Sorry, But Pantene Ain’t Cutting It.

Pantene’s “Sorry, Not Sorry” ad urging women to stop apologizing  

Well-intentioned, well-meaning, but well-executed? Yeah, that would be a no. In Pantene’s 2014 ad entitled “Sorry, Not Sorry,” an attempt is made to call attention to the tendency -specifically for women- to apologize. The ad cuts from scene to scene of female-identifying individuals of varying racial and ethnic backgrounds apologizing to male-identifying individuals. Examples featured include a woman sitting in a conference room asking her male colleague, “sorry, can I ask a stupid question?” or a woman sitting in an office waiting room apologizing for a man’s arm taking up too much of her personal space, causing her to say “sorry” and move her arm. These are just two of the many examples Pantene touches upon in their ad. Then, suddenly, a dramatic cut is made, and the screen states in big, bold black lettering, “don’t be sorry, be strong and shine.” The scenes are preceded to be re-told. The woman in the conference room confidently says, “I have a question,” and the woman in the waiting room refuses to move her arm when the man gets in her space.

Screenshot from commercial of women moving her arm to make space for a man’s arm

Screenshots from commercial of Pantene’s message to women 

This command feels more imposing rather than empowering. Additionally, The “be” in “be Strong” is directed at women and their hair, implying women are not strong if they apologize and not strong if they do not use Pantene products. This messaging works to diminish the power of apologies and perpetuate certain beauty standards for hair care.

My major qualm with this ad is that it does not get at the root issue occurring; rather, the ad shames women for their inherent sorry problem. Granted, there is only so much Pantene can achieve in a 1:17 clip, but they should have known what they were signing up for. Therefore, this ad feels like it’s shaming women rather than “empowering women” because there is no acknowledgment about why women feel the urge to apologize so frequently. As seen above in the ad, the use of grammatical imperatives is practically yelling at women saying they are not enough. Therefore this is the individual women’s fault, which is simply incorrect. This sorry issue is a societal condition, not a group of women who don’t understand social cues. 

On top of the scenes of apologies and dramatic phrases flashing across the screen, the spa-esque background music irked me. A single piano key is repeatedly played at a slow tempo; suddenly, once the message to stop apologizing flashes across the screen and the scenes are repeated with no apologies from the women, the piano playing gets faster. A fast strumming of a guitar is now audible. The stark change in tempo and guitar accompaniment sounds so disjointed and comes across as cheesy. While Pantene is trying to empower women, the music is another example of how their ad falls short. 

This brings me to my second point, the way the ad tried to relate the message to their product is half-baked and undercooked. Profiting off of “women empowerment” poses its own moral dilemma that unfortunately seems inevitable in our capitalist society, but if you’re gonna do it, at least do it well. Sure, one could argue that no men apologizing in the video implicitly depicts the patriarchy being at fault in the matter and the greater systemic issue in educating our youth. But I think that would be giving this ad too much credit. Instead, this ad comes across as this sorry problem being a “women’s problem,” which is seen through the commands for women to “be strong,” and even in the left-hand corner of the cover of the ad saying, “why are women always over-apologizing?” These phrases feed into the idea that women don’t just apologize sometimes but “always.” The ad makes this dangerous generalization that paints women in one light and fuels the gender binary. 

This ad promotes the binary of men and women and thus leaves no room for representation of other genders. I would be remiss if I did not contextualize this ad. In 2014, this ad was labeled as groundbreaking and perceived as empowering. However, reading it from the vantage point of 2022, the ad lacks an understating of intersectionality and its relation to patriarchal society. Events such as the Women’s March in 2017 remade the concept of intersectionality more visible to the public. The Guiding Visions and Definition of Principles for the March explicitly addressed intersectionality in its framework. Pantene’s ad does not promote intersectional thinking, therefore, does not successfully get out the complexities of the “sorry” issue being a product of the capitalist patriarchy. Only conventionally attractive women are depicted in the ad. There was no attempt at body inclusivity or representation around disability or even an attempt to address how gender nonconforming individuals fit into this equation. 

In 2014, many articles came out applauding Pantene’s ad and discussing how it helped specifically women reflect on the idea of the apology. The Washington Post wrote, “pantene calls out women for saying sorry,” and The Huffington Post claimed Pantene “puts the power back in women’s language.” These praising reviews work to a. shame women for their word choice, and b. reinforce a gender binary by suggesting that there is such a thing as “women’s language” to even begin with. 

Digging deeper into the “Shine Strong” campaign, I discovered how this ad was released alongside Pantene’s “Shine Strong Fund.” This fund’s purpose was to write grants and give women access to influential leaders. However, when I tried to access the campaign, I was greeted with the words “page not found” on the Pantene website, which left me feeling even more certain the only apology needed is one from Pentene to do better.

Screenshot of Pantene’s web page on the “Shine Strong Fund.” 

References:

Bennett, Jessica. “Pantene’s ‘I’m Sorry’ Ad Tells Women to Stop Apologizing #Shinestrong.” Time, Time, 18 June 2014, https://time.com/2895799/im-sorry-pantene-shinestrong/. 

Butler, Bethonie. “This Pantene Commercial Calls Women out for Saying ‘Sorry’ Too Often.” The Washington Post, WP Company, 30 Nov. 2021, https://www.washingtonpost.com/blogs/she-the-people/wp/2014/06/18/this-pantene-commercial-calls-women-out-for-saying-sorry-too-often/.

The Huffington Post Canada. “The One Speaking Tic Women Need to Stop Right Now.” HuffPost, HuffPost, 19 June 2014, https://www.huffpost.com/archive/ca/entry/pantene-not-sorry-ad_n_5511108.

“Shine Strong .” Pantene , Pantene , https://pantene.com/shinestrong.

“Sorry, Not Sorry .” YouTube , Cause Marketing , 12 Mar. 2017, https://www.youtube.com/watch?v=TcGKxLJ4ZGI. Accessed 3 Mar. 2022.

“What the Women’s March Teaches Us about Intersectionality.” Anti-Defamation League, ADL, 24 Jan. 2017, https://www.adl.org/blog/what-the-womens-march-teaches-us-about-intersectionality. 

