Tag Archives: Sexism

When the Supreme Court Grants Immunity to Rampaging Monsters

Millions voted for Trump despite plentiful warnings that he’d fill the Supreme Court with corrupt far-right activists in the pay of conservative billionaires who’d enable anti-democratic power grabs. Millions didn’t believe Trump could be so deeply hateful and vengeful. They refused to believe that he’d gleefully attack the laws, customs, welfare, and the Constitution of the United States that he was hired to protect.

Yet here we are.

Now the Supreme Court’s intentional delays and anti-Constitutional rulings have removed the possibility of a public trial examining Trump’s treasonous incitement of a deadly riot until after November’s presidential election. Six “justices” have impeded justice for a man who believed his own vice president deserved a public lynching on the Capitol grounds because of a refusal to subvert Constitutional requirements at Trump’s command.

Those who voted for Trump in 2016 were too naive and trusting, and too willing to ignore the signs of his incipient fascism. In their fear and misapprehension, they made excuses for his blatant and repeatedly proven financial corruption, racism, and misogyny. They bought his lies and repeated them in his service. They have no excuses now.

Trump has shown us who he is, repeatedly, publicly, and dramatically, thousands of times. We all know what he wants to do.

But building hatred toward those who voted us into this deadly, dangerous, chaotic man’s orbit will not stop him. That kind of vengeful thinking builds monsters like Trump, and leads to terrorism and civil war. We must love what this nation could be enough to fight for it—nonviolently and lawfully. And we must love the elements of human decency that most people, including those who consider voting for him, still hold in their hearts. We must remember their humanity. Let’s reach out in kindness, despite the irrational fears and anger that Trump has so masterfully created in them. The need to save our democracy should be greater to us than the desire to avoid annoyance and frustration, or the impulse to smugly insult Trump supporters’ choices and fears.

Does that mean we need to be polite and quiet when they roll over us? Never. We must be bold and loud and persistent. But we must respect others’ humanity as we amplify truths and persistently correct misapprehensions about Trump. We must point to the current administration’s successes, and remind people of Trump’s egregious actions while in power.

Do not be defeatist or fatalistic. When you’re fighting a monster who’s burning the gates to your city, you don’t give in because it’s tiring and sweaty work. You don’t take a nap when a fire-breathing dragon sets your baby’s crib alight. If we give in, our home will burn to the ground if we don’t do our part to save it.

We’re all tired. We’re all disgusted. So were millions in Hitler’s Germany who used their disgust over and fear of and exhaustion with fascism as excuses to turn their backs on the destruction of their nation from within. If they made it out alive, they had to live with the consequences of their fear and inaction for the rest of their lives. They had to watch their beautiful and beloved homeland’s people (and people from around the world) lose freedoms, be ground in the dirt, suffer, even die because of their leader’s unchecked power.

Don’t set yourself up to feel that kind of sorrow and shame.

Get angry.

Push back.

Speak up.

VOTE.

At Top:

The Statue of Liberty during a solar eclipse, June 2021 | Anthony Quintano, Wikimedia Commons (CC-by-2.0)

British Beauty Tips Circa 1960

In 1908, Pathé invented the newsreel, a short-subject film  shown in cinemas prior to feature films. The Pathé Brothers of France owned the world’s largest film equipment and production company, and they saw the benefit of bringing news to life for moving picture fans and thus padding out an afternoon or evening’s cinematic entertainment. In the years before television, people grew to rely on newsreels during their weekly cinema visits to keep up with royal visits, war news, sports, fashion and celebrity events and travelogues that took them to far-away places.

Over time, many short subject films took on a nationalistic bent, and they were used as propaganda tools during World Wars I and II. Some showed women on the home front how to make do with rationed food and fabrics during and after World War II. Others showed teens at play, making them seem like laughable aliens, underscoring the generation gap that caused such rifts between teens and their parents in the 1950s and 1960s and played out in major culture clashes in both cinematic and real life.

News reels often depicted the people of other nations as quaint and exotic, and made women look like vain, silly, laughable lightweights. But they were wittily narrated, well-edited and often visually sumptuous, so they make for fascinating views into 20th century cultural history today.

