We all agree that we should have the right to say "no" and have that respected. But what good is that "right" to say no if we're not allowed to say "yes"?
That "no" is just as restrictive as anything else the patriarchy imposes on us. That "no" doesn't give us any freedom at all. We are still being judged by patriarchal values of sexual objectification. Required to have sex, required to be chaste - it's two sides of the same coin.
I will say "no" when I mean "no" and "yes" when I want to say "yes". And if I want to say "yes" more often than someone else, or less often than someone else, as a warrior for the right of women to own their own bodies, the right to say "yes" should be just as important as the right to say "no".
To be judged as "lesser" than other women because one says "yes" is to buy right into those same patriarchal values that led us to fight for the right to say "no" in the first place. You are still judging me for my sexuality, you are still defining my own boundaries for my body for me, you are still taking away my freedom, my choices, my agency.
You don't have to say "yes" if you don't want to. But I shouldn't have to say "no" if I don't want to. Consent is meaningless if you can't say "no", but the right to withhold consent is meaningless if you can't say "yes".
"But self-respect, blah blah blah."
I respect myself by listening to what my body wants and honoring it, not by allowing men to place their own narrow filter over me, telling me when I am worthy of respect by them (and myself) and what makes me not worthy of respect.
I respect myself when I have sex because I want to, and I respect myself when I don't have sex when I don't want to. I even respect myself when I trade sex for money, at least as much as I respect myself when I trade literally any other labor or experience for money.
It's not the act of sex in exchange for money that makes it disrespectful, it's the commodifying of labor and service to trade for survival that's disrespectful.
I am worthy of respect from myself and others because I exist, and no other reason is necessary. My self-respect is not subject to the whims of other people's values. That wouldn't be SELF respect, then. Certainly, allowing other people to decide what to do with my body against my own desires and interests would not be respecting myself.
Duck Sex And The Patriarchy
Jul. 16th, 2022 03:44 pm
"Freedom of choice, in other words, matters to animals; even if they lack the capacity to conceptualize it, there is an evolutionary difference between having what they want and not having it. Unfortunately for female ducks, though, evolving complex vaginal structures doesn’t solve the scourge of sexual violence; it exacerbates it. Each advance results in males with longer, spikier penises, and the coevolutionary arms race continues."
"Contemporary anti-feminists often portray men as victims of the coercive social control of women, even as they actively organize to diminish women’s sexual autonomy by impeding their access to health care, contraception, and abortion. But this view is a grotesque distortion. Like convoluted duck vaginas, feminism is about autonomy, not power over men. Although one is genetic and the other is cultural, the asymmetry in ducks between the male push for power and the female push for choice is mirrored in the ideologies of patriarchy and feminism."
" By evolving to regard violent, antisocial maleness as unsexy, females may have instigated the evolution of many elements critical to our biology, including big brains, language, and even our capacity for self-awareness and reflection."
"When sexism becomes unacceptably antisocial and hopelessly unsexy, then patriarchy may finally give up its remaining weapons."
Are Pop Lyrics Getting More Repetitive?
Jul. 15th, 2022 08:04 pm
Basically, people in general like "catchy" music, and that involves some amount of repetition. That's just how it goes.
This debate has always reminded me of the Dragonharpers of Pern book where a girl born to a fishing village has a unique skill for, what comes down to, "pop music". Her fishing family dismisses and actively discourages her talent for music in a classic blue-collar, working class anti-elitism way that many working class people feel about artists in general.
When she finally gets to their version of Juliard (where music and education are one and the same thing and a very elite profession), her catchy little ditties are dismissed as "twaddles", kind of like the vicious rivalry between opera and musical theater or opera and rock music. There is only One True Way to play music!!!
But much to the dismay of both her high-brow professors and her working class family, the bulk of the population loves her music because it's catchy and fun and easy to remember. Since music is used to teach in this society, "easy to remember" is a very important element. It brings their most cherished lessons out of the tightly grasped fists of only the elitist of the elite singers / academics and into the open arms of the general public.
If Mozart were also a history lesson, we would have even more trouble remembering history than we do today with our focus on dates. But if Britney Spears could also sing an accurate song about history and *that* was taught in classes instead, we'd have a lot more well-educated people in our population these days.
Anyway, point is that the reason why music is so "repetitive" has nothing to do with "kids today" and everything to do with how our brains work as humans. In spite of the hipsters out there who adamantly deny that they like repetition or that music keeps getting "watered down", human brains in general like repetition *to some degree*, and always have.
There's a local TV station here that plays The Tonight Show reruns every night, after back-to-back double features of classic shows all day. I often leave it playing in the background while I'm crafting because I like those old shows.
Then Johnny comes on. He starts out the show with a standup comedy bit before he moves onto the interviews. Almost every night, he bombs. He has a few good jokes in there, but he also has a lot of dead air, where he goes "wow, OK" because nobody laughs and he realizes that he lost the room.
So, it's not that I don't get his humor a generation later. It's that I'm watching him make jokes that his own audience isn't laughing at. He's also a terrible interviewer. OK, he gets a lot of famous people on his show, and he also gets some really quirky non-famous people on his show. But the interviews *aren't actually any good*. They're filled with dead air, dead-ended questions, and lackluster performances.
Occasionally he gets a guest who gives a good interview in spite of Carson's lack of interviewing skill, because that guest is just that charismatic, but then that guest totally dominates the interview, steam-rolling over Carson and stealing the stage.
