CLMR

Art, music, fashion, cats, pop culture, and whatever else I find interesting.
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Click link to view photo [TW: domestic abuse]

These posters are misogynist, racist, and downright disrespectful. That photo of Rihanna was never supposed to be public. Do you think she likes seeing it plastered all over the world? You want to protest against Chris Brown, fine, but don’t do it by exploiting Rihanna’s pain. You should also consider that Rihanna has publicly forgiven him, so why bring it up when she clearly wants both of them to move on? Also ask yourself why you’re targeting Chris Brown and not, say, Polanski, Sean Penn, Charlie Sheen, or any other white celebrity who’s committed similar crimes and yet still get to have a career? Yeah, I thought so.

1 year ago 34 notes

[TW: rape] Space Invaders: Dutch Christian Party says “chances of pregnancy from rape are very small”

redlightpolitics:

My short piece about the latest misogynist mess in The Netherlands, in view of our very own election campaign currently under way.

While girls abused by men or rejected by boys are heavily pressured not to “hate all men”, boys abused by women or rejected by girls are encouraged to blame us all for it. Some of these boys eventually work out that not all women are like the ones who hurt him, but usually not until they’re well into their twenties.

by JENNIFER KESLER on SEPTEMBER 27, 2010 (Young men getting more sexist?)

[TW]

I really love society’s obsession with preventing women from saying “I hate men,” and all the stupid bbs tripping over themselves to call out “reverse sexism” if a woman ever does utter such a phrase.

Here’s the thing though: I hate men. Because of things they have done to me, my friends, and the women in my family, and because unlike with individual women that I hate, the things men have done form a pattern of entitlement and domination over women. I don’t need to be told that some men are decent; I know that! I’m friends with quite a few very decent men. Their existence doesn’t mean that overall, men don’t drag behind them a history of rape, violence, and death when it comes to women. I’m reminded of this through every news article, every dumbass comedian making a “joke,” every time I’m hurt again or one of my woman friends is. This is your legacy as an oppressor, and I hate you for it.

And you know what? My hatred does not touch you in any way. I could stand in the middle of the street with a bullhorn shouting for all and sundry to hear that I hate men, and there are only a few possibilities of what would happen: a) people would laugh at me, b) I would be heckled as a crazy ~feminazi~, c) men would make threats of rape and violence against me to shut me up. Hey, all I did one time was say on my Tumblr that “misandry” is not a real thing (it’s not) and I got an inbox full of the followers of a Tumblr-famous blogger telling me I need a dick in my mouth. It’s not exactly like I’m pulling these scenarios out of thin air.

What would never happen as a result of my hatred of men: men would become targets of increased sexual violence, men would be blamed for their own assaults, men overall would begin to be paid less than women regardless of qualifications, men would lose their foothold on world power, etc.

So next time you want to tell me it’s wrong to hate men or that it makes me “just as bad” as misogynists, sell your Daniel Tosh tickets and buy yourself a fucking clue with the money.

(via svetlana-del-rey)

Click for photo [TW: Racist, Sexist slurs]

stfuconservatives:

athenasaurus:

faineemae:

mehreenkasana:

mehreenkasana:

You won’t find Tumblr’s SJ community calling this scum out for the hateful rhetoric. (Taken with Instagram)

Apparently some white blogger tells me that Paki isn’t a racial slur, honey, it’s a shortened version of Pakistani and of course the pure racial hatred and marginalization against Asian immigrants in the UK during the 60’s never happened or that after 9/11 Paki was used a slur for all sorts of brown people including Arabs, Persians, etc. But let’s all just agree that Sir White Blogger asserts that Paki is abbreviated and harmless. Our friend lives in another galaxy, it seems.

Fuck off, son.

Why don’t I see people getting upset about this? Why?

LOL not a slur? Not a slur?

