Category Archives: gender

Fighting the trolls: Lindy West engages

I like Lindy West’s pop culture analysis.  She writes for a few online spots like Jezebel.  Feministing noted that she had been harassed by a troll who opened a twitter account in the name of her deceased father.  This is the feministing quote:

Lindy, who you might know from her writing at Jezebel and GQ, was trolled by someone who set up a Twitter account in the name of her dead father. She wrote about how awful that made her feel, and to her surprise, he wrote to her again – but this time, to apologize.

Then, she called him and interviewed him about what had gone through his mind when he decided to do what he did. And recorded it all. “It felt like if I could just get the specifics,” she says, “gather them up and hold them in my hands — then maybe I could start to understand all the people who were still trolling me.”

They talked for two hours, and by the end, she’d forgiven him for the terrible things he’d done – the meanest thing anyone has ever done to her. She understood what his life looked like at the time that he was trolling (he’s since stopped, he says) and she felt sorry for him. Still, she says, it’s disturbing to know that there was nothing wrong with him per se. “It’s frightening that he’s so normal,” she says. He’s not your idea of a monster, and unlike a fairy tale troll, he certainly doesn’t live alone under a bridge. He has women coworkers, and a girlfriend, and women friends. “They have no idea that he used to go online and traumatize women for fun.”

via “It’s frightening that he’s so normal.”.

In a Jezebel essay, West notes her reasoning to humanize and engage with trolls:

I feed trolls. Not always, not every troll, but when I feel like it—when I think it will make me feel better—I talk back. I talk back because the expectation is that when you tell a woman to shut up, she should shut up. I reject that. I talk back because it’s fun, sometimes, to rip an abusive dummy to shreds with my friends. I talk back because my mental health is my priority—not some troll’s personal satisfaction. I talk back because it emboldens other women to talk back online and in real life, and I talk back because women have told me that my responses give them a script for dealing with monsters in their own lives. And, most importantly, I talk back because internet trolls are not, in fact, monsters. They are human beings—and I don’t believe that their attempts to dehumanize me can be counteracted by dehumanizing them. The only thing that fights dehumanization is increased humanization—of me, of them, of marginalized groups in general, of the internet as a whole.

via Don’t Ignore the Trolls. Feed Them Until They Explode..

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Filed under communication, critique, feminism, gender, hacking, health, kindness, representation, resistance, rhetoric, sexism, technology

Birdman, consumption and representation

I launch the new video by Young Thug and Rich Homie Quan and the first image is . . . Birdman?

A month a go, Birdman splashed out in an effort to sign Young Thug.  While you are being courted by Birdman and Young Money why not shoot a video with a few of the symbols of conspicuous consumption?

Birdman, Birdman Birdman.  It is astounding how much space he takes up in this video.  Father figure, founder of the feast, center of the party, exceptionally wealthy and entitled.  The symbols are all there.  Lighting up a cigar in the middle of a boutique sneaker store, bored yacht face, neck yoke of control over attractive women, mansion hallway vignette with Young Money/Cash Money plaques, comforting stacks of cash to sooth weary fingers . . .

(What would it cost to create this video out of rented artifice?  Not actually that much real money . . . rent a mansion, boat, cars, shoot the plane scene with a landed dummy plane . . . )

Birdman doesn’t rhyme in the video — he just stars in it.  (He does give the exiting dialogue — a shout out to his deceased mother Miss Gladys).  I guess Birdman is the price you pay for entry into Young Thug and Rich Homie Quan’s video.

I appreciate that this opening verse gives Thug a chance to rhyme what to him is a kind of normal accelerated pace.  His lyrics are distorted by his own voice and he plays with the sounds in a pretty creative way.  I don’t know why I like the natural caterwauling squawks that emit from Young Thug more than the digital ones, but I do.

Quan always has a quality flow, and I like his subtly shifting styles through this verse.  His deep voice growling does good riding the bass line. It seems like his references and similes could step up a notch . . . but he certainly sounds good.

What to make of the brief scene where Young Thug gives a stack of money to an old woman?   Young thug is arguing in the song that he does all this to bring money home to his family — a little consciousness break in a snowstorm of sexism and consumption.  Hold on, Quan suggests that his motivation is his mom and dad.  And Birdman concludes the video with a sponsored vodka shout out and tribute to his deceased mom.

One of the early critical arguments about hip hop was that the representations of hip hop quickly became images constituted by the artists in order to sell an image to an audience.  That hip hop involved performers going to work and creating something intended to meet an audiences expectations (usually male and privileged).  One way to read hip hop was to imagine what kind of audience might enjoy and buy this kind of performance.  (I’ll note the writings of Eric Watts, Tricia Rose and Robin D. G. Kelley have mostly influenced my perspective on this subject).

To a degree this crass consumerism vs. I’m-just-doing-this-to-feed-my-family debate is played out in the video.  I would say that the dominant visual narrative of consumption clashes with any other message.    In some ways the class consciousness (dropping off a couple of stacks for mom) is part of the representation of excessive wealth.  (Gza: “Who promised his mom a mansion with mad rooms /She died, he still put a hundred grand in her tomb” Gold).

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Filed under capitalism, class, communication, gender, hip hop, media, representation, rhetoric

Gendered tropes in video games: Anita Sarkeesian

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Filed under communication, feminism, gender, media, representation, technology