A Plan to Bring Sonya Renee Taylor to Campus

I would like to plan an event on body empowerment and intersectionality in which Sonya Renee Taylor, the founder of The Body Is Not An Apology, comes to speak at Davidson. The Body Is Not An Apology is a worldwide movement and digital education platform that promotes “radical self-love and bodily empowerment”.1 Taylor believes her movement is radical because each individual needs extreme self-love to enhance relationships with themselves and others, and to take drastic societal measures to change how society views and talks about the body. As an author and activist who addresses the intersectionality of race, sexual orientation, class, and much more in terms of the body and body positivity, I believe that Taylor would reach a wide audience at Davidson. Intersectionality—the overlap of social classifications like race, class, and gender—contributes to the discrimination and oppression of multiple parts of one’s identity, specifically in marginalized groups.2 The Davidson community is comprised of students of many identities and backgrounds, so I believe the discussion of intersectionality within the of body empowerment movement would be engaging to Davidson students. Furthermore, Davidson students are passionate and hardworking but can often become critical of themselves due to the competitive college environment. I believe Davidson students would benefit from Taylor who teaches the value of unapologetic self-love and empowerment, as well as tools to build these values.

In her NYLON YouTube video on the difference between body positivity and fat activism, Virgie Tovar explains that the face of body positivity tends to be straight, thin, white women.3 These are not the women, however, that experience the most bodily discrimination. Through acknowledgement and celebration of bodies of different “age, race, size, gender, dis/ability, sexual orientation, religion, ethnicity, class, and other attributes,” Taylor teaches her audience to reject this false reality about body positivity.1 She also educates people on how society’s perceptions of the body and what is typically perceived as fat contributes greatly to the intersectionality of discrimination. On her website, Taylor writes that, “my big, Black, queer body was not supposed to be seen or sexy, but I posted it anyway”.1 Despite potential discrimination against her race, sexuality, and body size, Taylor embraced her body and highlighted its differences from the typical body that magazines portray – thin, white bodies. Her post resulted in the creation of The Body Is Not An Apology. Although Taylor lives in New Zealand, she travels globally to present lectures and workshops on radical self-love, body empowerment, social justice, and much more. Taylor can be reached for booking inquiries on her website.4 We would submit an inquiry for a lecture at a large event at Davidson College, such as a conference or commencement, and communicate the goals and audience for this lecture.5 The goals would be to teach students about The Body Is Not An Apology and Taylor’s background, the intersectionality of fat activism and body empowerment, and how to incorporate body empowerment into social justice and reform. Additionally, it would be beneficial for students to learn how to build tools to garner radical self-love. If Taylor were to present a lecture at Davidson College, this event would be publicized through posters, emails, and social media platforms. On Instagram, we could post on the Davidson College account, as well as other Davidson clubs related to this topic like Planned Parenthood Generation Action, the Health Advisers, Eating Houses, and many more. On Facebook, we could send out a post in the Davidson College 2020-2021 School Year group, or whatever year is active at the time of the event. Considering the large audience that Taylor’s topic would interest, I believe this event would best take place in a large room for a conference, such as the Wall Atrium or the 900 Room in Union. For commencement, it would take place on the Chamber’s Lawn. Taylor could present her lecture and take questions from the audience. Perhaps this event could be funded by the Union Board.

Going into my second semester of senior year, I do not think I will have adequate time to plan and publicize this event. However, I will present this plan to the Vice President of Connor Eating House, the PCC organization I belong to, who plans educational events along with the other Eating Houses. I will also submit this plan to the leaders of Planned Parenthood, the Health Advisers, and Union Board in hopes that one of these organizations will take an interest in my recommendation. If they chose to move forward with my plan to invite Sonya Renee Taylor to campus, they will be able to decide when to host this event. I believe this lecture would equip Davidson College students to move forward into the world with an awareness of how bodies intersect with other aspects of identity and discrimination, as well as how to fight against such discrimination and heal from body shame and guilt.

