The Gendering of Food: You are what you eat!

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By Elizabeth Ganley-Roper

“Oh yes, I’m a guy

 I’ll admit I’ve been fed quiche

Wave tofu bye-bye, now it’s for Whopper beef I reach

 I will eat this meat, ‘till my innie turns into an outtie

I am starved

I am incorrigible and I need to scarf a burger beef bacon jalapeño good thing down!”

 – 2008 Commercial for Burger King

 

About a year ago while doing research for my college thesis, “The Gendering of Food: History, Culture, Family,” I was surprised to find that the food preferences of white, middle-class American men and women have long been inextricably linked to culturally-instilled body image concerns as well as cultural definitions of femininity and masculinity.

In the 1920s, as women were fighting for equality and almost in response to that struggle, an explosion of gender stereotypes surfaced in cookbooks and magazines promoting the difference between male and female appetites. While many authors blatantly stated that women enjoyed light, delicate foods and should concern themselves more with the appearance of food rather than with the taste, it was made even clearer what types of food men should enjoy, with meat always at the center. Today in the United States, the legacy of the gendering of foods persists with stereotypical masculine foods consisting of beef, hamburgers, potatoes and beer. This is in contrast to feminine foods, which tend to include salads, pasta, yogurt, fruit and chocolate.[i]

The emphasis on light, delicate foods for women reflects the ideal of a light, delicate figure. In a nutshell, women’s foods are diet foods. The physical ideal for men is muscular and strong just like the foods men are supposed to like, which are rich, hearty and high in protein. Today’s ideals of male and female appetites may not be as rigid as in the past, but the gendered division remains the same. How many women have ordered a salad on a date even though she might be hankering for a hamburger and fries in an effort to play out her feminine delicateness in her food choice?

One of the most interesting examples of the division between feminine and masculine foods is found in advertisements for chocolate. The association between women and chocolate reaches back to the first candy advertisements at the turn of the 20th century. In an effort to increase sales, advertisers worked to rid women of the guilt they felt about indulging in chocolate. To convince women that their cravings were biologically driven by their gender, sensual images of women were shown in candy advertisements (for an in-depth analysis check out Jane Dusselier’s “Bonbons, Lemon Drops, and Oh Henry! Bars: Candy, Consumer Culture and the Construction of Gender, 1895-1920”).[ii] For contemporary examples of both the promotion of sweet food as feminine and the sensual connection between chocolate and women, just look at television commercials for Dove chocolate. In one 2008 commercial, a woman wrapped in brown silk bites into a chocolate in slow motion while a woman’s voice says, “Only a chocolate this pure can be this silky and make you savor, sigh, melt” while romantic music plays in the background.

While chocolate is considered a typically feminine food, red meat is the ultimate symbol of masculinity. Meat eating is associated with images of hunting, symbolizing man’s power to dominate wild beasts with his physical strength, virility and intelligence. Despite the fact that most of the meat men eat today is in barely recognizable forms found in plastic packages from the supermarket, its association with hunting and masculine strength persists.

In a 2006 commercial for the Hummer H3, two men stand at the check-out counter of a supermarket. The first man is shown buying tofu and vegetables while the man behind him loads large amounts of raw beef and charcoal onto the belt. The first man looks at the other man’s groceries and then the camera cuts to a magazine cover with a Hummer. The vegetarian charges out of the store and drives straight to a Hummer dealership. While he is driving the new car, the words “Restore the balance” are superimposed over a shot of him biting into a carrot. Even though food is irrelevant to the product, the advertisement exploits the connection between meat and men in order to promote its product as a symbol of masculinity.

In another commercial from 2008 that advertises Burger King’s Texas Double Whopper hamburger, a scene opens with a couple being served in an elegant restaurant. The camera cuts to a shot of the skimpy dish placed before the man while he begins to sing a parody of Helen Reddy’s 1970 hit “I Am Woman,” which became synonymous with the Women’s Liberation Movement. As he charges out of the restaurant to his girlfriend’s dismay, he sings, “I’m way too hungry to settle for chick food.” The man walks through the streets joined by other men to form a parade of hungry meat-eating men who continue with the song cited at the beginning of this article. At the end of the commercial the deep narrator’s voice concludes, “The Texas Double Whopper, eat like a man, man.” This single commercial filled with images of over-the-top machismo states explicitly that burger-eating leads to manliness.

Food preferences are not just about the taste buds. They can’t be separated from body image concerns and prescribed definitions of gender. Women must restrict and control their bodies by minimizing their intake of food, a cultural demand underscored and perpetuated by advertisers constantly warning women about their lustful natures and advising them to restrain themselves in order to be successful. Success for women is far too often equated with obtaining the cultural ideal beauty and body size. The current diet culture has not affected men as deeply as women in part to the fact that a large appetite has historically been praised and admired in men. While women must restrict their food intake and control their hunger, men are encouraged to eat until bursting in order to achieve the large, powerful body that has become a marker of masculinity.

So today, when you order out in a restaurant or prepare a meal, reflect on whether you make our choice because you truly want that specific dish or because you feel pressured to eat certain foods in order to achieve an ideal body and assume rigid definitions for your own femininity and masculinity.