Pathé short-subject films reached the height of their appeal in the 1940s, 1950s and 1960s in Britain. Many of these shorts involve women being made to look foolish while demonstrating outlandish fashion or beauty trends and inventions, all accompanied by an orchestra playing a peppy tune and a wry male narrator making snappy sexist comments.

It’s always interesting to see how much effort has been put into inventing odd machinery to distract women, perpetuate stereotypes and keep women “in their place.” It still goes on today, of course, but now women’s voices are used to make the narrated hype more palatable and to seem more “empowering” and less demeaning.

What Makes a Woman “Feminine”?

Vanity Fair

Caitlyn Jenner‘s photos were published in Vanity Fair earlier this week, as we all know by now. She looks beautiful in them, and I wish her only happiness in her life as the woman she has always felt herself to be.

Since she seems to have taken charge of all aspects of publicizing her transition from Bruce to Caitlyn, we must assume that Ms. Jenner had the final say regarding which of the photos taken by top celebrity portraitist Annie Leibovitz she wanted to have featured on the Vanity Fair cover. Of all the photos from that spread, the one on the cover shows Ms. Jenner in the most vulnerable possible state: sitting in white underwear with arms pinned behind her and her strong, beautiful legs awkwardly pressed together. All the others show her looking more in-charge and comfortable with herself, not to mention in prettier clothes. For example, here she is relaxing:

Sofa

Here she is about to drive her $180,000 sports car:

Red Dress

In each of these images, she shows herself to be in command of the moment and of herself. In one, she looks away from the camera as if unaware and unconcerned about its gaze; in the other she wears sunglasses and a body-conscious red dress, and she exudes power and control. Compare these to the cover image in which her wrists and ankles could be bound for all we know; they’re certainly pulled tightly back and out of the way, and she looks directly at the camera, unsmiling and very aware that she is being appraised by the viewer in her half-naked state.

After a lifetime of being lauded for physical strength and power, which were so often conflated with her appearing to many to be the epitome of manly attractiveness, it is understandable, but I think a bit disturbing, that she and Vanity Fair should see the opposite—a physical position of seeming powerlessness—as the apotheosis of feminine beauty. While it is true that stripping away clothes could also be taken as a symbol of stripping away what she felt were the public lies about her private self, both she and photographer Annie Leibovitz knew full well that by portraying her without clothes or visible hands or feet they were also using visual shorthand to get across the idea of her vulnerability as part and parcel of her newly-public femininity.

She is in fabulous physical condition, as one would expect a disciplined gold-medal-winning Olympic decathlete to be, and one can understand that she might want to show that off—it must feel great to show the world that she can look so conventionally attractive as a woman. And, of course, Vanity Fair wants to sex up the cover as much as possible to sell more issues. But I wonder: did Ms. Jenner or Vanity Fair think that placing her in as vulnerable a state as possible was a necessary part of making her look most feminine?

If people think that what makes Ms. Jenner appear to be “feminine” is the fact that her near nudity and constrained pose leave her looking vulnerable and fragile, that saddens me, since in that case the choice is clearly not about glamour (which can be strong and empowering) per se; it is instead about playing up weakness as a womanly trait. Caitlyn Jenner is plenty glamorous in all the photos, so the choice must have involved what she and Vanity Fair think makes her look most like a woman, and that appears to be weakness, vulnerability and the impression of greater sexual availability (i.e., fewer clothes, direct gaze, body seated rather than standing and legs and arms out of the way). I’m concerned about underlying sexist and disempowering messages about femininity and beauty that could be sent to the world by this photo spread when the most fragile and powerless-looking of all photos taken becomes the image chosen to symbolize feminine beauty out of all the beautiful, powerful images available.

I am not denigrating Caitlyn’s choice to transition from male to female, nor her desire to share her story and her first photos of herself in a beautiful and powerful way. I support and applaud her in this. I am merely questioning what this episode in popular culture tells us about how we may conflate powerlessness and vulnerability with ideals of female beauty.