I can’t decide if it makes it easier or harder when it becomes evident that people straight up Do Not Understand History (But Think They Do). Like, on the one hand I feel like it’s easier because what the fuck else can you do to argue with them since evidently they’ve got the whole damn narrative worked the fuck out so goodbye I hope the door closes on your finger on your way out, but then maybe it’s harder because how did you even get there and how would you even fix your complete wrongness? 

I don’t know if I’m part of the “Tumblr SJ community” (I haven’t gotten a welcome basket?), and I don’t know who this dude is, but this is pretty disgusting and racist as fuck. Feel free to let this shitstain know what you think about his exercise in freedom of speech.

thepoliticalnotebook:

“Be Honest”: Feminism, Race and Hip-Hop Criticism
I was once accused, in an online comments section, of course, of supporting homophobia and misogyny because I wrote an article about rap music. The logic of the comment was specious and the tone snarky and it was an utterly silly and ridiculous accusation — the piece was this one, on Moroccan dissident rapper El Haqed, who raps about things like monarchy, corruption and oppressive police brutality, but not at all about getting laid or hitting prostitutes or calling the people he’s angry at homosexual. This kind of hip-hop, in the context of protest music, is what I write about. So really, I mostly just paused at the comment, felt briefly sorry at the strain that logic had endured that day, and laughed about it. But in the time since I’ve been thinking, spurred on by writing I’ve read, about the kind of misogyny and homophobia associated with hip-hop. I think a lot of the accusations leveled at hip-hop about misogyny and homophobia miss the necessary nuance to address the problem. The problem isn’t hip-hop, the problem is much, much bigger and stems from someplace else. Hip-hop has a misogyny problem and a homophobia problem, and so does a great deal of the rest of pop music and popular country music and popular rock, etc. So does Congress. So do a lot of radio and television hosts. So do… you get my drift. The difference in how we talk about what’s going on is that hip-hop’s misogyny is seen as the misogyny of African-American men, an endemic misogyny seen as somehow far more problematic than white misogyny or white homophobia. Katy Perry and Taylor Swift both accuse subjects in their songs of being gay (see “Ur So Gay” and “Picture to Burn”) as a way of mocking and humiliating them, but we don’t broadly talk about the culture of twenty-something straight, white pop stars as having a big and insurmountable homophobia problem, nor do we charge their listeners with that. We may charge them with an individual act of homophobia or sexism, but we rarely consider that problem to be connected to deep thematic elements of the teen pop scene. Perhaps we consider them less problematic because, while Taylor Swift heavy-handedly layers on the madonna-whore complex motif in her song and music video for “You Belong With Me,” she avoids ever directly calling the rival female character in her narrative a whore and mixes her message with sounds that are the country-pop equivalent of high-fructose corn syrup. The supposed cultural digestibility of the sexist and homophobic elements included in a range of music from classic rock to country-pop crossover owes a great deal to the whiteness of its singers and to the general crowd-pleasing appeal that a good bout of slut-shaming or indulgence in gender essentialism.What we aren’t talking about is our race problem when we discuss hip-hop. We generalize hip-hop by the selection of commercialized music we often hear on the radio and from that deduce that Black or African-American sexism comes from somewhere else, somewhere worse than the white sexism that we’re so much more willing to let slide and much less willing to see as an endemic problem to be addressed rather than as trivial or isolated incidents accepted as within bounds.This kind of commentary also handily lets us ignore what hip-hop has to offer as a platform for cultural growth. Hip-hop has the options of providing us with talented female MCs (and breakdancers, DJs and graf artists), who, while they don’t get nearly the attention they deserve, are vibrant presences within hip-hop culture (Azealia Banks? Rye Rye? M.I.A.?) and have been so since the start. Hip-hop has its own moments and opportunities for genuine growth, in a broadly impactful way, on the subjects of gender and sexuality. One of the most notable has happened in the time since I started composing this essay. Frank Ocean’s Tumblr confessional about his first love, another boy at age 19, presented a complex and frank look at bisexuality and homosexuality in a number of contexts, including the hip-hop music scene. The genuine outpouring of public support from many corners of the hip-hop universe (not to say that there weren’t plenty of nasty tweets from homophobic former fans and one lackluster one at best from Tyler, The Creator), from Theophilus London to a simple but