Pork stew, anyone?


[i]Sobal, Jeffery. “Men, Meat, and Marriage: Models of Masculinity.” Food & Foodways 13 (2005): 135-158.

[ii] Dusselier, Jane. “Bonbons, Lemon Drops, and Oh Henry! Bars: Candy, Consumer Culture and 108the Construction of Gender, 1895-1920.” Kitchen Culture in America: Popular Representations of Food, Gender, and Race. Ed. Sherrie A. Inness. Philadelphia: University of Pennsylvania Press, 2001. 13-49.

 

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What Online Feminism Must Learn From Racial Justice

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By Pia Guerrero

Twelve years ago, I was doing social justice work through a community engagement project in a 10th grade class in San Francisco.

The class consisted of kids from the Mission District and Bayview Hunter’s Point. Mission District at the time was a vibrant Latino community and a hot zone for gang activity. Life for my students from this district was rough. Among other things, many had lost loved ones to gang violence. Walking from school alone was a scary practice, as kids were threatened and harassed to join a different gang on a daily basis.

My students from Bayview Hunter’s Point faced similar challenges. This community of regular folks making their way through life like the rest of us was known for gangs, drugs, prostitution and violence. One student, Artese, a warm girl ready to joke at any time described hearing gun shots and stepping over condoms and syringes on her daily walk to and from school.

One day, a group of girls in my class were chatting about their bodies. At that time the myth was that body image issues didn’t affect girls of color, so I was a bit surprised. I listened intently and was deeply saddened by what I heard. Many of the Latina girls were on diets and taking diet pills. Norma, who was on the thinner side of normal said, “Yeah, I still have some pounds to lose”.  Two black girls were saving their money for boob reductions, including Artese. I wondered, “How can these bright, beautiful, loving young women face so much in their lives and in their communities and yet be so concerned with their size?”

I knew at that moment that race, class, gender, size, etc. were intricately intertwined and I couldn’t fight for one while ignoring another. It was then that I began incorporating feminism into my work and was inspired to co-founded Adios Barbie with Ophira Edut. Deep in my heart I knew that we must accept our true selves and our intersecting identities in order to see and seek possibilities for ourselves and others. Soon after I found this quote and shared it with my students.

“We cannot think of being acceptable to others until we have first proven acceptable to ourselves.” – Malcolm X

As you can imagine, I’ve always rooted my feminism in a social and racial justice framework. My feminism is one where I seek justice and fight for the freedom of the most oppressed. But lately I’ve been disheartened by a new kind of feminism popping up within feminist circles across the web. This feminism is one of vindictiveness, revenge, and silencing of others with differing opinions. It is steeped in pain and fear, with actions towards other feminists resembling the bullying and peer pressure reminiscent of Mean Girls. This is a feminism of rage targeted towards individuals and not systems.

This is not my feminism.

My feminism is one of inclusion and respect built upon the possibility that loving non-violence can herald radical progress as proven by Martin Luther King Jr. during the civil rights movement. My feminism is one informed by my shehero bell hooks. Who said,

“Visionary feminism is a wise and loving politics. It is rooted in the love of male and female being, refusing to privilege one over the other. The soul of feminist politics is the commitment to ending patriarchal domination of women and men, girls and boys. Love cannot exist in any relationship that is based on domination and coercion….A genuine feminist politics always brings us from bondage to freedom, from lovelessness to loving.” ~bell hooks

hooks has also said that “feminism is for everyone.” And from that I mold my feminism and share with you a new framework based on another framework for advancing racial justice in the world. Hopefully this feminism is one that inspires and moves you towards one of freedom, connection, transformation and real progress.

A Feminist Framework for Trying Times  

(Adapted from Applied Research Center’s Strategic Framework for Advancing Racial Justice)

1. Focus on structural sexism and systemic inequality rather than simply personal prejudice (and bias).

2. Focus on impacts rather than intentions…Impacts can be documented, while intentions are debatable and difficult to prove. Rather than dwell on who is sexist, it’s far more useful to focus on the causes and effects of sexism.

3. Address gender inequality explicitly but not necessarily exclusively. Sexism must be illuminated in order to be eliminated. Often other significant factors are involved that must also be made visible, such as race, class, ethnicity and immigrant status.

4. Propose solutions that emphasize equity and inclusion. Sexism is pervasive, but it need not be permanent. Offer proactive solutions that are equitable, inclusive, and viable. It is important to distinguish the principle of equity as fairness.

5. Develop strategies to empower stakeholders and target institutional powerholders. Build inclusive and cohesive alliances that prioritize the full engagement of women and girls as leaders. Make the powerholders with decision-making authority enact changes that target institutional sexism.

6. Make gender justice a high priority in all social justice efforts. A successful progressive movement must recognize gender justice as a central component of social justice. The struggle for gender justice is not a zero sum game. Instead of allowing sexism to drive social division and disparities, we must make gender equity the driving force for uniting and benefiting all people (including men and boys).

 

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Fat Black Women Feel Good and That’s a Problem

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Here is exhibit thirtyleventybillion of how the positive attributes of black women are twisted, folded and rejiggered to be negative through a racist and sexist lens.