As far as I can tell, the only parts of his show that his audience seems to enjoy are the comedy skits that he throws in, and those are also hit-or-miss with his audience. Sometimes he gets non-stop laughter, sometimes he gets no reaction. But he gets bigger laughs with these bits than with any other part of the show (except for when his band leader takes a pot-shot at him).
And yet, he went down in history as the King of Late Night and all other late night shows have laboured to live up to Carson.
Frankly, I think pretty much every show afterwards was better. And not by my personal tastes, I'm going by the audience's laughter and the control of the interview.
Unless this TV station just happens to have chosen a collection of episodes with a high percentage of bad episodes and I just happen to tune in on those nights with all the bad episodes and I miss all the good ones. But somehow I think that's a really low probability coincidence.
Feminist Country Music
Jul. 9th, 2022 07:23 pmUnlike Hollywood, however, this list is nuanced and shaded. The movies would have us believe that there are only 2 kinds of feminist representations - the badass Strong Female Character who can kick ass (except when she needs to be rescued by the leading man, of course) and has no other personality, and the man-hating harpy.
But this playlist shows many sides to the "strong woman". It's not all about women beating up their abusive men in retribution, although those songs exist too. In many places, it intersects with classism (although, to be fair, it's still predominantly white, as is the larger country genre, but there is one song in there about interracial relationships at a time when they were still taboo), where sometimes some ideals have to be sacrificed for the more immediate need of survival. Sometimes it's not about triumphing at all, but about existing in a misogynistic society.
There are tales of revenge, of liberation, of parenthood, of singlehood, of being caged, of sexual freedom, of running out of choices, of standing up to authority, of making the system work in her favor, of rejecting her circumstances, of accepting her circumstances and making the best of them, of birth control and abortion and sex, of career options and motherhood choices, of sorrow and pride and love and heartache and loneliness and optimism.
They are all stories of being a woman. This is what feminism looks like.
We've Forgotten How To Dress Like Adults
Jul. 9th, 2022 03:05 pmThis is interesting. I thought it was going to rely on slut-shaming in order to make its point, that dressing "sexy" was bad so, ladies, cover it up! But that's not the take that I got. I also thought it was going to blast millennials by comparing youth to age in this specific time. But it didn't do that either. If anything, it picked on Baby Boomers.
I'm letting my hair go grey on its own. When I visited my mother before the pandemic, I had more grey than she did because shes not ready to let the world see her age (although she finally leaned into grey hair with the social trend that came about during lockdowns of more "natural" hair styles). I have nothing against people who color their hair because they like the color. But I'm not going to color mine because I *fear* my color.
This article wasn't about shaming people for their arbitrary fashion choices of today. It wasn't yet another "kids today don't know what's good for them!" It was a more subtle look at the way our culture dismisses older women (with a nod to the effects older men get too) and an appreciative look at the experience and complexity that can come with age, as seen through fashion.
"Before, girls aspired to wear the sexy draped dresses only deemed appropriate for over-30 women who could handle the consequences of showing off their cleavage. Today, if you were to read some women’s magazines at face value, we’re left with nothing to look forward to past the minimum age of renting a car.
The culprit? The baby boomers and the 1960s Youthquake. "
"“By the age of thirty, most women were married, held jobs, or both,” writes Przybyszewski. “And they were presumed able to handle the eroticism embodied in the draped designs that made for the most sophisticated styles.” Draping gathers excess fabric into unique waves that draw attention to the wearer’s womanly curves and the tug of gravity. “It offers a more subtle eroticism than our usual bare fashion,” she writes. "
"The only acceptable way to present old age in public is to completely efface it. "
"But what if we accented our age on purpose to show off our hard-earned sagacity?"
"You could either get botox or celebrate the raw power of gathering decades of knowledge of yourself and the world. I say, let’s assemble a squad of matronly motherfuckers."
So I'm sharing it now because I'd rather share this bit of history and pop culture deconstruction at a random time, than to forget it entirely:

Another Fun Fact: Berry also wrote it in the key of B-flat, because big band and jazz music that featured horns preferred music in B-flat and E-flat. But in the movie, Back To The Future, when Marty McFly plays the song at the Under The Sea dance, he says "this is a blues riff in B..." The song that we hear in the movie is not actually played in B even though the character says it is, it's played in B-flat. But that's a really unusual key for guitarists in the '80s and for pianists who were the big names and major competitors in the music biz at the time Berry exploded on the scene.

The song Johnny B. Goode is a classic example of the microaggression erasure of the black contribution to the history of Rock & Roll. People like to point to black musicians and say "see? We let them entertain us! We like their music!" but then we have to erase little details.
We're happy to give artists like Chuck Berry credit now, but who among us knew about the original lyrics that had to be whitewashed before anyone would even distribute his music? Everyone knew he was a colored man singing the song, but he couldn't sing about his experience as a colored man, he had to sing about a "country boy" in order to get white audiences to listen, and he had to get white audiences to listen in order to get radio time and record contracts.
And we also conveniently forget that Rock & Roll literally started in the Negro communities with jazz and blues and African rhythms because we whitewashed that too with simple little things such as changing the generally accepted keys for music based on *white* musician's instruments. Even though Berry was a guitarist, he came from a jazz and blues background, so of course he wrote his music from that influence.
But white musicians who favored piano and guitar and who lacked the horns of the big band era wrote music that was more comfortable for their instruments. And so, gradually, songs in the key of B-flat and E-flat lost favor to the point that a white kid in the '80s playing classic Rock & Roll music would have played the songs in the key of B even though it wasn't originally written that way.