1 Taylor, Sonya Renee. “Mission, Vision, & History.” The Body Is Not An Apology,

https://thebodyisnotanapology.com/about-tbinaa/history-mission-and-vision/.

2 “Methods -Intersectionality Theory.” Georgia Douglas Johnson: Rereading the Harlem

Renaissance, https://georgiadouglasjohnson.com/intersectionaltheory/

3 “Virgie Tovar Tells Us the Difference between Body Positivity And Fat Activism.” YouTube,

18 Sept. 2018, https://www.youtube.com/watch?v=o_OoS_hgXfQ.

4 “Contact – Booking Inquiries.” Sonya Renee Taylor, https://www.sonyareneetaylor.com/contact#booking-inquiries.

5 “Work – Speaking & Lectures.” Sonya Renee Taylor,

https://www.sonyareneetaylor.com/speaking-lectures

Feminist Mixtape: “You Don’t Own Me” by Lesley Gore

During the height of second wave feminism in 1963, singer and composer Lesley Gore released her feminist anthem, “You Don’t Own Me”. As indicated by the title, Gore’s song is a call to men to stop trying to control women, as well as a sign of encouragement to women to live their lives the way they want to.

Gore sings, “I’m young and I love to be young/I’m free and I love to be free/To live my life the way I want”. She is claiming autonomy over her life, her body, and her choices as a young woman, as well as finding freedom from male control. This message is similarly echoed in Our Bodies, Ourselves (1973), which highlights the transformation of women being controlled by patriarchal and sexist societal roles to learning from one other and finding freedom in their shared experiences. Second wave feminism largely focused on women’s rights and equality, fighting against the expectation of women to follow the “rigid role of wife-and-motherhood from the moment [they are] born female” (Boston Women’s Health Book Collective 297). During the 1960s and 70s, many women felt freedom from this expectation as they learned other women did not desire pregnancy and had the power to “take control of [their] bodies and [their] bodies’ needs” (Boston Women’s Health Book Collective 296).

Gore advocates for this stance in “You Don’t Own Me” when she sings, “I’m not just one of your many toys” and “don’t tell me what to do/don’t tell me what to say”. She rejects the notion that men can treat their romantic partners as “toys,” signifying that she will not allow men to control her words and behaviors in her own life as they might control a toy in a game. Gore clearly refuses the traditional role of women as reproducing mothers and housewives when she says, “Don’t tie me down ‘cause I’d never stay”. Gore’s opposition to being tied down, perhaps to both one man and one role (being a housewife), is reflected in Betty Freidan’s The Feminine Mystique, also published in 1963. Friedan explains that housewives feel trapped due to the “chains in [their] own mind[s] and spirit[s]”, metaphorically tying them down to the incorrect belief that motherhood is all that life has to offer her (Friedan 277). Both Friedan and Gore encourage women to discover their needs, abilities, and passions, or as Gore sings, “just let me be myself” and “say and do whatever I please”.  

Furthermore, Gore instructs men: “And please, when I go out with you/Don’t put me on display”. Throughout history, women have been held to unrealistic standards of beauty. Gore does not want to be “displayed,” or boasted and shown off to other men based on her looks. She implies that this action not only ties her down but prevents her from being her most authentic self. Similarly, in Our Bodies, Ourselves, the authors assert that a woman cannot be her best self when “she drains her energy trying to change her face, her figure, her hair, her smells, to match some ideal norm set by magazines, movies, and TV” (Boston Women’s Health Book Collective 298).

It is important to consider how Gore frames several of her lines. Although she often uses commands, she does include “please” and “that’s all I ask of you” in her song. Her ask for permission from men to be herself slightly weakens this feminist message. “You Don’t Own Me” also focuses on heterosexual relationship, which Gore indicates when she sings, “Don’t say I can’t go with other boys”. Thus, her song may not appeal to the audience of women with diverse sexual orientations. This is quite interesting given that Lesley Gore was a lesbian herself (“Lesley Gore” Wikipedia). Regardless, Gore created a powerful, feminist song in the heat of second wave feminism that has remained popular to this day.