From the Huffington Post:

Whether rooted in the old “big boned” theory or a reluctance to work out for beauty sake, researchers say that black women’s perception of obesity differs from that of white women.

Tiffany L. Cox, and her team from the University of Alabama at Birmingham, the Neuropsychiatric Research Institute in Fargo, ND, and Obesity and Quality of Life Consulting in Durham, NC analyzed data between 2000 and 2010 and found that most obese women are dissatisfied with their quality of life when compared to women of “normal” weight, but black women report a higher quality of life than white women of the same weight. (Quality of life measures included physical function, self-esteem, sexual life, public distress and work.) Self-esteem also ranked particularly high among black women.

 The study, published in the journal Applied Research in Quality of Life, also found that black women appear to be more concerned about the physical limitations resulting from obesity, than by the potential mental and emotional consequences of being overweight or obese. Read more…

For black women, this would appear to be good news, yes? No. Not according to HuffPo. Let’s review the fails, shall we?

  • The article just couldn’t resist a jab at black women’s so-called “hair issues.” What would a shaming article be without, apropos of little, dredging up the lengths black women will go to protect perms and weaves.
  • Though the study found black women are concerned when they feel their body size creates physical and health limitations, researcher Cox still “fears that the idea of experiencing a high quality of life despite having a high BMI may dampen motivation for attempting weight loss.”It is not enough that black women focus on their health and physical ability, they will only truly be motivated to lose weight if they are additionally “motivated” by a poor quality of life due to fatness.
  • As though one researcher’s musings on whether black women’s lives are being ruined enough by girth isn’t enough, HuffPo asks all its readers to weigh in on whether black women are “misguided.”  (As of this writing, 55 percent of people say we are.) The media site is actually asking its readers to judge the beliefs of half of an entire race of people. Can you imagine people being asked to evaluate white men or women this way? Studies show that white families are more likely to serve pumpkin pie than sweet potato pie at Thanksgiving. Are they misguided?
And please don’t fill up the comments section with concerned trolling about the high incidence of diabetes and high blood pressure in the black community. This article isn’t about the health of the black community. It acknowledges that black women are concerned with health issues and working to mitigate them. The rub is that black women don’t find fatness reason enough to stop feeling good about themselves; we don’t think extra poundage is a reason not to have, for instance, a healthy sex life.  Fat black women feel too good about themselves; and if they feel good about themselves, how will we ever get them to change?–that’s the message here. And it’s a gross one.
Photo Credit: Danikaze

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Margaret Cho on the Power of Reclaiming Beauty

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by Contributor Marianne Schnall, originally posted on Feminist.com

Editor’s Note: We’ve pulled from the vault this 2009 interview with Margaret Cho where she candidly talks about weight, beauty, body image and show business.

Margaret Cho is currently starring in the new, critically acclaimed series Drop Dead Diva which premiered on July 12th on Lifetime. Drop Dead Diva tells the story of a shallow model-in-training who dies in a sudden accident only to find her soul resurfacing in the body of a brilliant, plus-size and recently deceased attorney. Actress Brooke Elliott stars as lawyer Jane Bingum, and Margaret plays her supportive friend and assistant, Terri.

The show is not only well written, funny and entertaining but also touches on body image issues which are close to Cho’s comedy and her heart. I checked in with the outspoken actress, on a break from filming in Peachtree City, Georgia, to talk about her new show, the politics of feeling beautiful, homophobia, the Internet, playing the banjo and her outlook on life.

Margaret Cho is on the Advisory Board of Feminist.com.

 

INTERVIEW WITH MARIANNE SCHNALL (7/13/09)

Marianne Schnall: I watched Drop Dead Diva this past weekend and loved it. For anybody who has not yet seen the show, how would you describe the concept behind the show and what appealed to you about doing the show?

Margaret Cho: Well, the show is about a shallow, thin, blonde, model girl who dies and gets sort of reinserted in the body of lawyer who is very brilliant, but pretty insecure – she doesn’t really think about her looks much, she doesn’t live the life of the body in the way that the model was used to getting by on her looks and that kind of thing. So it’s really a show about how society values certain kinds of beauty over another kind of beauty and what it’s like to live on the other side – whatever side of the beauty continuum you’re on – sort of all the different aspects of it.

So when I first read it, I was really impressed at the way that it dealt with these issues with such grace and humor. And I was the first person cast in the show. And when I did the pilot I just really thought that they did such a great job casting Brooke Elliott in the lead because she just really is perfect – she’s the only actress I could ever see playing that role. She plays both roles really – Jane and Deb, you know. And it’s funny how a show that’s so based in fantasy, sort of a fantastical premise, is closer to real life than so many of the shows out on TV [laughs]. It shows real women, real body types, real people. I think it’s a beautifully-written show, it’s very funny – that’s what appealed to me is the humor, and also the heart.

MS: I was thinking about your own personal history in television and the struggles that you’ve had in terms of body issues, when on your first show “All-American Girl” the network executives asked you to lose weight to play yourself - and you wound up dieting yourself into the hospital – there’s this sort of beautiful irony to coming back into a show that’s actually dealing with these issues head on – it feels like maybe there’s a little progress there, or some hope, to have a show like this, and that you’re on it.