This was a deliberate choice that the writers of the screenplay made, and they made it *for these reasons*. The screenwriters weren't necessarily erasing any of this history - they were acknowledging that it had already been erased by making the line of dialog say "blues riff in B" even though it wasn't.
And they taught the actor, Michael J. Fox, how to play the song in the key of B. So, we are not hearing Michael J. Fox's music, we're hearing the studio musicians Mark Campbell singing and Tim May's guitar *in the key of B-flat* because that's what sounds better and more like the original, but when we watch the scene, Fox is really playing the guitar, and he's playing it in the '80s key of B. Because the screenwriters understood the history and evolution of music.
Why Identity Labels Matter
Jul. 9th, 2022 01:57 pm
The rest of us use our biologically advanced tool of language to communicate abstract concepts with each other like who we are and how we work to be "seen" by others and to find each other because we're not as visible or as numerous as some people are and we live in worlds that are hostile to differences.
"Labels are crucial for anyone whose experience isn’t positioned as the default in our society."
"That’s what labels do — they empower marginalized people. Through our identities, we build communities, we learn about ourselves, we tell our own stories, we celebrate ourselves in a society that often tells us we shouldn’t, and we come together to stand up to oppressive systems.
Our identity labels hold power."
"Remember those Earth-like planets NASA recently discovered? Well, they’re currently in the process of naming them — because that’s what often happens when you discover something that you didn’t realize existed. Notice I said “you didn’t realize existed,” not “new.” Many of these identities aren’t new — it’s just that people are only now starting to learn about them and name them."
"On a daily basis, people are discriminated against for being something other than white, thin, neurotypical, cisgender, heteroromantic, heterosexual, and whatever else is perceived as “normal” in our society. If you fit into any of these categories, then you experience privilege. Some of your identities are more accepted, or at least more widely known. You don’t have to explain yourself everywhere you go. You don’t have to worry about facing discrimination throughout your day.
That’s privilege."
Is Music Really Getting Worse?
Feb. 16th, 2022 02:17 pmEvery single generation has its batch of contrarians who think that music is somehow going "downhill" and is not as good as their own era or some previous era.
And it's utter fucking bullshit every single fucking time.
The response in the link above doesn't even get into a comparison of some of the most banal and trivial music of the era being touted as "good" music, although it mentions it. I host a dance event that is specifically themed around music of that exact era. I *like* that era of music.
But let me tell you about some of the crappy ass music put out in that era. Nonsense lyrics, repetitive and simple melodies, formulaic writing, mediocre performances. Meanwhile, Britney Spears, Katy Perry, Kesha, Miley, and all the rest are fucking performing their asses off to music with hooks that are catchy and enjoyable.
You don't have to *like* them, just know that they're not any worse than any other era of music. Music of previous eras that you only know about today because it was *popular* enough to have survived through the years, I might add.
These half-baked rants always remind me of the Harper Hall Trilogy from the Dragonriders of Pern series, where a truly brilliant and talented singer and songwriter goes undiscovered for years because people think her tunes are "just little twiddles". But the reality is that her music is *memorable* and able to evoke feelings in the listeners.
In a society where education is passed through music, the ability to write music that listeners can remember easily and attach emotionally to is an incredibly valuable skill that tangibly benefits the entire society. The more classical orchestral pieces might be rich and complex, but they are only accessible to a small percentage of the population. While that has some value too, it's certainly not the *only* thing of value in music, and I would argue that inaccessibility actually *decreases* its value - if it's only "good" when it's not "popular", that means fewer people *like* it, which means it's less accessible to fewer people. What good is "good" if nobody but you likes it?
I'll tell you what's banal and trivial - music snobs who think their particular genre or era of music is the only music of value. You're not some highly evolved specimen of taste and discernment that raises you above the masses. You have limited imagination and vision and an undeserved ego who is missing out on a whole range of pleasurable experiences that the rest of us are fortunate enough to have access to.
It's a supremely arrogant, classist position to think that, just because lots of people like something, it must not be good and the only things that have value are things that are out of reach to most people. And to think that music of a bygone era is somehow always "better" than modern music is the result of several logical fallacies including Confirmation Bias, Rosy Retrospection, Declinism, and most importantly Survivorship Bias. Older music is only "better" because only the "better" stuff stuck around long enough for later generations to hear it. The far more numerous "crap" got buried in obscurity over time.
Refusing to like a kind of music just because a lot of other people like it, or a specific kind of people like it, makes you just as much a slave to "demographic brainwashing" as those you deride because you're still being told what to like and what not to like on the basis of outside pressures, not your own personal enjoyment. For more on the arrogant, classist segregation of musical genres, see:
www.runoutnumbers.com/blog/2015/11/16/everything-except-country-and-rap
www.thecrimson.com/article/2018/3/27/its-not-country-youre-just-classist/
www.sciencedaily.com/releases/2015/06/150603124545.htm
https://junkee.com/time-stop-calling-pop-music-guilty-pleasure/110264
#FormerMusician #YearsOfMusicalTheory #Dancer #YesILikePopMusicAndClassicRockMusicAndClassicalMusicAndMusicFromOtherCultures

"But if you are a man who can't get a date with someone who actually likes you, it's not because of feminism. It's because you are someone people do not want to date. Possibly because you spend a lot of time whining about how women having rights has made dating impossible for you."And no, men, "bringing home the bacon", "being a provider", and "doesn't beat her" are not sufficient qualities you can bring to the table. For some women they might be *necessary* qualities, but they're not sufficient.