laudatory and to-the-point support poem from Beyoncé (pictured above), showed some encouraging support and even a rejection of rigid gender/sexuality constructs. (I of course don’t want to make it out to seem like what Frank Ocean did is A) what I think everyone in the closet about their sexuality or gender identity ought to do (everyone gets to make that choice for themselves) or B) the end of homophobia in the hip-hop culture/business.)If we want to actually attack rap’s misogyny and homophobia, we have to attack the fact that those are features of huge swaths of popular culture, of high culture and of low culture (actually, I actually kind of hate those terms) and that such elements become selling points for music and entertainment. At this juncture, lots of Top 40 rap is for white audiences, white audiences who deeply appreciate cheering on references to gratuitous violence and poor attitudes towards women and femininity and things that bend gender ideals. We need to take to task rap personas like Donald Glover’s Childish Gambino and the perpetually slur-slinging Odd Future group in ways that effectively address the source of the problem and the factors that perpetuate it. We don’t challenge enough the fact that these personas or these motifs are made popular by mass culture’s demand for and acceptance of this kind of lyric or imagery. The sexist tropes in hip-hop music have their roots in the same kind of in-high-demand sexism that pumps up listeners by playing into the gender norms instilled in us since we were wobbly toddlers. This is actually a kind of sexism not all that far from the kind that drives the popularity of advice pieces that are “He’s From Mars And Just Not That Into You But Maybe If You Were Less of A Slut But Also Put Out Some More” mash-ups and the cascading Internet troll attacks on female voices and the “Ugh, aren’t men and women just so different” punchlines of how many different stand-up comedians. It’s certainly not far from the sexism that spurred some video game aficionados to launch a vitriolic and stomach-turning campaign against feminist video blogger Anita Sarkeesian for speaking out against misogyny in the gaming world. The homophobia doesn’t arise in hip-hop because hip-hop came from South Bronx anger and Brooklyn rage, but rather because it exists inside a cultural that has a trained rejection of things that fall outside some rigidly constructed boxes of masculinity. Rappers have as complex and problematic a relationship with sexual norms and gender hierarchies as most segments of popular culture, yet we treat them as if they are somehow separate from white sexism (seen as individualized and not indicative of problems within white culture).There is a certain amount of glee to the death knell being rung repeatedly for hip-hop culture: they are hopefully typing out eulogies for what white America has long seen as threatening - powerful, popular, sometimes-radical-sometimes-marketable Black voices. It’s a way to finally write hip-hop off like people have wanted to for decade and especially a continuation of the ever-popular narrative that defines Black masculinity as aggressive and dangerous and Black femininity as a victimized caricature. If all we want to see of hip-hop culture, or of Black or urban communities, is the sex and violence genre of chart-topping gangsta rap, then I’m sure that’s all we’ll see. It won’t get us particularly far, though.I’m not denying the the ubiquity of reductionist and degrading (and much worse) imagery of femininity and homosexuality in so much of mainstream rap/hip-hop, nor should anyone. But for the sake of actually effectively addressing it, it has to be treated as a function of a broad cultural acceptance, no, not acceptance… desire for that exact kind imagery and objectification. There’s a sort of audience revelry in sexism and homophobia, a revelry in the justification it provides. This kind of phenomenon has to be treated as if it comes from the same places that the popular games and movies glorifying violent treatment of women or ugly rejection of homosexuality. Feminism needs to call out the places where themes of egregious sexism and homophobia are pervasive and influential, which includes but are hardly limited to the lyrical stylings of Tyler, The Creator and Fifty Cent. (And why don’t we also throw problematic thematic elements of classism and exploitative capitalism in there as well, for good measure. Lots of music relies on heavily materialistic tropes and validation of success on highly financial terms.) But, as a feminist, I’m also not doing my job if I don’t point out the serious race problems underscoring a great deal of the criticism aimed at hip-hop culture and rap music from the outside or if I don’t point out this as one of the many shields behind which endemic cultural sexism and homophobia try to hide.
A reading suggestion: Tricia Rose’s Hip Hop Wars has a whole chapter dedicated to this subject and the place of African-American and Black feminism in criticism of both hip-hop and its white conservative detractors.
[Photo via MTV]

thepoliticalnotebook:

“Be Honest”: Feminism, Race and Hip-Hop Criticism

I was once accused, in an online comments section, of course, of supporting homophobia and misogyny because I wrote an article about rap music. The logic of the comment was specious and the tone snarky and it was an utterly silly and ridiculous accusation — the piece was this one, on Moroccan dissident rapper El Haqed, who raps about things like monarchy, corruption and oppressive police brutality, but not at all about getting laid or hitting prostitutes or calling the people he’s angry at homosexual. This kind of hip-hop, in the context of protest music, is what I write about. So really, I mostly just paused at the comment, felt briefly sorry at the strain that logic had endured that day, and laughed about it.

But in the time since I’ve been thinking, spurred on by writing I’ve read, about the kind of misogyny and homophobia associated with hip-hop. I think a lot of the accusations leveled at hip-hop about misogyny and homophobia miss the necessary nuance to address the problem. The problem isn’t hip-hop, the problem is much, much bigger and stems from someplace else. Hip-hop has a misogyny problem and a homophobia problem, and so does a great deal of the rest of pop music and popular country music and popular rock, etc. So does Congress. So do a lot of radio and television hosts. So do… you get my drift. The difference in how we talk about what’s going on is that hip-hop’s misogyny is seen as the misogyny of African-American men, an endemic misogyny seen as somehow far more problematic than white misogyny or white homophobia. Katy Perry and Taylor Swift both accuse subjects in their songs of being gay (see “Ur So Gay” and “Picture to Burn”) as a way of mocking and humiliating them, but we don’t broadly talk about the culture of twenty-something straight, white pop stars as having a big and insurmountable homophobia problem, nor do we charge their listeners with that. We may charge them with an individual act of homophobia or sexism, but we rarely consider that problem to be connected to deep thematic elements of the teen pop scene. Perhaps we consider them less problematic because, while Taylor Swift heavy-handedly layers on the madonna-whore complex motif in her song and music video for “You Belong With Me,” she avoids ever directly calling the rival female character in her narrative a whore and mixes her message with sounds that are the country-pop equivalent of high-fructose corn syrup. The supposed cultural digestibility of the sexist and homophobic elements included in a range of music from classic rock to country-pop crossover owes a great deal to the whiteness of its singers and to the general crowd-pleasing appeal that a good bout of slut-shaming or indulgence in gender essentialism.

What we aren’t talking about is our race problem when we discuss hip-hop. We generalize hip-hop by the selection of commercialized music we often hear on the radio and from that deduce that Black or African-American sexism comes from somewhere else, somewhere worse than the white sexism that we’re so much more willing to let slide and much less willing to see as an endemic problem to be addressed rather than as trivial or isolated incidents accepted as within bounds.

This kind of commentary also handily lets us ignore what hip-hop has to offer as a platform for cultural growth. Hip-hop has the options of providing us with talented female MCs (and breakdancers, DJs and graf artists), who, while they don’t get nearly the attention they deserve, are vibrant presences within hip-hop culture (Azealia Banks? Rye Rye? M.I.A.?) and have been so since the start. Hip-hop has its own moments and opportunities for genuine growth, in a broadly impactful way, on the subjects of gender and sexuality. One of the most notable has happened in the time since I started composing this essay. Frank Ocean’s Tumblr confessional about his first love, another boy at age 19, presented a complex and frank look at bisexuality and homosexuality in a number of contexts, including the hip-hop music scene. The genuine outpouring of public support from many corners of the hip-hop universe (not to say that there weren’t plenty of nasty tweets from homophobic former fans and one lackluster one at best from Tyler, The Creator), from Theophilus London to a simple but laudatory and to-the-point support poem from Beyoncé (pictured above), showed some encouraging support and even a rejection of rigid gender/sexuality constructs. (I of course don’t want to make it out to seem like what Frank Ocean did is A) what I think everyone in the closet about their sexuality or gender identity ought to do (everyone gets to make that choice for themselves) or B) the end of homophobia in the hip-hop culture/business.)