MC: I love it, yeah, and I love that I get to be on it. And to me it’s a wonderful thing because the images of women are so limited in television, you know. And then if you see somebody who is different than the girls that are like super-thin – then it’s like we’re treated like a visual joke. It’s like weight, just like race, becomes part of the issue. It’s like you can’t just have a person that has a different body size than the norm what is considered hot and not have to have that be the story – it’s like a weird thing. Why can’t all different types of women be considered beautiful? Why can’t we can’t we all be considered possible love interests? It’s very – I don’t know. I think things are getting better – just with the sign of a show like this is that things are getting better. I think maybe a show like this makes things get better.

MS: That’s what I hope. Talking about beauty – your last tour and concert film which I saw on Showtime and loved is called Beautiful, and you’ve said it was your official “coming out” as beautiful. I also saw you on “The View” last week and you said, “We have the power as women to call ourselves beautiful.” Can you talk about that?

MC: Well, it’s more like – I always thought that people told you that you’re beautiful, that this was a title that was bestowed upon you – that it was other people’s responsibility to give you this title. And I’m sick of waiting, people! [laughs] Waiting around for people to tell me that I was! I’m tired of waiting. And I think that the world is pretty cruel to women, in what it considers beautiful and what it celebrates as beauty. And I think that it’s time to take into our own hands this power and to say, “You know what – I’m beautiful – I just am. And that’s my light – I’m just a beautiful woman.” And I am just going to start talking about how beautiful I am, and people will start talking about it after I start talking it. And I’ve noticed – and I’ve done this now for a couple of years – and it’s changed the way that I carry myself, it’s changed the way that people respond to me, and it’s changed the way that I feel , and I think this is an important experiment and an important thing for people to do. To start telling people that you’re beautiful, or just feel beautiful, just start acting like you are the most beautiful woman in the world. And it really improves everything! Because your sort of psyche responds to it – like this is truthful! I think self-deprecation is such a disease, and I want to cure everybody of it and so that’s my contribution.

MS: And I’ve heard you say, which I thought was interesting, that even being able to call yourself beautiful is almost like a political act – where it’s not just something you do for yourself, for feeling good and self-esteem – but it’s also that the more women feel beautiful, they are more inclined to use their voice.

MC: Right. And express their opinion and feel powerful. Like when you feel beauty – and beauty for women is definitely power. When you feel powerful, you are willing to stand up for your rights, you are willing to stand up for what you believe in, you’re more willing to stand up and be counted. I think it goes deeper than just something that’s about looks or something that’s about any kind of sexual power or whatever – it really has to do with pride. And pride and a sense of self, and a sense of worth.

Read More of this Interview: Feminist.com

Related content:

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‘Sex and the City’ and Body Image

Annoying Trend: Celebs Play Dumb About Body Image

Michael Jackson: Another Victim of the Fame Game

Lady Gaga’s “Born This Way”: Racist or Revolutionary?

Gabby Sidibe in Bazaar: Curvy in Couture

Body image gets animated: What The Simpsons and Family Guy say about beauty

Music’s New Bold and Bountiful

The Truth About Celebrity Weight Loss

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The Choose Love Project: Inspiring Words of Wisdom to Love Ourselves

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A couple weeks ago, on a flight from San Francisco to Los Angeles I picked up Southwest Airlines’ inflight magazine, Spirit, and was moved by what I found inside. Several celebrities and entertainers published letters filled with wishes, knowledge, comfort, and advice to their younger selves. Seth Green, Rita Rudner and Bill T. Jones all wrote letters encouraging faith and love. It was Gillian Anderson’s letter to her younger self that moved me the most. For hers was not only a call to action for herself, but a call to us all. She boldly mandates what might not seem like an obvious, or comfortable, path in the journey to find love for our bodies and selves. Get over yourself, and into the world.

I don’t know for sure, but this firm stand for self-love seemed to be inspired by The Choose Love Project. The Choose Love Project is the brain child of Rachel Cole, a life coach who helps women answer the question, “What are you truly hungry for?”. Rachel approached online colleague Lori Race, also a life coach, in May of 2011 with the idea of working on a body love project based on the “It Gets Better” campaign, a video campaign geared toward helping LGBT youth understand that life gets better after high school. The idea behind The Choose Love Project is to send the message to women, young and old, that at any age, body shape or size that they can indeed make the choice to love themselves and their bodies. Rachel and Lori both felt it would be extremely powerful to send the Choose Love message to women through a collection of letters written by individuals who had struggled with body image conflict and dysfunctional relationships with food and exercise in the past and who had come to choose love along their journey instead.

Each contributor was asked to write a letter to themselves at an age at which they felt like they were at a crossroads of sorts between choosing to love themselves or choosing conflict with their bodies. The letters were to include the wisdom of both what it looks and feels like to be on the other side of the body struggle along with words on how they got there. Each woman’s journey and story of a life lived, at one point, through the lens of a destructive negative body image is completely unique and as a result, there is wisdom to be gleaned for every single soul who comes across this project. Living in an age where we are constantly bombarded with images that tell us our appearance is flawed and requires tampering with, these women are here to say that it feels like the purest of freedoms and joy to be able to step into your own power and make the choice to love yourself just as you are.  Rachel and Lori are looking to inspire a global explosion of woman who are ready to make that choice, to stand up in the face of the “ideal” of stick thin models, tooth whitened, spray tanned celebrities and the billion dollar weight loss and plastic surgery industries and say, “I Choose Love”.