"Basically, this means that men have to be someone who people want to date. They can not simply exist, as a man."
"This is one of the first eras where men have to bring something to the dating and flirting table beyond the very fact of their being a male who is willing to date a women. Which means that they have to actually respond to women's cues. They have to learn how to read women."
"Women have accepted, from birth, the notion that dating is about bringing qualities to the table. ...Maybe it's about time men started doing the same."
Like being "nice", it's a *baseline*. It's the bare minimum required for us to not automatically disqualify you, but it's not enough to put you in the running. You still have to be an interesting person and you still have to pay attention to your partner.
1) That's it! I'm leaving!
2) No!
2) Wait!
2) There is...
2) something I need...
2) to tell...
2) you...
1) I don't want to hear it! I'm outta here!
2) ...
1) ...
2) ...
1) So don't even bother!
2) [mutely grabs hair in frustration]
1) [walks away]
2) [stares silently in anger]
1) [keeps walking]
2) ...
1) ...
2) [exasperated sigh]
#JustFuckingBlurtItOutAlready #AlmostAllMovieConflictsCanBeSolvedByCommunication
It's like, guys who can't find their keys or socks or something, and take one glance around the room and then shout to their wife in the other room "where is it?" and the wife, who is up to her elbows in soap suds with screaming kids running around her ankles and food burning on the stove has to also mentally remember the details of every room in the house and all her husband's activities since he came home the night before to find whatever it is he lost because he can't be arsed to actually look for the thing.
The song is always sung with irritation at the guy who can't manage very simple domestic tasks and expects his wife to tell him each step along the way.
But today, I had a different perception.
If the genders were reversed, and I was playing "Henry", this song now sounds to me like being mansplained at.
Henry isn't doing a thing. Liza tells him to do a thing. Henry gives a reason for why he's not doing a thing, so Liza tells him to fix it. Every step Liza suggests, Henry asks Liza how he's supposed to accomplish that step, until we come right back to the beginning where he can't do the first step because of the original problem he mentioned at the beginning.
This reminds me of the argument I got into with my parents' friend about why I don't have health insurance. "Just save money!" How am I supposed to do that if my bills are higher than my income? "Get a better job!" How do I do that if the economy is in a recession and there aren't enough jobs? "Go to school for a better education!" How do I afford school if I don't have any money? "Save better!" With what income?
And 'round and 'round it goes.
It felt, to me, this time listening to this song, that Henry already knew there was a problem, but Liza thought she knew better, and Henry had to walk her through it, step by step, to reach the conclusion he had already reached. And, as a woman, I find this "well how would you suggest I solve this problem then?" questioning method to be very familiar, as a lot of men really don't like it when I simply make statements.
"OK, that sounds reasonable. Oh, wait a minute, but then how would I do this part if this thing is happening?" Constantly catering to the person offering "advice" and doing emotional labor to manage their own feelings so that they don't get "hurt" that their advice isn't warranted. Spending all this time walking them through the decision tree until they finally get to the conclusion I have already reached and doing so gently so they don't get their feelings hurt when I was the one who was dismissed, as though I couldn't have figured all this out on my own.
Up until the very last verse of the song, where we come to the first verse again, with the genders as-is, this song is still very much a "women are the Household Managers and have to do all the Domestic Labor even when the men 'help out'" situation.
But when we come full circle, then I suddenly switch to the other side and hear the lines as not Domestic Labor Management but as Unhelpful Fixer Offering Not Applicable Suggestions.
So that was an interesting perspective shift.
When Racism In TV In The '60s Didn't Suck
May. 10th, 2020 02:07 amOf course, I still have to watch it in the context of the era, because it does some things that, today, I would not find acceptable. But the message really does have good intentions. This episode is actually so important that it was prefaced with a personal message from Elizabeth Montgomery. She addressed the camera directly at the top of the episode about the importance of the message and how strongly she (and the advertiser) feels about it.
In this episode, Tabitha has a best friend stay the night. She wishes her best friend was really her sister because she doesn't much care for having a little brother. So Samantha tells her that having her friend sleep over is like having a temporary sister. The little girl arrives. She's black, and her father works with Darrin at the advertising company. Tabitha gets into it with another girl at the park over whether or not she can be sisters with someone of a different color.
Darrin's company is wooing a new client, who believes in making sure anyone he hires for anything has the type of home-life that he approves of before hiring them. So this guy shows up at the Stephens' house unannounced and Lisa opens the door. The client misunderstands who Lisa is, with some help from a child's way of not quite explaining things. He gets the impression that Darrin is married to a black woman and this is their other daughter (he already knows about Tabitha and Adam).
Later, the two girls talk about how they wish they could be really sisters. Tabitha accidentally changes Lisa's skin and hair color. She changes her back, but then changes herself to match Lisa. So we have literal blackface on this show, which made me very uncomfortable. But Lisa points out that their parents would be upset if their children are the wrong color, so Tabitha goes back to her own color. Then both girls are sad that they don't look alike anymore, and therefore can't be sisters. So Tabitha accidentally gives them contrasting spots - she has black-skin-color spots and Lisa has white-skin-color spots. And then she can't take them off because, subconsciously, both girls really want to be sisters.
