my b*tch / make your b*tch look like Precious”
Jeantel had to live through a close friend being murdered, watching his killer walk free for far too long, then sitting in front of the world and recounting the painful night with an intimidating older white man directing questions at her while she’s clearly scared out of her mind.
Now, on top of all that, she has to endure some assholes critiquing her looks?
Paula Deen apology, Pt. 2: In which a nation is offended by poor stagecraft and messaging from what has to be the worst PR counsel known to humankind.
So, for those of you not paying attention to the implosion of Southern cooking doyenne Paula Deen’s empire, here’s a timeline of the week an angry public drove Old Dixie down. (Don’t you love a good Confederacy carol?):
In 2012, Lisa Jackson, a white woman, files suit against Deen, her brother Earl “Bubba” Hiers and their various enterprises. The former employee of Uncle Bubba’s Seafood and Oyster House, part of the Deen family of businesses and operated by Hiers, alleges routine assault and gender and racial discrimination within the workplace. According to Talking Points Memo:
The complaint alleged “racially discriminatory attitudes pervade” Uncle Bubba’s Oyster House where Jackson claimed African-American employees were required to use separate bathrooms and entrances from white staffers. Jackson also said African-Americans were held to “different, more stringent, standards” than whites at the restaurant and that Hiers regularly made offensive racial remarks.
Jackson also says that Hiers exposed employees to pornography and that women were routinely denigrated. Deen herself, when giving Jackson a promotion, is alleged to have been loathe to “give a woman a man’s job.”
In May 2013, as part of proceedings, Paula Deen was deposed. The National Enquirer broke the story that the recently filed videotaped deposition included damning content. The deposition was made public last week. Revelations included:
When asked if she had ever used the word “nigger,” Deen replied, “Yes, of course.” She admitted to using the word in reaction to an armed robbery by a black man in the 1980s and probably more recently when recounting conversations between black people or when telling jokes.
Deen thinks that racial slurs in the workplace are okay if part of one’s “sense of humor.” She proclaimed that “Most — most jokes are about Jewish people, rednecks, black folks. Most jokes target — I don’t know. I didn’t make up the jokes, I don’t know. They usually target, though, a group. Gays or straights, black, redneck, you know, I just don’t know — I just don’t know what to say. I can’t, myself, determine what offends another person.”
She also opined on the elegance of a traditional “before the Civil War” Southern wedding with only middle-aged black men and women as servers. Deen hoped to stage a similar wedding for her brother, but didn’t because, she said, the media wouldn’t understand.
In response to public backlash, Deen scheduled and then canceled an interview with Matt Lauer on “The Today Show.” Instead, she issues two, po-faced, half-assed apologies that demonstrate little understanding of what she did wrong. (The appearance has been rescheduled for Wednesday.)
The Food Network sticks a fork in Deen’s show, allowing her contract to expire at the end of the month. I am no network honcho, but I do know it is imprudent to have someone who has been publicly revealed as a racist and sexist, and who abets similar behaviors in the workplace, as a very high-profile face of your brand.
Meanwhile, African American employees of Deen’s businesses are coming forward with more allegations of mistreatment, so maybe this isn’t all about “bad words,” but, y’know, fucking workplace discrimination–what happens when people who think there are good uses of “the N word,” that women can’t be in positions of authority, and that the South was best in its antebellum days, have money and power.
And while all this was going on, Black Twitter (and friends) made my heart sing by marshaling its collective wit and sense of justice into putting Paula Deen on blast, most notably with #PaulasBestDishes, launched by the incomparable @BrokeyMcPoverty. (Joseph shared his favorites with y’all last week.)
Interestingly, at least one media outlet, Variety, called the hashtag “a showcase for racist jokes,” as if folks were fighting racism with, well, more racism. Now, I’ve written a lot about racism and sexism in comedy and about how criticism of comedy is often met with cries of “free speech,” “no topic is off limits,” “political correctness,” blah de blah. But…
The idea that the movement toward fewer “isms” in our speech and deeds is anathema; that “political correctness” is a blow against free speech; that the power structure has flipped; that the strictures of “political correctness” are everywhere, and that real bias barely exists anymore; has wormed its way into our social fabric, including entertainment. In comedy, that means that dusty racist, sexist, or homophobic tropes that are as old as time are positioned as refreshing and edgy.
#PaulasBestDishes wasn’t just typical cheerleading for the status quo masquerading as comedy. The hashtag unleashed comedy that was truly edgy in that it spoke truth to power. The target of the running gag was not the marginalized but the marginalizer. The message wasn’t “Black people sure are funny,” but that racism and racists are awful. It was laughing at a serious subject done right. And it was funny as hell.
I love my peeps, we find out that you are a raging racist, and we will use humor to let you know how we feel. #paulasbestdishes
Growing up as a black gay boy in Youngstown, Ohio, my mother always said “Son, you must operate in this world intentionally, you must treat others with respect, and you must keep your hands to yourself.”