They would love you to join them.

A collection of 39 incredibly compelling and resonate stories of true beauty and healing, it is worth checking it out.

To be inspired, download the project, watch many of the contributor’s accompanying videos, or find out how to become a part of The Choose Love Project go to http://www.thechooseloveproject.com .

 

 

 

 

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2011: A Successful Year for Social Media Activism and Proof of Progress

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by Pia Guerrero, Co-Editor and Founder

Year’s end is neither an end nor a beginning but a going on, with all the wisdom that experience can instill in us. ~Hal Borland, Journalist

 

Ringing in the New Year has always been marked with promises to do or be better than the year before–quit smoking, exercise more, be more social…lose weight. And while our new year’s resolutions my be different, we have one thing in common–we rarely stick to them.

This year parents, bloggers, and activists collectively yelled a virtual “NO Mas!” to media bias, lack of representation, and the hypersexualization and objectification of women  and girls.  So instead of making resolutions for 2012, we decided to review the many accomplishments made in 2011 through social media activism, which was leveraged to improve the representation of women and girls in the media, to hold corporations accountable, and to use our collective voice to make real change.

 

Adios, Barbie’s Top 10 Hits from 2011

#1 In March, Sociological Images outed Abercrombie Kids for selling a “push-up” bikini top for girls ages 7 and up. Just one week later, as a result of public outrage, Abercrombie took out the cleavage enhancing phrase “push up” and replaced it with the more innocent “triangle.” Then took they pulled the product off the site and eventually decided to market it to girls 12 and over. (Not a huge improvement, but a step in the right direction.)

 

 

 

 

 

 

 

 

#2 In May, the petition site Change.org announced that The San Francisco Giants would make an “It Gets Better” video to help fight homophobia.

“After several incidents revealing rampant homophobia in sports, more than 6,500 fans, and four candidates for San Francisco mayor, signed a Change.org petition started by baseball fan Sean Chapin, asking the San Francisco Giants to make an “It Gets Better” video against anti-gay bullying.

“Now the Giants have announced that they are planning to become the first pro men’s sports team — in the four major American sports — to make an “It Gets Better” video.”

#3 In January, Adios Barbie paired up with author and activist Melinda Tankard Reist to create a petition targeted at MTV and Universal Music Group (UMG) to prevent the mass release to youth of the misogynistic portrayals in Kanye West’s “Monster” video being touted as art, with the support of the Coalition Against Trafficking in Women Australia, Collective Shout, Amanda Kloer of Change.org, and Samer Rabadi of the Petition Site by Care2.com.

In June, MTV and VH1 publicly stated they would not air Kanye West’s “Monster” video. The video was released on Kanye’s site opened with, “The following content is in no way to be interpreted as misogynistic or negative towards any groups of people. It is an art piece and shall be taken as such.”

 

 

 

 

 

#4 Also in June, The American Medical Association called for advertisers to end the practice of photoshopping model’s bodies into unrealistic and unattainable faces and figures.

 

 

 

 

#5 A month later in the U.K., the Advertising Standards Authority banned L’Oreal cosmetics ads featuring Julia Roberts and Christy Turlington because the company used Photoshop to bolster the claim that the products would make you look younger.

#6 In August, Melissa Wardy of Pigtail Pals – Redefine Girly shared on her facebook page a link to a JCPenny shirt for girls that read “I’m too pretty to do homework, so my brother has to do it for me.” This led to a social media uproar and a petition that successfully pressured JCPenny to apologize and pull the shirt from its website.

 

 

 

 

 

#7  September marked another victory. After eating disorder and health experts expressed dismay over the unfunny “Anna Rexia” costume sold at Ricky’s Beauty and Costume store in New York, they stopped carrying it.

 

 

 

 

 

 

 

 

 

#8 In December, Pennsylvania Liquor Control Board pulled an ad aimed at curbing excessive drinking that instead blamed women for getting date raped. The board made their decision after hundreds of victims of rape told them that the ads were offensive and traumatizing.

 

 

 

 

 

 

#9 Also, in December, according the Business Times:

“Procter & Gamble has agreed to never again run an ad for its CoverGirl mascara because it used “enhanced post-production” and “photoshopping” to make eyelashes look thicker than they were in real life. P&G agreed to the ban even though it disclosed in the ad that the image was enhanced.”

#10 This year was a cause for celebration as Peggy Orenstein’s book, Cinderella Ate My Daughter, hit the New York Times Bestseller List. Thousands of folks read and learned about how commercialism and the omnipresent pink princess culture denies girls the opportunity to explore the unique interests, abilities and ideas that build healthy identities and goals.

Related Content:

A Monster Success!