The rules of this universe are that one witch cannot undo any spell that another witch casts (otherwise that would solve all of the show's plot devices before they start). So Samantha can't get rid of the spots as long as Tabitha really doesn't want to. So she has to do some digging to find out why Tabitha doesn't want to.
The girls talk about the racism they experienced from the other girl in the park and how they really want to be sisters. So Samantha tells them:
"Sisters are girls who share something. Usually the same parents but if you share other things - good feelings, friendship, love, well that makes you sisters in another way." She insists that they can be sisters if they want to, no matter what skin color they have.
This convinces Tabitha that they can safely get rid of the spots and still have the connection they want.
Meanwhile, the Stephens are hosting the office Christmas party downstairs and Lisa's parents arrive to pick her up from her slumber party the night before (the father had to go out of town to secure another client, so the Stephens were basically babysitting for a couple of days).
Earlier in the day, the client fired the advertising agency because of Darrin's "mixed marriage", but he didn't put it clearly enough for anyone to understand that this was the reason. Just that he didn't approve of Darrin, and since nobody knew that he had come over and spoke to Lisa, nobody knew what it was he didn't approve of.
In an attempt to woo him back, Darrin's boss invited the client to the Christmas Party at the Stephens' house. Apparently (this all happened off-screen), the client was "curious" enough to accept. So he shows up immediately after Lisa's parents do, while Lisa's dad stepped away with their boss to talk about the new contract he just acquired for the company, leaving Lisa's mom standing in the hall with Darrin, when the client rings the doorbell.
Mistaking Lisa's mom for Darrin's wife, he opens his big ol' bigoted mouth to say how brave he thinks they are and how maybe someday what they're doing will become acceptable. And yes, he phrased it like that, implying not only that it wasn't currently acceptable, but that he didn't think it ought to be, only that maybe someday in the future it might be.
He offers Lisa's mom a little black baby doll for her daughter for Christmas, and Darrin is handed a white baby doll for Tabitha, and then says he didn't know which side of the family that Adam took after so he decided to play it safe with a stuffed ... panda bear. Yeah, picture that for a moment, if you don't immediately get it.
Then he runs off for eggnog before either parent can react. Lisa's mom has no idea what just happened, but Darrin (having just been taken off the account at this client's insistence because of being "unsuitable" or whatever) figures out that the client must think that they're married and this is why he was fired from the account.
Meanwhile, Samantha gets the kids straightened out and Darrin's boss, Larry, has a chat with the client. Now that who is married to whom and which child belongs to whom is understood, the client wants Darrin back on the team. As it finally dawns on Larry the reason for the client's decisions, he steps back for a moment, while the client puffs up with pride at being such an understanding, forgiving sort of man.
Larry steps back into the conversation and tells him, in no uncertain terms, that he doesn't want his account because he doesn't want to work with a man like this. Overhearing this conversation, and shocked and pleased at Larry's character, Darrin tells Samantha that, in the spirit of Christmas and given the circumstances, if she sees an opening where her witchcraft would help, she has free reign.
Shocked, the client goes on the defensive and even says "but some of my best friends are Negroes!" So Samantha wiggles her nose, and suddenly the client is seeing everyone at the party with black skin.
So, again, literal blackface that made me uncomfortable, but for a purpose they felt was helpful back in the '60s.
The client freaks out because, well, regardless of anyone's racist beliefs, if everyone around you suddenly changed skin color in front of your eyes, you'd probably freak out too. So he leaves.
The next morning, the Stephens' and Lisa's family are all opening Christmas presents together around the tree. The doorbell rings and it's the client. He asks Darrin to take his account and offers an apology:
"I found out I'm a racist. Not the obvious, out in the open kind of a racist, not me, no, I was a sneaky racist. I was so sneaky, I didn't even know it myself."
Usually, particularly in older shows, when they cover the topic of racism, there's only one kind of racist - the mean ones who actively discriminate, but never any real violence. It's like, on these shows, racists don't lynch people because "we're past that now", but they're visibly angry and say mean things, and usually have some kind of power to prevent people from doing something, like entering a building or patronizing an establishment.
These shows offer a caricature of a racist, to make them easy to identify as racist but not *actually* truly offensive. And I kinda get it - they have 23 minutes to make a point, so they're going to do it in as clear a way as possible that will get past the very conservative censors.
This is the only episode of any TV show that I can personally recall seeing where they addressed the fact that racism comes in other forms. They showed a man who believes he is a "good guy" whose racism is more subtle and uses more microaggressions rather than outright violence or hatred. And they showed him humbled and ashamed as he struggled with the realization that he was not as good a guy as he thought he was.
And the producers and actors thought this was such an important message that they took the time to break the 4th wall and tell the audience how strongly they felt about this message. Even the advertiser got in on it. Which is a pretty big deal. Had they simply showed the episode, boycotts would have been called for whichever commercials were aired at the time, and the producers would have had to do some kind of damage control to keep advertising clients and soothe viewers.
But, instead, Oscar-Meyer put their logo right behind Elizabeth Montgomery in her preface, and her speech included their name among those who felt the subject of their episode was important and who stands behind it. I'm sure boycotts were probably still called for, but the producers, the network, and the advertiser all got out in front of it and took responsibility for their stance.
So, as someone with light brown skin, which has lightened enough with my years out of the sun that nobody can even tell my chicana heritage by looking, I can't say that the blackface in this episode is justified under the "it was the era" excuse or not.