A Review of *Plucked: A History of Hair Removal*

          Rebecca Herzig’s Plucked of 2015 sheds light on the tumultuous history and divisive nature of hair. Although it was not always the case in the past, today more than 99% of women in America voluntarily remove their hair by shaving, waxing, or lasering (Herzig 9). This leads to the questions, was hair removal always voluntary? Is it really voluntary in the present? Herzig delves into questions such as these taking a scientific approach to the history of technology of hair removal in the United States. She chronologically highlights the progression of American attitudes on body hair and hair removal from the 1700s to 2015, culturally critiquing the way that American society has used hair or lack thereof to divide and categorize people since colonial times. The concept of hair makes the constructs supporting such societal divisions more visible. In the early 18th century, American colonists looked down upon Native peoples who removed their facial hair, calling them lazy and unmanly (25). However, by the 21st century, American scientists developed advanced depilatory technologies, and society uses body hair as a means of social control over women. Although today’s society uses these technological methods of hair removal to promote the idea of choice and self-determination over depilation, the fact that over 99% of women regularly remove body hair brings Herzig to push the reader to reflect whether hair removal is truly voluntary, necessary, and can prevent suffering.

            Rebecca M. Herzig is a Gender and Sexuality Studies professor at Bates College and a historian of science. She received her doctorate in history and the social study of science and technology from MIT. Her other works include Suffering for Science: Reason and Sacrifice in Modern America and The Nature of Difference: Science of Race in the United Sates from Jefferson Genomics. Before publication of Plucked in 2015, several mentors and colleagues told Herzig to give up on the topic of hair removal and that it was not worth the extensive research and work that went into this monograph (194). However, Herzig continued to delve into this topic while being conscious of her own privilege as a “white, straight, able-bodied, middle-class American woman” (195).

            Herzig completed extensive research on the history of technology of hair removal to develop her monograph, with an emphasis on the changing political, social, and scientific attitudes towards hair removal. She analyzed advertisements in magazines and newspapers such as Ms. And Science News Letter, as well as scientific studies regarding hair. For instance, an 1892 study on “insanity” in women found that “insane women [presented] excessive facial hair more frequently than the sane” (73). She also investigated books on evolution, including Darwin’s Descent of Man. Her thorough research on the beliefs and stances of popular historians over the generations provides a reflection of the dominant perspectives on hair and hair removal since the 1700s. Herzig received a grant from the National Science Foundation in 2008 to conduct research on RNA-interference, the most advanced, and potentially effective, means of hair removal to date. Chapter One, “The Hairless Indian: Savagery and Civility before the Civil War”, reveals how hyper-fixation on hair led to distinctions between races and similarities between minoritized races and animals. These classifications were used to “support the continuing enslavement of men, women, and children of African descent” (30). Chapter Two, “‘Chemicals of the Toilette’: From Homemade Remedies to a New Industrial Order”, emphasizes how smooth, white, hairless faces were ideal in the early 1800s, making hairlessness a symbol of purity, status, and wealth for white people. Hair removal powders and creams appeared in advertisements during this time as well. Chapter Three, “Bearded Women and Dog-Faced Men: Darwin’s Great Denudation”, marks the first medical pathologizing of hair in the early 20th century with hypertrichosis, the condition of excessive hair. In 1871, Darwin’s Descent of Man explained man’s hair loss as a result of sexual selection, which subsequently led to excessive hair being viewed as a sign of sexual and mental deviance.