Endangered Species: Challenging Body Beautiful Culture

In the Name of Girls: The AMA Calls for Magazine Ads to End Photoshopping Bodies


 

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Doll Parts: The “Barbie Executioner” Strikes Back

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by Melanie Klein, Contributor

My mother never addressed beauty in a critical way. In fact, beauty was rarely openly discussed in my house, but was the lingering weight on the shoulders of all the women in my family. The only times beauty was discussed was when my mother told me I needed to lose weight or when my grandmother told me I needed to “suffer to be beautiful.”

My critique of beauty came far too late in life, after the damage had already been done. Hole’s Courtney Love slapped me upside the head the first time I heard her belt out the lyrics to Doll Parts with gut-wrenching emotion, in her torn baby-doll dress and smeared lipstick .

I am doll eyes/ Doll mouth, doll legs/ I am doll arms, big veins, dog bait/ Yeah, they really want you, they really want you, they really do/ Yeah, they really want you, they really want you, they really do/ I want to be the girl with the most cake

Love stirred the festering agitation in me and eventually I was led to feminism’s door. I’ve been a body-image warrior ever since.

But what if a critical dialogue about the  limited definitions of beauty began early? Let’s face it: these conversations are necessary. Gender socialization does not occur in a vacuum, and even in the most conscious homes unrealistic images of beauty bombard our young people. Few parents can effectively combat the onslaught of conflicting values and norms perpetuated outside the home.

Barbie looms large as a pivotal figure in the lives of young girls. She is the epitome of the mainstream beauty standard, making an impact across race and class: She’s young, thin and, for the most part, white (while Mattel has created “ethnic” Barbie dolls, they sell in lesser quantities and, in the case of Wal-Mart, are sold for less money).

For more than 50 years, Barbie has remained an emblem of idealized femininity and a key element of gender socialization. Barbie fan Danielle Scott, 16, said:

Playing with the hair, the brushes, switching outfits. It really just made girls be girls.All the characteristics of what to look forward to and what girls really could do.

In those 50 years, Barbie has not waned in popularity (gained a pound, developed a wrinkle or gray hair), even in the face of mounting criticism. Rajini Vaidyanathan wrote at the BBC:

Despite some of the negative headlines Barbie is still a hit with girls across America and the world. … More than one billion dolls have been sold since her inception, and according to the doll’s makers, Mattel, 90 percent of American girls aged between three and 10 own at least one.

While it is true that Barbie is more complex than the Bratz (the googly-eyed dolls with a “passion for fashion”) and has had at least 125 jobs over the last half-century (jobs that presumably allowed her to purchase her multiple homes, extensive wardrobe and pink Corvette), Barbie is not famous for her extensive resume. Even Toy Story 3′s “renegade” Barbie doesn’t redefine Barbie’s cultural presence. Bottom line, Barbie is not defined by her career or the chutzpah she eventually taps into to help free Woody and the gang in Pixar’s latest. She is a timeless beauty icon. Period.

Generations after Mattel executive (and “kinky swinger”) Jack Ryan created Barbie, she continues to reinforce the beauty myth that pervades all aspects of the dominant culture. But with her alien measurements, Caucasian features, ivory skin, blond hair and unnaturally thin body how can anyone possibly measure up? I had a vintage Barbie scale fixed at 110 pounds, which would inform my notion of a woman’s ideal weight for most of my adult life.

Evelyn Ticona-Vergaray reports in “Barbie’s 50 years of beauty and controversy” on UPIU:

Studies made by the Wellness Resource Center at Vanderbilt University in Tennessee confirmed that a human version with Barbie’s body proportions would only have room for an esophagus or a trachea in her neck, a tibia or a fibula in her legs, and that she would have to crawl to support her top-heavy frame.

Academics from the University of South Australia suggest that chances of finding a woman having Barbie’s body shape is one in 100,000. Moreover, researchers at Finland’s University Central Hospital say if Barbie were a real woman she would lack the 17 to 22 percent of body fat required for a woman to menstruate.

Most girls and women could never and will never look like Barbie although many try (and some try harder than others). So, as an ambassador of a twisted yet omnipresent beauty norm, it’s no wonder that Barbie is subject to “torture play.” Ticona-Vergaray also wrote:

Research found in the article “Early adolescents’ experiences with, and views of, ‘Barbie’” revealed a high rate of “torture play” and “anger play” associated with the Barbie doll. Girls admitted to blaming the image of Barbie for their self-consciousness and lack of self esteem due to the simple impossibility of living up to the standards of beauty presented by the plastic doll.

Most anger play is played out in private, with little dialogue or social commentary to accompany the cut hair, dismembered appendages and pins shoved through her cheeks. But recently, my friend Justine showed me pictures of the anger play perpetrated by her pint-sized 9-year-old daughter (lovingly nicknamed the “Barbie executioner”).  Together, mother and daughter turned this anger play into artistic self-expression and social commentary.

Justine, a self-identified feminist, knew there was trouble the first time her then-five-year-old daughter requested a Barbie after she saw one at a friend’s house. Justine, an outspoken, self-assured woman with a personal disdain for Barbie who also teaches a class to young girls called “Tapping the Body’s Wisdom,” was quick to discuss her feelings about Barbie’s “unrealistic portrayal of feminine beauty” as something not worth “aspiring to.”