I will instead say that *if* the blackface can be excused for the era, and *if* the viewer can sit through the discomfort of modern sensibilities seeing it, I am rather proud of the show for making the attempt they did to address racism, and in particular that there are different types of racism and that all types are unacceptable.
I have a love-hate relationship with this show. I have seen most of the episodes before over the years, but I am watching the entire series now as part of my experiment to compare and contrast TV romantic couples over the decades and moral lessons of their relationships.
Watching this show now, after having developed the particular viewpoint I have on feminism and romantic relationship ethics, I am sitting in a strange place where I still manage to enjoy the show while simultaneously hating every character in it. As a character-driven media consumer, this is a weird place for me to be in. But I will say that the show is giving me lots of fodder for rants.
So far, this show is at the bottom of the list for me in ethical romantic partnerships. I somehow manage to still enjoy watching it, but I don't recommend it. I think everyone in this show is a terrible example of a person and the lessons learned at the end of each episode are not the lessons I feel should be the takeaways. People are punished for bad behaviour, but not for the reasons I think they should be.
This episode is the exception. Darrin doesn't go on any of his anti-witchcraft rants and doesn't try to hamstring Samantha and none of the other relatives jump in to interfere in their relationship and remove anyone's agency. In this one instance, Darrin is right to be concerned about the effect of witchcraft - namely getting found out and doing harm to someone else with the inexperienced child's wish-craft.
This episode focused entirely on an actual, real harm to society, and both the botched and corrective witchcraft was the solution. And the harm it highlighted was a subtle, insidious form that is not easily recognized because of the lies and misdirections we are taught about said harm, intended to confuse us and muddy the issue.
So, for once, I applaud Bewitched for going in the right direction. It could be done so much better today, with a more sophisticated touch on the subject, but given the era, I'm actually kind of surprised at how well it *did* do.
Him: The dude in the song is kind of an asshole.
Wrong Answer: No he's not! You have to understand the culture he comes from! It's very machismo and he's expressing his strength and virility and the women find it attractive! That's the culture and time he comes from! That's how he's *supposed* to sound in order to find partners!
Correct Answer: Yeah, he really is. But the hook is just really working for me, so I've been listening to a lot it lately.
Me: I totally love this song! The juxtaposition between the lyrics and the mood of the melody is hilarious! [plays ridiculously bouncy song about "violent" sex]
Them: Uh, that song is triggering for people who have had violent experiences.
Wrong Answer: No it's not! You're just overly sensitive! It's totally meant ironically when sung today. And anyway, in the era in which it was written, it was considered a sign of one's passion to be stricken with strong feelings for someone! You just need to listen to it in the appropriate context!
Correct Answer: Yep, I can see that. I interpret it differently because of my long history with kink, so I will only play it for people who have a similar interpretation and background and who can appreciate irony and also dissonance in lyrics vs. melody.
Me: This is one of my favorite pornos [plays classic porn from the '70s].
Him: Wow, she has absolutely no concept of boundaries, does she?
Wrong Answer: That's not true! You just have to look at it this way! She's a woman, so it's totally OK to cross those kinds of lines! Especially in the era in which it was made! Men prefer that!
Correct Answer: Yeah, she does. The story line was written for a particular sort of interest, so a person can really only enjoy it if that kind of boundary pushing is your thing, or if you can enjoy things in fictional porn that you wouldn't necessarily want in real life. I like the freedom she has in this story, and that's what does it for me. But her behaviour would be totally unacceptable in real life.
Me: I listen to country music.
Them: I hate country! It's so misogynistic!
Wrong Answer: No it's not! It's respectful and chivalrous and men and women are just different so they behave differently! It's just a party song, don't get so worked up over it! It doesn't mean anything! He has a wife, so obviously he can't be *that* misogynistic!
Correct Answer: Yes, a lot of it is, and a lot of all kinds of music has misogynistic themes because the music is written from within a misogynistic culture. There are some songs that I can't listen to either, even though I'm able to like the sound of other songs while ignoring the lyrics.
Since you're aware of and bothered by misogyny, you might be interested to know that singling out country music specifically, or rap music specifically, as being misogynistic is a consequence of classism, and I can go into the why of that if you'd like to have that discussion.
If the sound of the genre doesn't bother you but you can't ignore the lyrics in order to like the sound of a song, I also have an entire library of music that is less misogynistic or not at all, if you're interested.
#ItIsNotThatHard #ActualConversationsIHave #ItIsOKToLikeProblematicMediaJustBeAwareAndHonestAboutTheProblems
Look, almost all our media is problematic because it was created and it exists in our very problematic culture. Like what you like.
Just don't try to make it less problematic than it is, especially when people are upset about it. Acknowledge that it's problematic and that other people are hurt by its themes or messages and enjoy it anyway. And let those people be upset about it, don't try to justify yourself to them or get them to be less upset.
I've given up some forms of entertainment because I just can't divorce myself from the context (like anything made since I discovered the problems with Tom Cruise or Johnny Depp). Other things I just say "yep, it's awful, but I love it anyway". I mean, I listen to pop-country music.
If you can't still like it knowing that other people don't for very valid reasons, then maybe you shouldn't be enjoying it.

Like, the guy who just had a briefcase bomb handcuffed to him in a courthouse. There are literally hundreds of people in that building who could unlock that briefcase from him.
Or the cop who was cuffed to her office door - the second the bad guy leaves the room, anyone in that building can immediately uncuff her.