LET GO LEGO: LEGO Friends Failed Attempt to Deconstruct Gender Norms

I have always rooted for LEGO. As my all time favorite toy, LEGOs taught me that I can build anything and bring my dreams to life. I want the company to be a beacon of hope for a more inclusive world, where young people of all unique identities will be inspired to imagine and create. With LEGO vowing to make products “free of gender bias and harmful stereotypes” in 2021, I thought their discriminatory targeted marketing would finally come to an end, specifically with their biggest cash cow, LEGO Friends. The product debuted in 2012, branded as LEGOs “for girls.” In the attempt to peak girls’ interest, the company designed the toy sets with copious amounts of pink and story lines of caring and domestic life rather than that of adventure. Not only did LEGO profit from utilizing these preexisting gender roles, but  perpetuated expectations of how girls must play differently. The year 2022 marks the 10 year anniversary of LEGO Friends and subsequently the special release of 8 new LEGO Friends sets. When coming across a commercial for the sets, I can say I was simultaneously extremely proud and extremely disappointed. 

The commercial starts off with showing a child of color, a child in a wheelchair, and an older character painting posters for a friendship festival. The video then presents the same scene made out of LEGOs. In the background, children sing “We are different…together forever!” The children laugh together and push the friend in the wheelchair to the festival. More children of varying gender presentations join as they visit food trucks with tacos and smoothies. The advertisement ends with two live actors playing with their corresponding LEGO figurines. 

Off the bat, there is a clear inclusion of more diverse characters than the original five girls of LEGO Friends. The characters differ not only in regards to gender, including more masculine presenting figurines, but in ability, race, and age as well. In chanting, “we are different together forever,” the commercial is clearly acknowledging this inherent distinctness of the characters’ physical characteristics while also equalizing their value, as friends and as LEGO builders. Likewise, the commercial does not portray the character in a wheelchair playing with others as someone to pity. The children’s laughs and bubbly demeanor make the scene not only feel normal, but fun and appealing. The young audience might look at these joyous characters and want to experience the same, want to be their friends, regardless of any physical differences. When characters of all genders, skin tones, and abilities are seen playing with the exact same set, the constructed norms that previously dominated LEGO Friends go out the window. The audience is no longer forced to believe that girls have to play a certain way, that boys can’t enjoy pink, or that children of color or with disabilities aren’t as likely to construct a beautiful LEGO masterpiece.  

The commercial ends with the words, “Colorful Together, Better Together, Different Together.” For being exclusively displayed on kids TV channels, it is a truly empowering message that defies the biased history of the company. However, upon further examination of the commercial, my happy bubble of pride for LEGOs new progressive ways popped.    

While the live actors were not unfairly categorized or stereotyped in the advertisement, the same cannot be said for the LEGO people. All of the female presenting figurines in the LEGO set itself are wearing some shade of pink, while their male presenting counterparts are not. This pattern in the design suggests that the commercial’s strive for gender equity was purely performative, as pink is still being used to maintain a binary that perceives girls as separate. Likewise, out of the upwards of 15 new characters, all of the female characters are wearing short skirts and shorts. The majority also wear crop tops and sleeveless tops, while the males wear long sleeve shirts and longer pants. Are these kids living in different climate zones or is LEGO getting off on revealing female figurines’ bodies? The most concerning aspect of the design is that LEGO also gave female characters breasts. Keep in mind that these figurines are meant to be children, like their target audience…who can be as young as 4-years-old. Gendered distinctions like these continue to normalize the sexualization of girls and embed into children’s minds that girls have to act, dress, and play differently. 

So when LEGO claimed children should be “Different Together,” did they really mean it? Are girls on the same playing field if they are still sexualized and marked by pink? Clearly, LEGO still has a lot of work to do. As the world’s largest toy company, they have the responsibility to evaluate how their products affect the self-perceptions of the impressionable youth. I will continue to root for the goal of empowering all children to create without restriction and in a way that affirms who they truly are as people, not as categories. Hopefully LEGO will do the same.  

LEGO Friends 2022 Commercial: https://m.youtube.com/watch?v=ubNasSqK2KM

Sister Cindy’s Shaming: Funny or Harmful?

Cindy Smock, or “Sister Cindy” as she calls herself, is an Evangelical campus preacher turned Tik Tok user. She first gained attention when college students posted clips of her speeches on Tik Tok, inspiring her to make her own account. She currently has over 370,000 followers, and #sistercindy has over 194 million views (Fowler). The main subject of her Tik Tok content is encouraging college students, particularly women, to turn to Christianity and be a “ho no mo.” In many of the videos she uploads, she welcomes viewers to “Sister Cindy’s Slut-Shaming Show.” While many of Sister Cindy’s followers regard her as a comical figure, the shock factor she employs in her preaching through homophobic and misogynistic comments is harmful. 

Through a glance at Sister Cindy’s Tik Tok account, it is evident that her content is misogynistic and demeaning towards women. In nearly every video she uploads, she casually uses the words “slut,” “hoe,” or “thot,” as insults towards women. For example, when visiting college campuses, she often changes the names of the universities to incorporate the word “slut.” At the Louisiana State University campus, she renamed the institution, “Louisiana Slut University.” By insinuating that college students are sluts, Sister Cindy is weaponizing the word to be used against women and normalizing the slut-shaming that is common in society, particularly on college campuses. However, Sister Cindy is proud of her slut-shaming tendencies and makes it a common theme in her posts. In a different post filmed by a college student, she exclaims, “You are princesses made in the image of God. Yet, you’ve traded your crown to be a cock-sucker.” This is quite the opposite of sex positivity and guilts women into practicing abstinence. Sister Cindy, or anyone for that matter, should never use guilt tactics to influence other people’s lives. Furthermore, why is this hateful comment only directed towards “princesses,” or women? Why is it that women should feel guilty for engaging in consensual oral sex and men should not? Last I checked, oral sex is an act requiring at least two people. 

https://www.tiktok.com/@maraudwh4re/video/7067272503181364526?_t=8QEQwcooDyV&_r=1