Mother and daughter critically discussed images of beauty and how the image of Barbie made them feel. Her daughter acknowledged that  she did not look like Barbie. In fact, she acknowledged that no dolls looked like her and, in the end, she consciously acknowledged that she did not want to be that doll. Shortly thereafter, her daughter began to take apart her Barbies (and Bratz dolls) and would play with their heads and appendages alone. After her daughter racked up a pile of doll parts, Justine suggested saving the appendages for a future art project. Eventually, Justine provided her daughter with a canvas and her daughter pored through beauty magazines to find words to express her feelings.

The result?

The inception, process and end result inspired me. I was moved by her 9-year-old’s ability to take the “smallness” Barbie made her feel, a feeling that too often remains silent and is internalized, and articulate it loudly on canvas. We may have a limited measure of control over the images our daughters are exposed to, but we still can help them cultivate a critical consciousness, use their voice and develop a healthy body image.

Originally published at Ms Blog. Cross-posted with permission.

An earlier version appeared at Feminist Fatale as Doll Parts: Barbie, Beauty and Resistance.

Photos courtesy of Justine Amodeo.

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Anatomy of a Sex Symbol

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marilynmonroechair

“Maybe I’m a sexless sex goddess.” - Marilyn Monroe to Life magazine journalist Richard Meryman, 1961

 

By Sheila O’Malley, Joan’s Digest

The sexiest woman in America didn’t have an orgasm until the last year of her life.  Despite her famous love affairs and marriages, not to mention the fact that she was the symbol of sex to millions of men worldwide, Marilyn Monroe’s inability to enjoy sex was something she was open about to close confidantes (male and female) and her psychiatrist, Dr. Ralph Greenson.  Greenson counseled her extensively on what was called, in the common parlance of the time, her “primary frigidity”, and Monroe worked very hard with him to overcome her sexual issues.

As a young girl, Marilyn Monroe was treated as a sexual object before she was ready to handle the implications of it, a common problem with girls who develop early.  Her beauty blossomed very young, and it ended up being her ticket out of anonymity and pain.  For that reason, she never resented her looks. It was her work as a pinup before she was even under contract that got the attention of the fans.

In movie after movie, Monroe showed up as the eager yet innocent sex goddess, the naif in a cruel world who somehow managed to maintain her hopeful spirit, her sense of humor. Many of these movies were interested in demeaning or humiliating her, punishing her for the fact that she elicited desirous feelings in men.  The Seven Year Itch, while mostly famous today for the skirt-blowing-up scene, is a nasty piece of work which puts Monroe in the unenviable position of being portrayed as a circus freak of sex appeal.  Tom Ewell plays her ogling downstairs neighbor, and the way he views her shows the attempt to turn her sexiness into something dirty and lewd.  She is so “hot” that she has to keep her underwear in the freezer

Read More:  ANATOMY OF A SEX SYMBOL by Sheila O’Malley | JOAN’S DIGEST

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Let Her Eat Cake! Breaking Free From Private Gorging

Let Her Eat Cake

Let Her Eat CakeBy Melanie Klein, Contributor

“Are you sure you’re not hungry?” he asked with grave concern as chicken grease ran down his fingers and his chin. We’d just finished a rigorous hike and I was starving—famished, ravenous and slightly light-headed.

I mean, really, we’d been cavorting, frolicking and climbing the local mountains in the summer heat for over 6 hours and I hadn’t eaten anything except for an apple. Maybe.

“Oh, no, I’m fine,” I replied. He paused mid-bite and questioned me with raised eyebrows. “I’m good–really,” I said sounding far too relaxed and nonchalant about something as serious as a meal after physically exerting myself as excessively as I had. But, nope, I wouldn’t change my mind. I was not going to let him see me eat, especially a greasy, messy meal like that. Mind you, this is the same guy I wouldn’t take a pee around. I’d turn the faucet on when I had to go really bad to make sure he didn’t hear me, otherwise I’d hold it until I got home. I know I wasn’t the only 17-year-old girl to pull a stunt like that.

If there was anything I’d learned up to that point, it was that girls and women don’t have bodily functions or odors (unless they’re created in chemical factories and mask your natural female body smells), and they aren’t supposed to be seen eating (unless it’s yogurt, salad or other “girl” food) or sweating (unless they’re sweating like women should—hello, female antiperspirant industry).

 

Fast forward to 15 years later:

“Are you going to eat that?” the student I had been mentoring asked with nervous excitement. “Yes,” I said awaiting the sweet taste of carrot cake as my fork hovered close to my lips. “In public?” she continued.

“Um, where else should I eat it? In the bathroom or the broom closet?” I laughed as I sank my teeth into the cream cheese frosting knowing perfectly well that those were considered viable options, ones preferred over this scenario—that of a woman eating cake out in public in broad daylight. I’m talking a slice of cake, not a bite of cake and not an entire cake. A slice of cake. On a Tuesday at 1 in the afternoon. There was no special occasion. I simply wanted some cake and I felt no shame or remorse about it.  Shame and guilt had led me to stuff myself in private after starving myself publicly one too many times in the past.