If we want to actually attack rap’s misogyny and homophobia, we have to attack the fact that those are features of huge swaths of popular culture, of high culture and of low culture (actually, I actually kind of hate those terms) and that such elements become selling points for music and entertainment. At this juncture, lots of Top 40 rap is for white audiences, white audiences who deeply appreciate cheering on references to gratuitous violence and poor attitudes towards women and femininity and things that bend gender ideals. We need to take to task rap personas like Donald Glover’s Childish Gambino and the perpetually slur-slinging Odd Future group in ways that effectively address the source of the problem and the factors that perpetuate it. We don’t challenge enough the fact that these personas or these motifs are made popular by mass culture’s demand for and acceptance of this kind of lyric or imagery.

The sexist tropes in hip-hop music have their roots in the same kind of in-high-demand sexism that pumps up listeners by playing into the gender norms instilled in us since we were wobbly toddlers. This is actually a kind of sexism not all that far from the kind that drives the popularity of advice pieces that are “He’s From Mars And Just Not That Into You But Maybe If You Were Less of A Slut But Also Put Out Some More” mash-ups and the cascading Internet troll attacks on female voices and the “Ugh, aren’t men and women just so different” punchlines of how many different stand-up comedians. It’s certainly not far from the sexism that spurred some video game aficionados to launch a vitriolic and stomach-turning campaign against feminist video blogger Anita Sarkeesian for speaking out against misogyny in the gaming world. The homophobia doesn’t arise in hip-hop because hip-hop came from South Bronx anger and Brooklyn rage, but rather because it exists inside a cultural that has a trained rejection of things that fall outside some rigidly constructed boxes of masculinity. Rappers have as complex and problematic a relationship with sexual norms and gender hierarchies as most segments of popular culture, yet we treat them as if they are somehow separate from white sexism (seen as individualized and not indicative of problems within white culture).

There is a certain amount of glee to the death knell being rung repeatedly for hip-hop culture: they are hopefully typing out eulogies for what white America has long seen as threatening - powerful, popular, sometimes-radical-sometimes-marketable Black voices. It’s a way to finally write hip-hop off like people have wanted to for decade and especially a continuation of the ever-popular narrative that defines Black masculinity as aggressive and dangerous and Black femininity as a victimized caricature. If all we want to see of hip-hop culture, or of Black or urban communities, is the sex and violence genre of chart-topping gangsta rap, then I’m sure that’s all we’ll see. It won’t get us particularly far, though.

I’m not denying the the ubiquity of reductionist and degrading (and much worse) imagery of femininity and homosexuality in so much of mainstream rap/hip-hop, nor should anyone. But for the sake of actually effectively addressing it, it has to be treated as a function of a broad cultural acceptance, no, not acceptance… desire for that exact kind imagery and objectification. There’s a sort of audience revelry in sexism and homophobia, a revelry in the justification it provides. This kind of phenomenon has to be treated as if it comes from the same places that the popular games and movies glorifying violent treatment of women or ugly rejection of homosexuality.

Feminism needs to call out the places where themes of egregious sexism and homophobia are pervasive and influential, which includes but are hardly limited to the lyrical stylings of Tyler, The Creator and Fifty Cent. (And why don’t we also throw problematic thematic elements of classism and exploitative capitalism in there as well, for good measure. Lots of music relies on heavily materialistic tropes and validation of success on highly financial terms.) But, as a feminist, I’m also not doing my job if I don’t point out the serious race problems underscoring a great deal of the criticism aimed at hip-hop culture and rap music from the outside or if I don’t point out this as one of the many shields behind which endemic cultural sexism and homophobia try to hide.