On top of that, handcuffs are like the easiest restraints to pick. The locking mechanism is *really* simple (which is why the key itself is really simple).
For most average people, handcuffs are pretty insurmountable, hence the reason why cops use them. But in a TV show or a movie where cops are everywhere and the person in handcuffs is on the same side as the cops ... perhaps another form of restraint is in order.
* There are some manufacturers that modify their keys so that they are specific to their model, but still, all the cuffs in that model use the same key. Maximum security handcuffs use a different key from standard handcuffs. Thumbcuffs use a different key from standard handcuffs.

Even if you're one of those who needs to "finish a story" or "hear the whole thing", don't bother. It keeps getting retconned and rebooted, so you're really not losing any of the story by not seeing the others.
I would also recommend the TV show the Sarah Connor Chronicles, but I don't think it's necessary either, because this latest film is also a soft reboot that makes that show ... I'm going to say "a different timeline", because the whole franchise is about time travel, so I can rationalize away any incongruities that way.
So, yeah, in my personal headcannon, the story is a trilogy right now with T1, T2, and T6. And I say this as someone who is fine with all 3 sets of trilogies being part of the Star Wars canon, so that ought to tell you something about how little I care about T3-5.
So here's what I think about the Terminator trilogy...
#Irony: The original Terminator movie is about Sarah Connor - a woman who eventually gives birth to the leader of the resistance who is supposed to save the world. It has male action characters, but it's ultimately about Sarah and her relationship with Kyle Reese. It's basically a romance story set in a pre-apocalyptic action film.
The second Terminator movie is about Sarah Connor again, now a fucking badass guerrilla warfare soldier. And, again, it has some male action characters, but it's still about Sarah and her psychological journey from "normal girl" to Mother Of The Saviour And Terrorist. She does her own ass-kicking in this film, keeping up with literally super-human characters in the protection of her son, John.
The rest of the films I won't mention because they're terrible and not the point. The original two films, that set the story and the standard for the Terminator franchise, are a WOMAN'S TALE.
Here's the irony ... people are pissed off because of the strong woman-heavy cast of the latest Terminator film, and accusing it (as they always do of anything that doesn't subjugate minorities in the plot or in the telling of the story) of "pandering" to the new "identity politics" of the feminist cult and younger generations.
It's like people complaining about sci-fi, or Star Trek in particular, getting political. Like, have you ever SEEN the original shit before? That's what IT IS.
Terminator is a chick flick. That's why it's so good. It's a woman's story. It's just that the woman in question, and her story, doesn't involve flowers or wedding dresses. I mean, for fuck's sake, it even includes her getting pregnant and raising a child as an integral part of the plot!
Women have a lot of different stories to tell. Some of them are action stories. Some of them involve fights and fast cars and war and blood and death. When you tell a woman's story, not just what men *think* about women, but her actual story, you get diversity; you get adversity; you get pain; you get pleasure; you get redemption; you get vindication, you get action; you get adventure; you get hardship; you get conflict.
Whether her story takes place in the home or on the battlefield, those are still what you get when you tell women's stories.
Telling these stories isn't "pandering" any more than literally telling *any* story for a commercial enterprise is "pandering" because the producers want to make money from the sale of that story. It's not "identity politics". People want to make money, and they don't make money if they refuse to sell to literally half the population of the planet.
Women have stories to tell.
And in the case of many of these amazing stories finally being told, it's often the same story that they have *been* telling. You just weren't paying attention.
I wrote all of that before seeing the latest film. This was completely my reaction to seeing online criticisms from whiny boys about "too many women" in the new movie. I hadn't seen the movie and I didn't read any reviews, I just saw some complaints about "pandering" and "identity politics" and all the usual bullshit that comes every time women play any kind of role in an action film that isn't the sexy villain, the refrigerator'd girlfriend, or the current love interest.
Now that I've seen the latest Terminator, and realizing that I like it and reflecting on why I like it and the first two but not the rest, I think my claim of this being a woman's story is consistent.
I think one of the main reasons I didn't like the rest of the films (and there are several reasons not to like them) is because they stop being a woman's story, not just because they were poorly told or executed.
The rest of the movies, if I recall correctly because it's been a long time since I've seen them and I only saw them once because they were terrible, unlike the first two - the rest of the movies stop being about Sarah Connor, and start being about man vs. machine, using the term "man" in this context as deliberately gendered and not a shortened form or stand-in term for "humanity".
Linda Hamilton wasn't even in all of the other sequels. Those movies were not about her journey. They became about John Connor, or about Arnold, or about continuing to bleed a franchise. But since the story ultimately is about Sarah, taking her out of the story led to the storytellers losing focus.
Hence reboots and direction changes. They lost sight of what made the story interesting in the first place. I mean, sure, the special effects of both were groundbreaking, so from a technical point of view, T1 & 2 were interesting on production quality alone. But even if we can appreciate a pretty movie, if the story isn't at least as good as the effects, it won't become a classic, iconic, a genre-setting game-changing film (I'm looking at you, Avatar, where even Sigourney Weaver couldn't save that movie).
T1 & 2 were that kind of film because the story telling gave the special effects a purpose. The effects were a *vehicle* to tell the story, not the other way around. T6 brought us back to the story, back to the premise, back to its roots, even with the use of a soft reboot plot device, which, incidentally, basically implies agreement with my assessment that the other 3 movies pretty much don't count.