Another example of sexism in her uploads is found in a Tik Tok filmed by a student at the University of Florida. In this clip, Sister Cindy shouts, “Men, if you buy her one margarita, she will spread her legs.” This statement is incredibly insulting towards women. Not only does it perpetuate the view that women are sexual objects, but it also furthers the entitled belief held by some men that women are sexually indebted to them after buying them a drink. In addition, this comment is heteronormative and leads straight men to assume that all women are attracted to them and want to have sex with them, which is simply not the case. Finally, similar harmful views were expressed in a Tik Tok clip of Sister Cindy telling a college student that she is “an accessory to the rape crime on campus” because she is causing boys to get their “passions stirred up” (Fowler). This belief is so inherently false, that it should not require any explanation. The blatant disregard for holding men accountable in situations of sexual assault is destructive to anyone who views this post. It reminds me of the common argument in society that someone is “asking for it” based on the clothes they are wearing. Placing blame and guilt upon women seems to be a common theme in the media posted by Sister Cindy. Again, why is it that sexual assault victims should feel guilty for something that is out of their control and not their fault? 

If you thought her content could not get any worse, we have not even analyzed the blatant display of homophobia present in countless Tik Toks. For example, in one clip while preaching to college students, she orders, “Don’t do it. Don’t kiss a girl and like it.” In defiance of her hate speech, two women make their way through the crowd to kiss in front of Sister Cindy’s platform. Apparently, the act of two women kissing is a difficult sight for Sister Cindy, because she has to cover her eyes. In a second Tik Tok, Sister Cindy, with no shame, shouts to a young man walking past her, “Are you a homo? You kinda act a little effeminate there. You need to repent!” There are so many problems with this statement, it is a challenge to decide what to unpack first. To begin, a straight, cisgender person should never use the term “homo” to describe someone of the LGBTQ+ community. Second, Sister Cindy is reinforcing the societal gender expectations that men cannot be feminine and women cannot be masculine. And if that is the case, then that person must be a member of the LGBTQ+ community. Finally, telling someone that they need to repent because of their sexuality, something that is out of their control, is unacceptable. Religion should never be manipulated to discriminate against groups of people. People’s sex lives and sexuality are an intimate part of their lives and should never be a subject of criticism. Therefore, someone who posts homophobic content, like Sister Cindy, should not have a platform to project those hateful beliefs. 

To reflect, one’s values and beliefs should never be used as a weapon or a way of guilting others into adopting those practices. While Sister Cindy’s intention may be to educate college students, her comments are misogynistic, heteronormative, homophobic, and may even be classified as hate speech. Sister Cindy even admits that she expects to be removed from social media for her problematic comments (Fowler). If that is the case, what is Tik Tok waiting for?

Works Cited

Fowler, Kate. “Who is Sister Cindy? Evangelist Christian Preacher Turned Tik Tok Star.” Newsweek, 6 June 2021, https://www.newsweek.com/who-sister-cindy-evangelist-preacher-tiktok-star-1597651. 

I love this post and how it highlights the way that people will oftentimes use comedy to hide rhetoric that is actually very harmful. Although Sister Cindy is oftentimes funny, she’s still promoting a toxic culture that prevents women from embracing their sexuality. This is a super important topic and I’m glad that you’re shedding light on it!

Can Society Really Determine Perceived Genders?

Mastermind magazine produced this image of Willow and Jaden Smith in the 2019 fall issue. Mastermind magazine releases bi-annually and focuses on current events and attitudes of the younger generations. It is a space to be creative and display a range of talents and people. The intended audience ranges from young adults to millennials. This exclusive magazine was founded in 2017 and is available for purchase online and paperback. They chose to include Willow and Jaden in the 2019 issue because of their impact on gender expression, unique styles, and confidence as individuals. Willow and Jaden both actively participate and advocate within queer spaces. They also have developed into queer fashion, music, and film symbols. Willow and Jaden reinforce that beauty, individuality, and confidence does not have to fit into the narrow boundaries of what society portrays as normal and abnormal. As young, black, queer adults, Willow and Jaden represent the positive ways non-conforming people can live in our nation. As the younger generations become more accepting and educated on topics of gender and sexuality, we come to realize that beauty and gender have no particular features, shape, or color, and Willow and Jaden depict this with no remorse. The photograph from the magazine presents a symmetric reflection of Willow and Jaden gazing upward, hands identically pressed to their cheeks. They are challenging this notion of physical difference between men and women. If one did not know the Smith siblings prior, would the gendered differences be obvious? I believe this is the question they are forcing the audience to reconcile with and reflect on. This photograph examines the viewer’s bias and understanding of how gender functions as invented categorizations to divide people. 

Although intersectionality of gender and race play into the lives of Willow and Jaden, it does not consume this photograph. As a person of color, perhaps I brush over the fact of their blackness when gazing at the photograph, or perhaps it was looking for an intentional gender-directed reaction. However, I want to acknowledge the intersectionality in this photo as another product of social construction that produces real consequences. Willow and Jaden also come from a previously wealthy family which contributes to their success and ability to be openly unique individuals. Intersectionality plays an important role when discussing aspects of gender and sexuality because it often influences and dedicates the way we interact with it.