            Chapter Four, “‘Smooth, White, Velvety Skin’: X-Ray Salons and Social Mobility”, introduces new hair removal technologies: electrolysis and X-ray radiation. Throughout the mid-1900s, hairiness was associated with lesbianism and feminism, while hair removal became a way for middle-class women to dissociate themselves from “cruder people, lower class and immigrants” (79). X-ray salon marketing targeted these people to give them the perception that hair removal led to upward class mobility. Chapter 5, “Glandular Trouble: Sex Hormones and Deviant Hair Growth”, explains how endocrinology linked hairiness to internal hormones of the glands, leading glandular remedies and hormonal drug therapies to become popular hair removal treatments within a culture of self-improvement in the 20th century. Hirsutism, the disorder of abnormal hairiness due to glandular trouble in women was first diagnosed in 1922 (107). Although there was no official classification for what constituted abnormal hairiness, the Journal of the American Medical Association reflected that “the level of patient distress drove medical diagnosis – distress that was itself dependent on mutable social norms” in the mid-1900s (109). Chapter 6, “Unshaven: ‘Arm-Pit Feminists’ and Women’s Liberation”, highlights the role of visible body hair as a symbol of political activism in second wave feminism. On the other hand, the innovation of private bathrooms further mobilized middle-class women’s obsession with hygiene and depilation with Gillette’s new safety razors (124). World War I soldiers were required to shave, making facial shaves a new daily routine for men. Meanwhile, Black Power groups rejected white norms of straight hair during this time, challenging society’s implicit association between Black people, hairiness, and lower status.

            Brazilian waxing is introduced in Chapter 7, “Cleaning the Basement’: Labor, Pornography, and Brazilian Waxing”, as a means for self-enhancement, hygiene, and sexual desirability. Around 1977, the economy saw a shift towards producer and consumer services with a growth of personal care services. Service workers, mainly lower-class female immigrants, were “tied to their client’s bodily location” and received very minimal protections from the government (147). Chapter 8, “Magic Bullets: Laser Regulation and Elective Medicine”, presents the invention of laser hair removal in the 1990s and its popularization in the early 2000s. This technology initially did not work on dark pigmentation, limiting people of color’s access to advanced hair removal technology. However, medical professionals considered hair removal as cosmetic and not a legitimate medical need, and thus were hesitant to provide laser hair treatment at all, putting hair removal “on the edges of professional medicine” (162). The final chapter, “The Next Frontier: Genetic Enhancement and the End of Hair”, delves into RNA-interference (RNAi), genetic technology that could be used to stop growth of unwanted hair. Despite great financial investment in research for this type of hair removal, scientists have not focused resources on this technology. Interviews with pharmaceutical employees revealed that RNAi for hair removal is considered low-prestige work and the potential harm may be greater than the potential benefits. Scientists prefer to work on “life-saving” drugs, whereas hair removal therapies tend to be called “lifestyle drugs” (176). Herzig notes that the “line between lifestyle indication and serious medical need was flexible, shaped by ‘general cultural shift[s]’” (177). The stigma against cosmetic drug development suggests that suffering from ‘excessive’ hair is deemed less important than other forms of suffering.

            The distinction between “the superfluous and the truly necessary” in terms of bodily hair has evolved over time, yet Herzig concludes it will never be clearly defined (191). Medical professionals’ resistance to providing hair removal treatments and developing drugs to inhibit hair growth is reflective of how today’s society sees hair removal as a trivial cosmetic treatment, because many people do not believe that body hair causes suffering. However, hair has been used to mark racial, class, and gender differences and socially categorize people throughout history. Access to ever modernizing technology allows those with privilege – wealthy, white people – to become “enhanced”, whereas those who cannot afford these expensive treatments, the “unenhanced”, are discriminated against (189). Thus, who is to say whether hair causes suffering and who is truly suffering? Herzig asserts that the changing methods of hair removal and self-enhancement inherently necessitate the reliance of those with privilege to access expensive treatments on those socially ranked below them. In Herzig’s words, Plucked is a “call to remember those excluded others: the staggering volumes of sweat and blood and imagination and fear expended to produce a single hairless chin” (190). Participation in the trends of hair removal is to unconsciously separate yourself from others, creating a divide between those who remove hair and those who do not. Herzig argues that no matter what we decide to do with our body hair, we are “unconsciously pressed by society” and the “enthrallment to consumerism” to perceive body hair as dirty, wrong (137). In other words, each person’s perception of body hair and other people’s choices about their body hair in modern society is influenced by this division.