My fellow gay men, I want the best for all of us. We are not automatically granted access to a woman’s body. This letter is even for me as a reminder of my male privilege regardless of my sexual orientation. This is why I humbly ask for you to examine how we operate in this world and how we utilize the space of others.
We cannot touch a woman without her permission. We are not the exception and her permission to us is not implied. We, too, can promote rape culture. We do not get a “pass” to touch her hair or her body or her clothes. We do not have an automatic right to critique her weight or texture of hair. We are still men, and women will always deserve our respect. Despite the cultural context, women still speak for themselves. We must learn this, and we must understand this. Women have autonomy over their own body. For those of us who consider ourselves feminists, we cannot constantly promote feminism and women’s ownership, then be bent out of shape when she decides that she does not want to be subjected to touching, feeling, or unwanted contact.
Fellow gay men, we cannot invade a woman’s personal space because there isn’t any sexual attraction. Regardless of us not wanting to be sexually intimate with women, we, too, must seek permission and be given explicit consent to anything on their body. We must realize that no still means no. It always will.
In Bitch magazine, Racialicious senior editor Tamara Winfrey Harris weighs in on feminist criticism of singer Beyonce:
Dr. Sarah Jackson, a race and media scholar at Boston’s Northeastern University, says, “The idea that Beyoncé being sexy is only her performing for male viewers assumes that embracing sexuality isn’t also for women.” Jackson adds that the criticism also ignores “the limited choices available to women in the entertainment industry and the limited ways Beyoncé is allowed to express her sexuality, because of her gender and her race.”
Her confounding mainstream persona, Jackson points out, is one key to the entertainer’s success as a black artist. “You don’t see black versions of Lady Gaga crossing over to the extent that Beyoncé has or reaching her levels of success. Black artists rarely have the same privilege of not conforming to dominant image expectations.”
Solange, Beyoncé’s sister, who has gone for a natural-haired, boho, less sexified approach to her music, remains a niche artist, as do Erykah Badu, Janelle Monáe, and Shingai Shoniwa of the Noisettes, like so many black female artists before them. Grace Jones, Joan Armatrading, Tracy Chapman, Meshell Ndegeocello—talented all, but quirky black girls, especially androgynous ones, don’t sell pop music, perform at the Super Bowl, or get starring roles in Hollywood films.
Black women (and girls) have also historically battled the stereotype of innate and uncontrolled lasciviousness, which may explain why Beyoncé’s sexuality is viewed differently from that of white artists like Madonna, who is lauded for performing in very similar ways.
The debate regarding Doctor Who and race and gender reopened in a major way on Saturday when Matt Smith announced he will leave the show after this year’s Christmas special, meaning the search is on for the Twelth Doctor — an especially crucial role, according to series canon, since this would be the Doctor’s final regeneration.
Naturally, it’s not just showrunner Steven Moffat looking for a new Doctor, but fans and bookmakers. Continue reading →
Last week, Jennifer Lopez scandalized Britain with a “raunchy” performance on “Britain’s Got Talent.” Not only did viewers flock to social media (as you do) to complain about JLo dropping it like it’s hot in a French-cut one piece and thigh-high boots, but British TV regulator OfCom confirmed that it has received complaints about the broadcast and is assessing the matter, but not investigating it.
For helpful context, here is the performance–labeled “disgusting” and “shameful” by some critics–that provoked an “assessment” of whether a competitive reality show violated the bounds of decency.
In my humble opinion, the only thing indecent about that performance was the tepidness of the dancing and the awfulness of the song. (But, hey, maybe it’s not for me. I’m an old–actually the same age as JLo–and I don’t spend much time at the club lately.)
I suspect the assessment of Jennifer Lopez’s performance is influenced by both race, size and age bias. But you know I’m conspiratorial that way, so I asked Andrea, my homegirl and fellow editor at the R to weigh in.
Tami: When I heard all the crowing about this performance, I recalled Beyonce’s Super Bowl performance earlier this year., which also prompted cries of outrage.
Both of these performances seem astonishingly tame in the face of criticism. “Disgusting” is a pretty strong word to describe booty shaking in a body suit. Folk are generally cool with sexy (and sexist) Go Daddy commercials during the Super Bowl, but Queen Bey causes parents to “shield their kids’ eyes.”
I think the response to these performances is very much influenced by racial bias. Brown and black bodies are routinely sexualized. Latinas bear the weight of the “spicy” and “exotic” stereotypes. And those stereotypes have dogged Lopez throughout her career. The nickname “J. Ho”–a reference to the singer/actress’ alleged promiscuity and mercenary character–even has a spot in the Urban Dictionary. And I should point out, these accused character traits seem to be based on little but the skewed way this culture views Latinas.