Willow and Jaden break down the gender norms and stereotypes associated with the binary in the photograph. As Jonathan Van Ness explains in his Netflix special, Can We Say Bye-Bye to the Gender Binary, gender is performed and enforced in society. This can be seen through the segregation of colors inflicted on people in society. Jaden projects a commonly feminine look with his pink eyebrows and hair. In the context of public expectation and presentation, blue is typically for boys, and pink is for girls. Pink has not always been associated with femininity. Pink was more of a boy’s color, if a gendered color at all, in the late 19th and early 20th centuries. People dressing in gendered clothes is a relatively new invention. Jaden proves in this photograph that people can dress, alter, and perform gender in any way they choose. It also connects deeper to the ideas of how the binary should project and display itself. Men are supposed to be tough and masculine whereas women are soft and emotional. Jaden and Willow’s gazes are identical with soft, innocent-like features. Neither of them is visibly wearing makeup, contributing to the vulnerable look. They both wear rings in the photo, revealing that jewelry does not belong to a singular gender. Willow does have earrings and a nose piercing, however, this just means that every individual is different. It is celebrating diversity, preferences, and choices between human beings. Willow Smith wears a similar short hairstyle to Jaden further breaking down the ideas of what is supposed to be masculine. Society loves to associate female beauty with hair, but Willow shows that beauty exists beyond long this. As Lorber explains, “​​For the individual, gender construction starts with an assignment to a sex category on the basis of what the genitalia look like at birth… A sex category becomes a gender status through naming, dress, and the use of other gender markers” (Labor 55). Gender is not determined by biological or psychological differences. There are no features that accurately reproduce the binary, but instead, it is a construction of our surroundings, interactions, media depictions, and upbringing. This calls to question the title of this photograph. If their names were not written across the page, neatly drawn into their boxes, would it be obvious which image was Jaden and which one was Willow? In a way, it feels as though the magazine wants to be progressive, but not to the extent of complete freedom. If the magazine did reject all gender norms, it would not have placed the lettering where it did. Alternatively, it could simply be educating viewers who are unfamiliar with the Smith siblings. There are multiple ways to interpret the purpose and placement of the title. 

Willow and Jaden Smith have become icons of the younger generation for their confidence, identity expression, and talent. Mastermind magazine exhibits Willow and Jaden’s beauty and originality in this edition. The photograph calls to question our notions of gender and forces us to reconcile with our constructed worldview. The upcoming generations are more and more open to diverse gender expressions, giving me hope that many adolescents looked to this photograph as inspiration, not with hostility. 

Feminist Mixtape: The Man by Taylor Swift

Taylor Swift’s pop anthem, “The Man,” is a catchy, upbeat song aiming to address the inequality between how female artists and male artists are treated and talked about. With a driving bass line, fun and catchy melody, and easy to understand lyrics, this song is able to reach audiences young and old alike. In her song, Swift discusses how every aspect of her personality, looks, actions, and decisions would be seen in a different way if she were a man. In our society there is a double standard between what is acceptable for men to do and for women to do. 

The line “They’d say I played the field before I found someone to commit to” addresses how when a woman cycles through multiple relationships before settling down with “the one,” she is judged differently than a man would be even though it is very common for both men and women to have many relationships. Swift changes this negative narrative by stating “And that would be okay for me to do” confirming to her audience that having multiple partners in life is normal and not something to be ashamed of.

Later in the song, Swift says “When everyone believes ya/ What’s that like?” This line is referring to the #MeToo movement and how women that come forward about sexual assualt, harrassment, and rape are most often doubted and questioned. Victim blaming is present in our society and is disproportionately against women more than men. 

The final line that stood out to me when listening to this song was “What I was wearing, if I was rude/ Could all be separated from my good ideas and power moves.” Women’s clothing is all too often equated with their success and the quality of their work. Instead of focusing on what women actually have to say or what their ideas are, the focus is on what she is wearing. Specifically, when female artists, actresses, or celebrities are interviewed the topic is almost always about what they are wearing, or how they look. In contrast, men are typically interviewed on what their acting experience was like, or what the song is about, for example. 

I connected this song to the reading by Lorber called “The Social Construction of Gender.” In the reading she argues that “it does not matter what men or women actually do; it does not matter if they do the same exact thing, the social institution of gender insists only that what they do is perceived as different” (Lorber 58). In “The Man,” Taylor is arguing that if she did not change anything about her actions but existed as a man, she would be perceived differently by society and treated better. Simply because we as a society perceive some actions to be more acceptable when done by a certain gender, it has become unacceptable to cross those made-up gender barriers. The issue is that there is no rhyme or reason for why we have these expectations for what different genders can or cannot do. The idea that what a woman is wearing determines her worth or success or how many partners a woman has had determines her value is a baseless belief that society has created. Taylor Swift is one of, if not the, biggest artist currently. She has an enormous platform and the ability to create change with the message she shares through her artistry and voice. This song is an attempt to address the disparities between how female and male artists are treated and spark discussion on how we can create change. Her feminism is not perfect and she can do a lot more to include intersectionality in her feminism and to use her priviledge uplift marginalized voices.

Feminist Mixtape: “BO$$” by Fifth Harmony

Although Fifth Harmony may no longer be together, the message in their hit song “BO$$” remains relevant and important. The lyrics paired with the strong brassy sound of the instrumentals make this song an anthem of empowerment for women. 

This song portrays ideas of second wave feminism, defying ideas that women must stay in the home and only be a housewife, and instead empowers women to work and get the money they deserve, demanding respect from everyone around them. This can relate to one of the most prominent works from the second wave, The Feminine Mystique by Betty Friedan, saying “She can say ‘no’ to those mass daydreams of the women’s magazines and television, ‘no’ to the depth researchers and manipulators who are trying to ruin her life” (Friedan 280). Lyrics such as “Workin’ for the money ‘cause it’s what my momma taught me So yo ass better show me some re-spect” reject stereotypes continually placed on women, similar to Friedan’s quote and the idea of second wave feminism overall.

Additionally, given the fact all five members are women of color, the song can be interpreted as a message of empowerment for all women, no matter their race or ethnicity. The lyrics repeatedly include strong Black women, saying “I’m on my Michelle Obama sh-” and “purse so heavy getting Oprah dollars,” highlighting the successes of notable women of color.

Not only are the lyrics empowering, but the music video sends a strong message of feminism and defying gender roles. Within the first ten seconds, messages such as “Find yourself. And be that,” or “Dreams don’t work unless you do,” are displayed across black screen for us to really read and understand their importance. There is also a scene of arm wrestling with the five girls against a group of men, where they all take their turn beating each man in a match. Arm wrestling has always been portrayed as a sign of strength and masculinity, I’ve noticed particularly in TV shows or media, so having all the girls beat the group of boys shows the reversed gender roles the message of the song conveys. 