A reading suggestion: Tricia Rose’s Hip Hop Wars has a whole chapter dedicated to this subject and the place of African-American and Black feminism in criticism of both hip-hop and its white conservative detractors.

[Photo via MTV]

femfreq:

In this New Statesman article, Helen Lewis discusses some of the hate & harassment I have faced since launching my Tropes vs Women in Video Games Kickstarter including a flash game where players are invited to “Beat Up Anita Sarkeesian”.
**Trigger Warning**

femfreq:

In this New Statesman article, Helen Lewis discusses some of the hate & harassment I have faced since launching my Tropes vs Women in Video Games Kickstarter including a flash game where players are invited to “Beat Up Anita Sarkeesian”.

**Trigger Warning**

2 years ago 382 notes via femfreq
It saddens me to see girls proudly declaring they’re not like other girls – especially when it’s 41,000 girls saying it in a chorus, never recognizing the contradiction. It’s taking a form of contempt for women – even a hatred for women – and internalizing it by saying, Yes, those girls are awful, but I’m special, I’m not like that, instead of stepping back and saying, This is a lie.

The real meaning of “I’m not like the other girls” is, I think, “I’m not the media’s image of what girls should be.” Well, very, very few of us are. Pop culture wants to tell us that we’re all shallow, backstabbing, appearance-obsessed shopaholics without a thought in our heads beyond cute boys and cuter handbags. It’s a lie – a flat-out lie – and we need to recognize it and say so instead of accepting that judgment as true for other girls, but not for you.

“I’m not like the other girls”, Claudia Gray

Excellent article. I always end up thinking this when I see reblogs like that. Female competition is a horrible, poisonous thing (that I’ve only recently gotten over engaging in, and I am much happier for it).

(via birdwithapeopleface)

[TW: Rape, racism] A new study sheds light on the unthinkably brutal life of Native American women involved in prostitution.

oogishkamaanisee:

ayiman:

cocothinkshefancy:

As the victims of crime, Indian women also experience “more extreme violence” than other women, Deer says. “One of the reasons is the idea that Native women are less valuable. You see that play out in places like Anchorage, the rape capital of the United States, where Native women are targeted in bars. A crime mapping of sexual assaults reported in Anchorage showed a clear pattern of predatory behavior that was targeted against Native women.”

Interviews in the new study showed that Indian women often encounter racism among sex buyers. “When a man looks at a prostitute and a Native woman, he looks at them the same: ‘Dirty,’” one woman said.

“A john said to me, ‘I thought we killed all of you,’” reported another prostitute.

http://www.amnesty.ca/campaigns/sisters_overview.php

http://www.missingnativewomen.org/

http://mostlywater.org/missing_aboriginal_women_canada%E2%80%99s_secret_shame

if you want an example of institutional and systematic racism and misogyny against aboriginal women and sex workers, check out the sham of the missing women “inquiry” in vancouver (scare quotes intended)

muslimwomeninhistory:

” Sometimes they send poison, sometimes knives sometimes fire, sometimes hell. to the daughters of my country  They send a spring composed of ashes”
Marwa Sobhan on the Afghan girls in Takhar who have been poisoned for going to school.

muslimwomeninhistory:

” Sometimes they send poison, sometimes knives
sometimes fire, sometimes hell.
to the daughters of my country
They send a spring composed of ashes”

Marwa Sobhan on the Afghan girls in Takhar who have been poisoned for going to school.

Afghanistan: Girl Power - People & Power - Al Jazeera English

outburstm:

Documentary “People and Power” follows young Afghan women taking the battle for #gender #equality onto the streets of #Kabul 

This short documentary profiles Afghan Noorjahan Akbar a 19-year-old powerhouse who founded Young Women for Change in Kabul. She is taking the battle for gender equality out onto the streets of the capital - eager to understand why Afghan men are still so uneasy with the notion of women’s rights but determined to change those attitudes by persuasion, debate and example.