Lopez herself told US magazine of the controversy: “I think people are so much raunchier than I am. I feel like I’m so tame. [I] wore it at Billboard and Britain’s Got Talent said they wanted exactly the same. So I thought I’d wear the outfit in black. No one complained at Billboard. I think people just like to talk. It was a bodysuit. A lot of performers wear that these days. It is standard stage clothes. I’m not going to walk down the street like that!”
JLo’s act does not seem markedly different from any other pop spectacle–no different Britney Spears’ iconic performance at the 2000 VMA’s or what this Britney impersonator did during an audition for…wait for it…“Britain’s Got Talent” in 2011.
Andrea: I agree, especially about the relative tepidness of Lopez’s performance and the non-scandalousness of her outfit.
What I think is at play here is Beyonce and Lopez are doing dance moves that are, whether done with Beyonce’s exuberance or with Lopez’s tepidness, sexy moves that they thought of and/or approved of. In other words, they’re expressing their sexual agency. However, that’s a major no-no in a society steeped in the sexist ethos of “I can touch you, but you can’t touch yourself,” which has a long structural history in the lives of women of color due to slavery and colonization.
And this “what about the children” reasoning as to folks’ disgust with the two women’s performance brings up not only women of color doing that stereotypical thing of ruining people’s sexual “innocence” but also something of–how shall I phrase this?–an unspoken notion of the influence of images not only affecting how a person will be “brought up” to express their own sexuality but also the kind of person their brain will be hard-wired to be attracted to. If the child–and let’s be really real, kids are indeed sexual beings–is connecting their erotic feelings to seeing a woman of color dancing like Lopez and moreso like Beyonce, the parents may be thinking that their child just may act upon that attraction and–gasp!–fall in love and–clutch the pearls!–bring “such a woman” home as a spouse.
Tami: And here’s the other thing: Jennifer Lopez (and Beyonce) are not only women of color, they are also women known for having curvy body types, which are often associated with Latinas and black women and are larger than the current ideal for celebrities. Unrestrained fleshiness and jiggle reads differently than hard and trim; Physical abundance is often mistaken for wantonness.
Media wrote about Lopez’s “bum-baring” performance, but the singer’s booty is covered; her outfit was less revealing than typical beachwear. Could the rub be that JLo’s rear is big and round vs. tiny and tight?
Andrea: I think Lopez herself has pointed out how her body shape get framed in this society: “People equate sexy with promiscuous. They think that because I’m shaped this way, I must be scandalous–like running around and bringing men into my hotel room. But it’s just the opposite.” To me, Lopez shouldn’t have had to say such a thing–her body, however it’s shaped, is hers to do with what she wants with nary a comment to the press. However, the burden of the stereotypes about Latinas and Black women keeps us defending our reputations in the public space in order to, as Dr. Melissa Harris-Perry says in her book Sister Citizen, keep our bearings in the face of the socially constructed crooked images of ourselves.
But we’re not only defending our reputations that folks assume comes with our bodies; we also need to defend our bodies, literally, as seen by the clip of Beyonce whipping around and firmly telling a white-appearing concertgoer in Denmark that she’d have him removed because he smacked her butt–and this happened last week!
This brings me back to what you said about our bodies being routinely sexualized. It’s not just that bodies of color are routinely sexualized; it’s that our bodies are furthermore seen–still–as public sexual property to be discussed and publicly contested to be the figures that people shouldn’t aspire to desire sexually, though I’ve heard quite a few non-Black and non-Latin@s say that Beyonce and Lopez inspired them to “love their curves” and/or “embrace their booties” in light of the contested reality that Beyonce’s and Lopez’s curves are seen as a physical and sexual ideal.
Tami: Lastly, I think age is a factor in this discussion as well. Western culture worships youth. Women past a certain age aren’t supposed to sexy; we are supposed to cover up. Madonna is routinely told to put it away. And, to hear some folks tell it, Janet Jackson’s biggest sin wasn’t showing booby on primetime television, but showing over-40 booby. Sexy dressing may be fine for the 20-somethings, but for women north of 40, it is unseemly.
Andrea: *Sigh* I think part of this is the association of age and motherhood. Lopez and Beyonce are both mothers. Forty-something women especially (Bey is in her 30s) are cast as matronly–whether or not we have children–and being sexually attracted to a woman of that age is seen as MILFing, which, as the phrase states, is all about desiring a woman old enough to be (some)one’s mom, who are always constructed as non-sexual beings in this society. (Thus, the porned-out “shock” of the attraction.)
No, it’s pop goddesses who are so deeply degraded when they aren’t meeting the physical ideals of youth, like, well, getting older. And it’s Black and Latina pop goddesses–like Beyonce, Jackson, and Lopez, who’s still fondly remembered as one of the Fly Girls for In Living Color–who are degraded so roundly and so publicly.
Race, Culture, and Identity in a Colorstruck World