“Wow. I admire you. I wish I could do that,” she said slowly. I asked her what was stopping her and she went on to tell me about her mother, a woman who kept a scale in the dining room so she could look at it while she ate dinner and remind herself not to eat too much. And when it came to cake? Well, her mother always cut much smaller slices for the girls and reserved the big frosted pieces for the boys at the family party.

We continued to have lunch on campus between classes with a few other students for several weeks and each time I’d enjoy something sweet without embarrassment or great fanfare on my end. One day she sat down and said, “I have to tell you something.” She giggled like someone about to dish a shameful secret. “I went to my cousin’s birthday party over the weekend and when my mom handed me a thin slice of cake on a paper plate, I told her that I wanted a big one. She looked at me with surprise as I put the plate she handed me back on the table and grabbed one of the large slices. I felt great.”

“Over It” by Liz Acosta. For the full artist statement on this video, click here.

 

Originally published at Proud2bMe. Cross-posted with permission.

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Marie Claire’s “Love Your Body Issue” is a Big Fail

howoldwomen

By Elena Rossini

A couple of weeks ago I read that the November 2011 issue of Marie Claire South Africa featured several thought-provoking ad campaigns by major advertising agencies on the topic of “Love Your Body.” I thought it would be wonderful to showcase this in my documentary “The Illusionists.” Thanks to the fabulous Jill Greenberg, who’s a Facebook fan of the project based in South Africa, this past Saturday I received a copy of the special issue in the mail. And I have to say, I was in for a BIG surprise.

A more accurate title for this issue should have been: “Please hate your body and buy our advertisers’ products.” Yes, it’s that bad.

The person chosen for the cover of the special “Love Your Body Issue” is statuesque supermodel Candice Swanepoel, wearing a bikini.

To her left, you can see the following headlines:

  • 21 DAYS TO GET BIKINI READY
  • TSELANE TAMBO ON LIFE AFTER LIPO
  • WIN: FREEZE YOUR FAT OFF!

And finally, in huge bold letters: Special Issue. LOVE YOUR BODY. 6 TOP SA AD AGENCIES COMPETE TO SHOW YOU HOW.

The first thing that one notices while turning the pages of the magazine is that it looks just like any other issue of a major fashion magazine, full of ads for cosmetics and luxury brands, and showcasing young, extremely thin models – whose pictures are thoroughly airbrushed, even in “candid” photos.

Like this one for instance:

The models’ legs have a plastic quality. They look like Barbie dolls.

After 40-something pages of advertising and galleries showing the latest beauty products and fashion accessories, the special “Love Your Body” section debuts, with various thought-provoking ad campaigns by South Africa’s top ad agencies.

TBWA shows the painting of Botticelli’s Birth of Venus. Underneath it, the headline: “Why change a masterpiece, you’re beautiful the way you are.

Next, an ad by Saatchi and Saatchi, showing the corpse of an older woman on a metal table. The headline: “When will you stop worrying about your appearance? Love the body you live in.”

Case in point:

Left: the ad by Canvas Lifestyle, showing a Barbie doll with several markings on her body. “Add cellulite from favorite heavenly chocolate brownies” … “Add caesarian scar from your first-born son” … “Add laugh lines from girls’ night out” …

Right: An ad for the Burberry fragrance “BODY” with a model who looks like a real life Barbie doll. Which is kind of contradictory, no?

Next ad:

Left: a simple message by TBWA. “IMPERFECT. I’M PERFECT. Start seeing things the way you really are.

Right: an ad for the Dolce & Gabbana fragrance “Light Blue” – with flawless looking models whose bodies are thoroughly airbrushed.

Next:

Left: a collage of photos by Kristina Stojilokovic that says, “Which part of your body would the people who love you change?” with close-up images of women’s bodies: a woman’s freckles, a big scar, knees, a belly button, a mole.

Right: an ad for L’Oréal Revitalift. With the big headline “FIGHT THE 10 SIGNS OF AGEING, IN A SINGLE GESTURE.

Less wrinkles
Smoother skin
Firmer skin
Rehydrated skin
More flexible skin
Suppler skin
Even skin tone
Radiant skin
Refined pores
Defined facial countours

The rest of the magazine doesn’t fare so well.

There are articles like: “I GREW HAIR ON MY CHIN” – “LIFE AFTER LIPO” and “HOW OLD ARE THESE WOMEN?” which asks readers to guess the ages of six women.

Then: “4 Ways to Get Beach Body” Ready

The final verdict: I would give this special issue a “FAIL” grade – on all fronts. The only diversity it showcases is racial: thankfully there are many African models represented. Problem is: they all have the same age and body type. ALL OF THEM. Every photo is thoroughly airbrushed, giving women a plastic / Barbie-doll-like quality. Including most of the “love your body” ads. This issue is the equivalent of the Big Bad Wolf disguised as Little Red Riding Hood’s grandmother. And this is quite sad, considering the opportunity Marie Claire had to promote positive body image.

To read more on the topic, check out my April 2010 review of Marie Claire France: “100% Without Airbrushing.

Originally published at The Illusionists. Cross-posted with permission.

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