Category Archives: sexuality

Delany1

Author Samuel R. Delany Named Grand Master Of Science Fiction

By Arturo R. García

Science fiction author, futurist, essayist and literary critic Samuel R. Delany was honored at this past weekend’s Nebula Awards as the 30th writer to be bestowed the title of Grand Master by the Science Fiction and Fantasy Writers of America (SFWA) in celebration of his body of work.

“This award astonishes me, humbles me, and I am honored by it,” Delany was quoted as saying after the honor (formally known as the Damon Knight Memorial Grand Master Award) was formally announced late last year. “It recalls to me — with the awareness of mortality age ushers up — the extraordinary writers who did not live to receive it: Roger Zelazny, Joanna Russ, Thomas M. Disch, Octavia E. Butler — as well, from the generation before me, Katherine MacLean, very much alive. I accept the award for them, too: they are the stellar practitioners without whom my own work, dim enough, would have been still dimmer.”
Continue reading

Searching for Our Decolonized Image: Nicki Minaj Puts the Other in The Other Woman

By Guest Contributor Rajul Punjabi

The trailer for The Other Woman, a flick about the unlikely blossoming friendship of three women (Cameron Diaz, Leslie Mann, and Kate Upton) while they conspire against their mutually shared cheating man (Nikolaj Coster-Waldau), was released last week. Nicki Minaj is in it too, and a plethora of entertainment outlets are ablaze with blurbs about her non-animated silver screen debut.

One of my favorite headlines reads, “Nicki Minaj Stars in The Other Woman.” Fun, right Barbz? Finally, her formal theatrical training and the scintillating possibilities of Minaj channeling one of her alter egos on the silver screen. But, as the preview reveals, she’s hardly the star of the movie. She plays a “sassy, outspoken, legal assistant” to Cameron Diaz’s power lawyer. She’s not even the side chick. She is the side chick’s sidekick.
Continue reading

Quoted: On Beyonce and Feminism

beyonce1

I can’t believe that, as someone who a year ago could scarcely quote a Beyonce song, save “Bootylicious,” I am spending so much time defending the artist these days. But the surprise release of her “visual album,” Beyonce, has sparked a fresh round of broken criticism of the star, freighted with gender and race bias.  Understand, it is not that Beyonce, for all her power-belting, catchy hook-writing and effortless dancing, is above reproach. Once we finish getting down to “Drunk in Love,” we need to analyze the hell out of Mr. Knowles-Carter’s wack ass, Ike Turner-worshipping, violence-fetishizing contribution to the “love” track:

 

Catch a charge, I might, beat the box up like Mike…

I’m like Ike Turner

Baby know I don’t play, now eat the cake Annie Mae

Said, eat the cake, Annie Mae

 

This, right here, is all kinds of problematic and the sort of contradiction a public feminist needs to be called to task for. But, as yet, I haven’t seen many people questioning why Bey let Jay spit some nasty, misogynist shit on an album that includes the feminist brilliance of Chimamanda Ngozi Adichie. Instead, folks are still carping about whether one can flaunt dat ass, be conventionally attractive, launch a world tour using a married moniker or be rich and successful and still be feminist.

Just so we can move the analysis along: The answer to that question is “Yes,” as I outlined in an article in Bitch magazine earlier this year:

A popular star willing to talk about gender inequity, as Beyoncé has, is depressingly rare. But Freeman insists flashes of underboob and feminist critique don’t mix. Petersen concurs, calling the thigh-baring, lace-meets-leather outfit Beyoncé wore during her Super Bowl XLVII halftime show an “outfit that basically taught my lesson on the way that the male gaze objectifies and fetishizes the otherwise powerful female body.” A commenter on Jezebel summed up the charge: “That’s pretty much the Beyoncé contradiction right there. Lip service for female fans, fan service for the guys.”

These appraisals are perplexing amid a wave of feminist ideology rooted in the idea that women own their bodies. It is the feminism of SlutWalk, the anti-rape movement that proclaims a skimpy skirt does not equal a desire for male attention or sexual availability. Why, then, are cultural critics like Freeman and Petersen convinced that when Beyoncé pops a leather-clad pelvis on stage, it is solely for the benefit of men? Why do others think her acknowledgment of how patriarchy influences our understanding of what’s sexy is mere “lip service”?

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.  Read more…

Friday Fun: Shanola Hampton Teaches The Sexy To The Real Crew

By Andrea Plaid

Not my Crush of the Week yet–I’m planning to catch up on the US version of Shameless when I get a chance–but I had to share this bit of hotness from one of the show’s stars, Shanola Hampton, from a couple of weeks ago. She teaches the co-hosts of The Real how to make just about any sentence sound like a bit of seduction.

Enjoy this, and enjoy your weekend!

 

 

Retrolicious–Mad Men 6.11: “Favors”

Hosted by Tami Winfrey Harris and Andrea Plaid

Wait…what’s going on with Bob Benson’s knee?

Not the move, Bob Benson. So not the move.

Not the move for Bob Benson, Matt Weiner. So not the move.

Okay, not such much his knee but the unrealistic scenario Matt Weiner and his crew created in which Benson’s knee would come into play. This week, as the roundtable became a Table For Two, Tami and I talk about the Notorious Knee, the possibility of D & D (Don and Dawn), and Sally, with a good helping of spoilers.

Andrea: Now, we know one thing about Bob Benson: he’s interested in the blatantly homophobic Pete Campbell. I know that you, Tami, think Benson is sketchy, but the one thing I’m thankful for is that, unlike Thomas on Downton Abbey, Benson’s alleged sketchiness isn’t tied to his sexual identity. Mad Men has been decent on that tip regarding cisgay male characters.

Tami: You know I’m ‘bout to go off, right? Andrea, we talked about this on Facebook. I am not feeling Bob Benson’s “coming out” to Pete Campbell.

I have a very hard time believing that years before Stonewall, a closeted gay man–a junior associate–would make a pass at a partner at his job, seconds after that partner calls gay people “degenerate” and with no indication that his coworker is interested in same-sex relationships and every indication that he is not.

Bob took a tremendous chance. And it didn’t ring true. I also need him to have better taste in men, ‘cause Pete? No.

Also, gayness does not explain why Bob is always skulking around. Another shoe better hit the ground. I’m crossing my fingers that Bob does not become a Thomas.

Continue reading

Quoted: All Hail the Queen?

Queen Bey--Too hot for feminism?

Queen Bey–Too hot for feminism?

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.

Read more…

Racialicious Crush Of The Week: Meshell Ndegeocello

By Andrea Plaid

Meshell Ndegeocello. Photo credit: Charlie Gross. Via dukeperformances.duke.edu.

Meshell Ndegeocello. Photo credit: Charlie Gross. Via dukeperformances.duke.edu.

It’s Pride Month, and I want to kick it off by feting a queer Black woman who’s a truly underappreciated musical genius: Meshell Ndegeocello.

Continue reading