            One of Herzig’s strengths in writing Plucked is her thorough descriptions of each type of hair removal technology, including their development, use, and psychological, physiological, and social impact on users. From the homemade hair removal concoctions containing arsenic – causing skin damage, convulsions, and even death to women in the mid-1880s, to the laser hair removal devices created over one hundred years later with the potential to cause blistering and hyperpigmentation of the skin, Herzig guides the reader through the history of each new technology through a scientific lens. She facilitates an understanding of the differences in access to each type of hair remover, as well as of the reliance of those with privilege on those socially ranked below them for development and treatment services of hair removal. For example, Brazilian waxing in the early 2000s, which targeted new audiences and hard-to-reach body parts, relied heavily upon skilled service workers. Herzig compares waxers to housekeepers and child or elderly caretakers, highlighting how essential waxers became to the daily lives of middle-class women. Many of these workers are female immigrants whom society views as “shunned, ‘wasted,’ disposable workers in the contemporary global economy” with little chance to climb the socioeconomic ladder (150). These detailed analyses of each piece of hair removal technology enhance her argument that no one individual can determine the collective’s suffering and are indicative of society’s, mainly women’s, apparent desperation for improving hair removal methods. This desperation stems, of course, from the implicit and explicit societal expectation for women to be hairless in order to be sexually desirable and feminine that has been developing in the Unites States since the 18th century.

             One of Plucked’s weaknesses is its specificity of exploration of white, Eurocentric, post-colonial examples regarding body hair. Herzig provides far fewer specific examples of the body hair removal trends and issues for the many racial groups in the United States, including Black, Asian, Hispanic, and Indian. Rather, she focuses more heavily on white, gender, and socioeconomic issues and provides many concrete examples. Herzig’s arguments on suffering and the lack of acknowledgement of excluded, oppressed groups would be stronger if she included transnational observations and specific examples of the use and impacts of body hair removal technologies for other racial groups in Plucked.

             Herzig effectively guides the reader through the history of hair removal in the United States while continually evoking the difficult issues of what constitutes suffering and who gets to decide this. Her journey through the development of hair removal technology articulates the privilege dynamics between those removing hair and those getting their hair removed, as well as those with access to modern society’s advanced, expensive technology. Thus, I believe white people would benefit from reading Plucked to further understand their privilege and how it has evolved since the 1700s, even in a seemingly “trivial” context. Herzig makes clear that body hair and hair removal is far from trivial and is implicated with gendered, racist, and classist roots.

Works Cited

Herzig, Rebecca M. Plucked: A History of Hair Removal. New York University Press, 2016.

You Gotta Love a Company That’s Sexist

Feministing – www.feministing.com

           During 2017 Super Bowl, Mr. Clean released an ad entitled “Cleaner of Your Dreams,” adding the brand to the growing list of companies using sex appeal to sell their product. In the commercial, a white, seemingly heterosexual woman – a wife named Sarah – is cooking and spills on the stove. Suddenly, Mr. Clean walks into the kitchen with a tight shirt revealing abs and a smug look on his face. He flexes his muscles as he squeezes out a sponge. Next, Mr. Clean begins to dance near, essentially on, Sarah. She then begins to dance in a sexual manner, suggesting that she is turned on by Mr. Clean’s cleaning. Finally, Sarah’s husband reappears, calling out “Sarah, Sarah!”, pulling her out of her trance. The viewer is meant to assume her husband was cleaning the entire time under the Mr. Clean fantasy. She becomes excited and runs to him, kissing him and pushing him onto the couch. This action conveys how a woman’s sexuality is used as a reward for a man’s ‘good behavior’, which to the stereotypical white housewife is helping her clean.

            While the “sex sells” rhetoric in television ads has a long history in the media and is not surprising, one would not think that the target audience for this ad, middle-aged women, would be attracted to this message. Not only does Mr. Clean’s ad include a man coming to a woman’s rescue, but it also reinforces the stereotype that is it not normal for men to be cleaning the home. The commercial ends with the couple having sexual relations on the couch as the screen blurs out, and the slogan, “you gotta love a man who cleans,” appears. While a woman is likely to appreciate her partner’s help in cleaning their shared space, this commercial portrays the activity of a man cleaning as an unusual, angelic behavior that women will yearn for.