Something that could have added more nuance and depth to the song is the mentioning of certain struggles or difficulties the members, or women in general, have to face. Lyrics such as “Don’t want yo compliments, use common sense,” or “I ain’t thirsting for no bae” hint at struggles women face by highlighting assumptions often made about women, but the message of the song could have been more impactful if deeper, more direct struggles women universally can relate to were included. Bringing back the fact that all of the members are women of color, while I love that they included other iconic Black women in the song, it would have been more impactful to see the members mention moments of struggle and triumph from their perspective as women of color. This would add more interest and depth, avoid repetition, and make it more relatable to women of color everywhere.

Theory to Praxis: PurpLE Clinic

Background:

            Last spring, I took the class called Graphic Med: Drawing Disability with Dr. Fox. Specifically, the readings that we completed in the transgender unit really struck me because they exposed the treatment of transgender people, and LGBTQ+ people, in the medical world. This year, I am in both GSS 101 with Dr. Gonzalez and Child Psychopathology with Dr. Stutts. Both classes have highlighted the struggle that transgender people go through, specifically when it comes to being treated and understood in the medical world. Studies have shown that transgender youth as well as other LGBTQ+ people often avoid seeking medical care because they feel that doctors are not fully equipped with the knowledge and ability to help them (Thu et al., 2020.) Additionally, there is a large distrust of the medical world because of outdated practices by older physicians (Hackman et al., 2020) and a need for increase funding and inclusion for procedures and support services that directly benefit LGBTQ+ patients. Similar to what we learned about women’s representation through the creation of the Committee on the Status of Women in India (1974) and its purpose, something similar needs to occur in the medical world for transgender youth.

Goal:

            Sexual violence and assault is experienced by the majority of LGBTQ+ members, but a staggering 64% of transgender people alone (DeKeserdy et al., 2017). The stress and risk of lifestyle judgment keeps transgender people away from medical offices (Hackman et al., 2020). Combining what I have learned in these impactful classes, and acknowledging that there is so much more to learn, I have drafted this proposal for the Layendecker Grant as a way to increase social justice of transgender youth through shadowing in the PurpLE clinic in NYC.

PurpLE Clinic:

            This grant would help me partner with the PurpLE Clinic that serves to create an environment where survivors of assault in a specialized clinic. The PurpLE Clinic is an acronym for Purpose: Listen & Engage to ensure sensitive medical care. By getting involved, we could increase awareness and even eventually make more of these clinics across the country. The clinic was created in response to feedback from anti-sexual violence community based organizations that experienced challenges in connecting survivors of sexual violence with trauma-informed and stigma-sensitive medical care.

Plan:

            With the help of this grant, I would able to travel to the clinic to work alongside the most influential physicians and nurses in the world. These workers are the future of medicine, and being involved by watching their interactions with patients would be life-changing. Each day, I could take notes of interactions and how to approach certain topics in a way that is the most comfortable and helpful for the clinics’ patients. From these notes, I would put together a “manual” for healthcare regarding LGBTQ+ populations, and specifically those who suffer from any sort of sexual violence or other traumatic history due to their identity.

Future Impact:

            I could speak with Dr. Stutts specifically to integrate these ideas into her class to be taught every year, as well as for her to bring to the clinical world. Dr. Stutts is also a licensed psychologist who serves those in the Charlotte area. By working with her, I could then ask her to incorporate these ideas into future conferences with her peers. On a smaller scale, there could be seminars each semester for future medical students at Davidson. On a larger scale with more funding, a PurpLE Clinic could be established in Charlotte, equipped with doctors, nurses, PAs, NPs, Psychologists, psychiatrics, etc. who are ready and knowledgeable about the imminent needs of the LGBTQ+ community. By spreading this manual, we can start shifting the ideas in the medical world to a more inclusive and welcoming environment for all.

Works Cited:

Do, T. T., & Nguyen, A. T. V. (2020). ‘They know better than we doctors do’: Providers’ preparedness for transgender healthcare in Vietnam. Health Sociology Review, 29(1), 92–107. https://doi-org.proxy048.nclive.org/10.1080/14461242.2020.1715814

DeKeseredy, W., Hall-Sanchez, A., Nolan, J., & Schwartz, M. (2017). A campus LGBTQ community’s sexual violence and stalking experiences: the contribution of pro-abuse peer support. Journal of gender-based violence, 1(2), 169-185.

Hackman, C. L., Bettergarcia, J. N., Wedell, E., & Simmons, A. (2020). Qualitative exploration of perceptions of sexual assault and associated consequences among LGBTQ+ college students. Psychology of Sexual Orientation and Gender Diversity. https://doi-org.proxy048.nclive.org/10.1037/sgd0000457.supp

India. Committee on the Status of Women in India, & Guha, P. (1975). Towards equality : report of the committee on the status of women in india. Govt. of India, Ministry of Education & Social Welfare, Dept. of Social Welfare.

Theory to Praxis: Reimagining Greek Life at Davidson

As a school that was founded by white genteel slave owners and remained segregated until the 60s and all-male until the 70s, Davidson has a long history of elitism. Unfortunately, the college has done a poor job of repealing exclusive traditions and making the school as welcoming and safe as possible to people of all walks of life. One particularly glaring area of inequality is the social structure of Greek life on campus.

There are many things wrong with the status of Greek life at Davidson. Racial disparities are perhaps the most visible problem. My friend Michaela Gibbons is working on a project called Stories Yet To Be Told, conducting research on the history of Patterson Court Council (PCC) – the governing body of Greek life at Davidson. We have had many conversations about PCC this semester, and a lot of them have centered around PCC’s dominating whiteness. Kimberlé Crenshaw’s theory of intersectionality and Lorde’s “There are No Hierarchies of Oppression” (1983) emphasize that racial equality (and other equalities) are necessary to realize gender equality. All of the nine predominantly white PCC organizations have individual houses on campus, while the six PCC organizations for students of color must share space at the BSC (Black Student Coalition) house. This is clearly a problem for feminism, although solutions are somewhat difficult to propose. In this case, the simplest method to reduce white special power on campus may be to disband PCC or consolidate the predominantly white organizations.

Aside from racial inequality, another issue with Greek life at Davidson is its relationship to the gender binary. As a collection of organizations with membership based on male or female gender identification, PCC reinforces ideas that there are only two genders, which is clearly false when one understands Lorber’s perspective that gender is constructed. Since humans have made up the concept of gender, there is no reason to believe in all-or-nothing gender rules. And yet, PCC membership is exclusive to men and women. (Turner House, one of the eating houses, does allow anyone who is not a straight cis male to join, but this introduces the problematic circumstance of requiring people to out themselves). Furthermore, the predominance of “bristerhoods” (fraternity-eating house mixers) perpetuates heteronormativity. Requiring all PCC organizations to be open to all genders would be the easiest solution to make Davidson more feminist, although that would require converting some fraternal organizations to eating houses.

A final, and particularly glaring problem with PCC at Davidson is rape culture. We briefly talked in class about how society conditions males to violate and disrespect female bodies, and there is a prevailing willingness to let this slide. Society reinforces hegemonic sexual scripts, an orgasm gap, and poor understandings of consent, all of which lead to unequal sexual citizenship. This means that women have less power than men to make the choice to have sex. This is obviously problematic for feminism. At Davidson, PCC hopelessly perpetuates rape culture. For liability reasons, the school has strict rules about alcohol for parties at PCC houses. Because PCC organizations are too lazy or busy to plan detailed weekly parties and want to avoid strict scrutiny from the school, weekly parties are predominantly hosted at Armfield, the only residential space on campus where open consumption is permitted. Currently, Armfield apartments which host parties are exclusively rented by predominately white men with strong fraternity ties. This leads to constant sexual misconduct and a lack of safety at parties. Once again, it is not simple to find a solution to male ownership of party space at Davidson. However, some viable options would be disbanding PCC, creating more school-sponsored social events, and preventing Armfield apartments from having five male residents.

PCC is rife with inequalities, much of them a byproduct of Davidson’s elitist traditions. Thus, disbanding PCC and ending Greek life at Davidson is probably the most feminist solution. This would introduce a social vacuum for some time, but it couldn’t be any worse that the forced quarantine of the 2020-21 academic year.

Theory to Praxis: A Program that Teaches GSS Concepts to Parents

Growing up, we are taught by society that gender dictates our roles in society. However, societal pressure is enforced by the people around us, our groups, and our cultures. Using the concepts taught in GSS, parents could raise their children in a healthy, judgment-free space. Also, occupations that work with children should employ the ideas taught in GSS as well. This includes teachers, child psychologists, counselors, pediatricians, coaches, and daycare workers. By employing GSS concepts, children will not be separated into boys and girls during gym class, children will not feel pressured to act a certain way to fit their societal role, and children will not be bullied for being fat if HAES is taught and the BMI index is reconstructed or removed.

I believe the most notable impact would come from parents teaching their children. Thus, I propose that a program or intervention should be created that teaches parents about GSS concepts; this way we can prepare parents to not enforce gender roles and allow their children to grow and to discover themselves and their identities without the influence of social constructs. Deconstructing Society would be a program that focuses on talking about GSS concepts to parents or future parents to provide them with information that will be helpful while they are raising a child. Deconstructing Society will create conversations around heteronormativity, gender roles, and sexuality. The purpose of this program would be to inform parents of the social construction of concepts and to help parents learn these concepts to properly educate their children on similar topics and to provide a healthy environment for their children to thrive.

However, Deconstructing Society could also be used to reach other audiences. Although aiding parents with GSS concepts would help parents provide a judgment-free zone for their children, Deconstructing Society could be used in colleges to discuss topics, such as rape culture, hookup culture, and similar topics discussed with parents. This program’s focus would be with parents. There are certain occupations available that could employ this program. For example, a family therapist could use this program to inform parents on how they can be supportive towards their gay child. Ultimately, Deconstructing Society would help parents create a safe and healthy environment for their children to thrive without being restricted by societal views due to heteronormativity and gender roles.

Theory to Praxis: Ending Child Abuse and Building Resilient Families

Written by Anna Newman

Overview:

I will be implementing my knowledge of gender and sexuality studies, specifically on women’s rights, feminism, and rape culture, to plan a civic engagement experience over the summer. Through a collaboration with SAFEchild in Raleigh, North Carolina and Strong Girls United, the goal of the project will be to educate children on noticing and responding to child abuse appropriately before it escalates, while also learning more about the implications that domestic violence has on parenting.  

About the Partners: 

SAFEchild is a non-profit advocacy center that ensures children have a safe living environment, free from abuse. SAFEchild empowers the children and their families by providing counseling services and childcare. One important aspect of SAFEchild is a program they run called “Funny Tummy Feelings” which is a program that educates first-graders about noticing and appropriately handling child abuse when they see it or are subject to it. Funny Tummy Feelings has been implemented in the Wake County public school curriculum for first graders; however, the goal of this project is to expand Funny Tummy Feelings to the Strong Girls United program. 

Strong Girls United is a mentorship program for young girls which pairs collegiate athletes with elementary school girls and the groups meet to discuss confidence building, mental health, and new sports skills. I believe that Funny Tummy Feelings could also be a beneficial addition to the Strong Girls United curriculum. Unfortunately, rape and sexual abuse are pervasive parts of society, but one way to combat this is to educate about rape culture and the ways you can stand up to it and notice it before it escalates.