            The music in the ad further works to portray this message. As Mr. Clean walks in, the music plays, “girl what you want, not what you need… be your fantasy … I’ll be your ecstasy”. The song choice blatantly makes clear Mr. Clean’s stance on the woman’s role in the home – her purpose is to clean, and she does not “need” a man to help her. She can only “fantasize” about a husband willing to clean. When he does help her to clean, however, it is so pleasurable it is comparable to a drug-induced high.

            On another note, Mr. Clean is quite sexualized himself. The purpose of his tight-fitting clothing and dancing is to arouse Sarah, as well as the target audience of middle-aged women. Comments by YouTube users following the video emphasize this point – one user commented “I’ve watched this an unhealthy amount of times”, while another said, “Oh no he’s hot”. While these comments are most likely jokes, they indicate that the commercial’s goal of making Mr. Clean into a sex symbol was successful. Another wrote, “I want someone to look at me the way Mr. Clean looked at Sarah”. Not only did Mr. Clean dance on Sarah and attempt to arouse her, but perhaps by cleaning and doing a chore she typically does, Mr. Clean made her feel seen and appreciated. It is inherently sexist, as well as symbolic of traditional husband and wife power dynamics, to presume a woman’s only desire is to feel appreciated by her husband for her work in the home. Where the commercial went wrong, however, was in assuming and suggesting that a woman’s immediate reaction to these emotions is to have sex with her husband. Perhaps the creators of the commercial accomplished their goal of creating a sexually attractive, ideal male body that catches women’s attention, but did they really reach the goal of selling their product to this audience?

            The commercial portrays a white, cis, heterosexual, presumably monogamous couple. The connection between white heterosexual couples and traditional husband and wife power dynamics could not be more obvious. As argued by Jonathan Katz in The Invention of Heterosexuality, heterosexuality has been the unchallenged societal norm of sexuality for most of history. After World War II, women were confined to the home and their work was limited to domestic tasks of caring for the family and home (Katz 237). Mr. Clean’s commercial supports the stereotypical role of women as the caretakers of the home and men as the breadwinners. Clearly the commercial creators do not agree with that time period’s conservative approach to sex which attempted to reconnect heterosexual sex with the purpose of procreation (Katz 237). In fact, the commercial encourages men to help their wives clean in order to be rewarded with sex. While the intended audience for this commercial may have been the middle-aged women, more specifically wives, Mr. Clean seemingly crafted this commercial with the entertainment of white, heterosexual husbands in mind. Thus, the sexualization of this commercial creates a disconnect people the intent of the ad and the experience of the viewer.

            The racialization of the commercial also works, perhaps unintentionally, to limit Mr. Clean’s audience range and customer base to the binary of being white and heterosexual. Representation of diverse relationships in terms of race, class, and sexuality would have extended the message of this ad to a greater audience. As a result, many potential customers may refrain from buying this product targeted at white, heterosexual, middle-aged women.

            As a company selling cleaning products, the Mr. Clean franchise should be well aware of the stereotypical, misogynic implications their commercial has for women. Not only are they selling their product, but also the ideals of the white, heterosexual traditional husband and wife dynamic with the wife as the caretaker of the home. Brands with influence in the media must stop establishing the standard that women must take on this role and reward their partners with sex. Rather, they should represent more diverse relationships, not only to reach a wider audience of consumers, but to also stop integrating messages of sexism, racism, and homophobia into everyday commercials.

“Mr. Clean | New Super Bowl Ad | Cleaner of Your Dreams – super bowl 51.” Youtube, 9 Feb. 2017. Web. 25 Sept. 2021.  <https://www.youtube.com/watch?v=ozuWoZITX3Y>.

Katz, Jonathan. The Invention of Heterosexuality. New York: Dutton, 1995. Print.