Connections to GSS:

This project will be focusing on providing children and mothers the skills needed to build confidence in response to child abuse and domestic violence. Confidence and mental resiliency begin at a young age, and if we can empower elementary school girls, we can empower an entire generation to put an end to domestic violence and child abuse. My research would overlap with several articles that we studied in class about feminism. In the article titled Committee on the Status of Women in India, the author discusses how marriage can become a “hindrance for women seeking career advancement” which demonstrates that a marriage with power imbalances is the basis for domestic violence and abuse of power. Betty Friedan talks in the Feminine Mystique that in the 1970’s, rape was not considered a penalty. Friedan also discusses the topic of women not being fulfilled simply by staying in the house, making beds, washing dishes, and cooking for the family, which relates to the lack of liberties that the woman has within a marriage. These hindrances that married women face are the basis for domestic violence and patriarchy. One notable quote from the Feminine Mystique is “when she stopped conforming to the conventional picture of femininity, she finally began to enjoy being a woman” (279). When women stop allowing their husbands to control and abuse them, they enjoyed being women. Additionally, bell hooks’ work called Feminism is for Everybody encourages the notion that equality is the goal of feminism, and the goal is not to subvert men. In relation to my book review on the book titled Medical Bondage, white male physicians were abusing enslaved women’s bodies by taking advantage of their position of power and conducting unsolicited gynecological research and painful experiments. The consequences of these experiments were destructive, both physically and mentally, for these women. The enslaved women’s experiences with the gynecological experiments parallel the domestic violence that women today face in abusive relationships. Abuse within a relationship affects the way a mother can parent a child, which demonstrates the vicious cycle of domestic violence at a young age starting with a lack of self-confidence, then getting wrapped up in abusive relationships, and to then raise kids in an environment filled with abuse and neglect. So, my goal for this project is to confront and help children notice domestic violence at a young age so that they can grow up to be confident people in healthy relationships. After doing an analysis on the film Moonlight in my writing class, it was brought to my attention that some abusive family dynamics are avoidable, while others are out of one’s control. In Moonlight, a young boy by the name of Chiron was being raised in an abusive and neglectful household because his mother was involved with dangerous drugs and did not have time for her child; however, the opportunities available for the mother to parent her child were lacking. While I’m doing my research, l will be sure to look at the context of the situation (what resources are available to the family?) versus judging the situation and the parenting choices. 

Limitations:

The limitation of this project is that Strong Girls United does not mention anything about transgender children, non-binary children, or gender-nonconforming children. This is a research question that l will be asking the SGU executive board in hopes that something is done to make the organization more inclusive of children of all gender identities. Part of feminism is creating equity across the genders, so this feminist project is aimed at creating equity for boys, girls, and gender non-conforming children. Overall, the goal of this project is to provide a form of mentorship for children seeking assistance with confidence, mental health training, and skills needed to confront abuse if they ever need to use them. 

Implementation of Plan: 

A few summers ago, my mom and l volunteered at SAFEchild and we babysat the children while their mothers were in a counseling meeting. I am hoping to resume my volunteering with SAFEchild by babysitting the children and then shadowing one of the leaders during the counseling meetings. I feel like I would gain another dimension of appreciation for the struggles that these families deal with by listening to the mothers speak. Also, it would be impactful to listen to the women’s stories of domestic abuse within their marriages and how this abuse impacts their ability to mother their children. 

After shadowing a counselor, l would ask one of the leaders/counselors at SAFEchild to be a guest speaker at one of the meetings with Strong Girls United. The counselor can focus on teaching a Funny Tummy Feelings course for the SGU children. The plan is to empower young girls by giving them to skills to notice and respond to child abuse in a confident way. One possibility of furthering my research experience would be to shadow a pediatric physiatrist to learn about the impacts of child abuse, neglect, and domestic violence on youth’s mental health.  

Feminist Mixtape: God is a Woman by Ariana Grande

by Chase Waldner

Ariana Grande Goes Heavy-Handed and Provocative in "God Is a Woman" | GQ

Pop icon Ariana Grande blessed us with a feminist masterpiece titled, “God is a Woman.” The title alone challenged many gendered stereotypes and the lyrics are a wonderful dive into female sexuality. Grande created something equally empowering as it is catchy. She reverses the patriarchal norm of male domination over women with lyrics like, “I’m tellin’ you the way I like it, how I want it,” and “And boy, if you confess, you might get blessed // See if you deserve what comes next.” Here, Grande is expressing the power she has over this man and how she is the one in control; something rare in heterosexual relationships. For most of history men have had all the power. They were the ones who owned property, and that sometimes included women. Nowadays, in the states at least, you can’t own a person but that power dynamic is still a festering pandemic lingering in our society. Women are supposed to be a submissive, pretty face. They are supposed to look good to attract a man and then stay home to raise their children. This translates to the bedroom as well. The expectation for heterosexual sex is male pleasure and fantasy, women are merely the vessel to achieve it. This is where Grande steps in to challenge the sexist norm and flip the script. She sings about female domination and pleasure; about women being the controlling force in both the bedroom and in life. She sings about the power she, along with all other women, have to take their deserved, rivaling spot in the fight for gender equality.

“God is a Woman” by Ariana Grande

https://www.youtube.com/watch?v=kHLHSlExFis

As Ariana says, “You’ll believe God is a woman” by the end of an intimate act. In her song, “God is a Woman”, Ariana emphasizes women empowerment and raises awareness to a topic that is frowned upon in society- woman finding pleasure in sexual relations. Ariana encourages female empowerment through lines such as “And I can tell that you know I know how I want it” and “I’m tellin’ you the way I like it, how I want it”. In doing so, Ariana sheds light on the idea of women placing their needs and desires above men, this way the act of intimacy shifts from being man-dominated to woman-dominated. These lyrics emphasize the importance of women openly speaking about their sexual desires and reclaiming their bodily autonomy. 

This idea of being confident in speaking about sexual desires relates to Foucault connections between knowledge and pleasure, and how sex is just not supposed to be a learning experience, but also an opportunity to teach us something about ourselves. There is an urge to know something from sex and pleasure, but there is still the paradox of the sex talk where sex is silenced, yet we still talk about it explicitly and incessantly. Ariana paves the way for women to skip the act of silence and feel confident in speaking about their needs in a sexual relation. 

However, it is important to note there are limitations that exist in how gender plays a role in her song. Ariana references intimacy in a relationship between a male and female both in the song and the music video. For example she sings, “And he sees the universe when I’m the company.” With the usage of the pronoun, “he,” Ariana excludes homosexual relationships. Also, the exclusion of queer relationships does not address other women’s sexual experience, such as those who are transgender and lesbian.

Despite this, “God is a Woman” by Ariana Grande encourages female sexual liberation and celebrates female pleasure. 

Feminist Mix-Tape: “Kings and Queens” by Ava Max

Image of Ava Max on a throne from the music video for her song “Kings and Queens”

The song “Kings and Queens” by Amanda Ava Koci, known better as Ava Max professionally, is a feminist song of empowerment. Max compares the positions of kings and queens and how they are differently perceived by society. She points out the inequalities and expectations of women compared to men. In addition, she sings that women are much more capable of things than men. Women can rule and lead others, control their emotions unlike many think as a result of stereotypes, and give birth. Women are strong and amazing and Max makes sure that this is known to the listener with her analogy containing royalty. 

Continue reading “Feminist Mix-Tape: “Kings and Queens” by Ava Max” →

“Little Miss S.” by Edie Brickell & New Bohemians

This image may contain Cushion Pillow Furniture Human Person Couch Bed Room Living Room Indoors and Bedroom
Edie Sedgwick posing in Vogue.

Edie Brickell & New Bohemians is an alternative rock band that originated in the mid-1980s, broke up for a few years, and got back together in 1997. Since releasing their debut album, Shooting Rubberbands at the Stars, the band has released four other albums, all highlighting the band’s eclectic personality and style that was not made as present in their first album and more popular songs.

One song on the album, “Little Miss S.,” chronicles the life of Edie Sedgwick, an actress/model who rose quickly to fame, but died young at 28 after overdosing on a mixture of barbiturates and alcohol. “In a blink of the public eye,” Sedgwick was seen as a feminine icon, dubbed as an “It Girl” at the time. She became known for multiple reasons, one of which being her popularization of the miniskirt, noted by the lyrics: “Little Miss S. in a mini dress” (Songfacts.com). She also became a muse for the artist Andy Warhol, who included her in many of his films but mainly helped her create a media presence for herself, specifically focusing on her avant-garde style. This outside judgment reflected on her private lifestyle, creating a misunderstanding between her public and private image. Her private life of “shooting up junk in the bathroom” and “swinging on the branch of a broken family tree” was drastically different from the role model facade she outwardly displayed. 

In Luisa Capetillo’s A Nation of Women, she describes how women dedicate themselves entirely to their appearance, “squandering their intelligence in trying to become more beautiful” (Capetillo 8). She argues that in doing so, women are no longer themselves and are wasting time, money, and health by trying to live up to society’s expectations. She says that women should be “beautiful because of [their] strong constitution,” which is exactly what Sedgwick embraced (Capetillo 9). By living to create her own style in a way that was comfortable to her, she was admired by others, “living it up to die” rather than wasting away following the strict confines of daily life at the time. 

The representation of Sedgwick in “Little Miss S., however, is a limited portrayal of femininity. While she is portrayed as a role model, changing the name of femininity in the 1960s, her story is ultimately influenced by pressures from society; forming relationships with famous men like Andy Warhol and Bob Dylan and coping by using copious amounts of drugs and alcohol, leading to her early death. Her social status as a celebrity allowed for her to be free in expressing herself in more controversial forms since that was the way she gained popularity. While she stood as a role model, her story is not representative of an entire generation of women, simply due to diversity in social classes, races, and sexualities.

Works Cited

Feminist Mix-Tape: ‘Flawless’ by Beyoncé

Scenes from ‘Flawless’ music video.

American singer Beyoncé has long been a leading icon in the feminist movement. She is often found uplifting women in her emphasis of inner beauty and self-worth through the messages of her songs. The song ‘Flawless’ featuring Nigerian writer Chimamanda Ngozi Adichie is no different –perhaps even more direct– as Beyoncé sings about female independence and autonomy in a society that is historically patriarchal. 

The first verse of the song is a response to the criticism Beyoncé has received from other artists about her being the leader of female artists, as well as the discourse about her hiatus from music in 2010: 

I know when you were little girls

You dreamt of being in my world

Don’t forget it, don’t forget it

Respect that, bow down, bitches

I took some time to live my life

But don’t think I’m just his little wife

Don’t get it twisted, get it twisted

This my shit, bow down, bitches

Beyoncé pushes back against the social norm that women rely on their husband for happiness. Her opposition is similar to Betty Friedan’s stance on second-wave feminism in her book “The Feminist Mystique”. Friedan emphasized the regression of the feminist movement after World War II in which women were convinced that their ultimate goal was to find a husband and start a family. Friedan simply argues that the notion of the ‘perfect housewife’ should be challenged, stating “the time is at hand when the voices of the feminist mystique can no longer drown out the inner voice that is driving women on to become complete” (Friedan 282). Beyoncé’s lyrics support this as she claims her success and fame independent of her hip-hop star husband. 

The critic of marriage as a social norm continues in the bridge, which is a snippet of Chimamanda Ngozi Adichie’s TedTalk “We Should All Be Feminist” as she embarks on the consequences of normalizing the importance of marriage:

Because I am female

I am expected to aspire to marriage

I am expected to make my life choices

Always keeping in mind that

Marriage is the most important

Now marriage can be a source of

Joy and love and mutual support

But why do we teach girls to aspire to marriage

And we don’t teach boys the same?

We raise girls to see each other as competitors

Not for jobs or for accomplishments

Which I think can be a good thing

But for the attention of men

We teach girls that they cannot be sexual beings

In the way that boys are

The overall message of the song is a call to action for women to express their independence and freedom from social and cultural norms that oppress them into gender roles. Through showing appreciation of all of her possessions and multiple identities, Beyoncé claims that her life as a successful business woman and a happily married woman is ‘Flawless’. 

One limitation of this song is its lack of discourse about Beyoncé’s struggle with being a black feminist figure. This course has taught us that the feminist movement has often times left out the thoughts and concerns of the Black women throughout history. Some feminists, like bell hooks, would argue that the power and authority that is used in Beyoncé’s lyrics paradoxically promotes the image of white women being powerless, when in reality they are the ones controlling the feminist narrative. By addressing the issues of racism in the feminist movement, Beyoncé would’ve tackled the overall issues of intersectionality of sexism and racism that all Black women face.