What makes the Terminator movies interesting is the woman's story. Once you remove that, no amount of action or special effects save the film. Because women's stories are still just people's stories, it *could have been* possible to move on from Sarah and start telling the story of another person in the saga, even if the next person's story was a man. It *could* have been done.
But the next 3 producers / writers / directors didn't treat it as someone's story, they treated it as men's eye candy, and, apparently (by implication), men don't care about the story, they only care about the action.
I mean, I suppose that explains why porn written for het cis men (and a lot of gay cis men) is all "fuck the plot, it doesn't matter why these two people are screwing, as long as we get to the screwing!" People just assume that men don't care about the story, only the action.
But I would propose that the success of the films and TV shows that are successful and/or popular in the last several years suggests that men *do* care about the story too, they'll just take pointless explosions if that's what's available. And if you can marry a good story with a well-produced film in a genre that is favored by men as a group (whether you personally *liked* the story or not), that movie will do very well at the box office, or at least it will do well in popularity over time.
The trick, apparently, is to get enough men to relate to a good story that happens to feature a woman (or several). But that doesn't seem to be a problem with storytelling, that seems to be a problem with the collective male bias and expectations.
Anyway, it's late and I'm rambling. Point is, now that I've seen the latest Terminator in the franchise, realized that I like it, and thought a little about *why* I like it, I think that the reason why I dislike the previous 3 movies is because they stopped being a woman's story.
As I keep pointing out in my Poly-ish Movie Reviews, and to people who keep trying to recommend movies and books to me, I am very character driven. I need to either identify with a character or want to know a character - like, date them or have them in my social circle - in order to enjoy a film or book. If a writer can get me to connect to a character, the story doesn't even have to be all that well-written or produced for me to like it.
When Terminator stopped being a woman's story, it stopped being a people's story. It became fluff. It was all action with no real purpose. I suppose there might have been some themes in some of the sequels somewhere, but really, the story ended with Sarah leaving the focus. Without a focus or a purpose, the story just kept getting lost. And the movies sucked.
So when the saga became once again a woman's story, I enjoyed it, and I think it was a fitting chapter in the longer tale.
And if there's anything I can ever say good about reboots, it's that it gives me the opportunity to pretend that the chapters the reboot scratches over don't exist. I mean, that's also why reboots suck - they overwrite previous chapters, and if you like those previous chapters, then that's a bad thing.

Those are the 3 that are telling a woman's story and that story is what makes Terminator interesting. The others lose sight of this, and consequently are just not as interesting to those of us who are story-dependent.
Women have stories to tell. And our stories are interesting.
I originally wrote all of this in 3 Facebook posts. In the comments of one of them, somebody asked me how I felt about "the big reveal".
Spoiler alert!!!
( Here's the long answer to that question )
My bottom line is that even the reveal, with all its legitimate criticisms, is still part of Sarah's story, which makes it fit into the woman's story trilogy that makes these 3 chapters in the saga such excellent films and the other 3 chapters suck because they are not Sarah's story, not a woman's tale.
T6 is Terminator's redemption film. We are back to telling Sarah's story, and that's why it works. Women have stories to tell. And when you allow us to tell them, the films are engaging, interesting, and they work.
Just saw a scene with a wonderful twist:
The woman leaves the baby with the man to go into the other room to get something for the baby. We hear a small crash from the other room and the music changes. He calls out her name and she doesn't respond. We know something bad has happened. The father goes into the other room, calling for the mom, and gets distracted by finding the thing for the baby. Suddenly, an armed assailant appears with a shotgun and fires, while the dad's cop instinct takes over and he ducks.
Here's the twist - the dad, unarmed, is the one running through the house and hiding, protecting the baby, eyes wide with fear. Meanwhile, the mom pops out from around the corner with her gun drawn and has a gunfight with the assailant, scaring him off, while the man huddles in the pantry, shushing the the baby.
It would have been SO easy to have this scene with the characters reversed. Someone would have had to consciously thought to make this scene play out the way it did.
And it helps that the man's character has been building up as the nurturing, father-figure type. There have been several scenes in earlier seasons, when he had a baby with another character, that highlight his growth from naive rookie with daddy issues from his gangbanger dad to responsible father who makes very different decisions now that he has children to raise. So this role reversal isn't out of the blue, it's totally within the character arcs of these characters.
But even still, I was pleasantly surprised to see this scene.
A lot of people seem really confused on the whole "privacy vs. secrecy vs. transparency" thing. I've written about it before and even have a recent post with that phrase as the title. But some people don't seem to understand how one can be transparent and still maintain privacy.
I think it's really simple.
"But boss!"That's it.
"No, I'm asking you to trust me, please. I can't tell you what's going on right now, but I promise I will tell you when I am able to. For now, just drop it."
The plot involves a mass conspiracy that's been going on for several seasons, and recently the protagonist did a thing to thwart the agents of the conspiracy, and so needed to do it totally secretly, without the knowledge or assistance of the rest of the cop team, because mass conspiracy.
Now the conspiracy is doing its thing, and others on the team are starting to notice weird things are happening. But in order for the good guy plan to work, the silence needs to be maintained.
So, these are *cops* - detectives, no less. They're trained in the art of investigation. Lying to one's own teammate, especially in the course of the teammate doing their job and trying to solve crimes, is ASKING for crossed plot lines. This is how otherwise Good Guys end up suspicious and accidentally sabotaging the protagonist and furthering the schemes of the conspiracy.
So this character* didn't. This character was honest that there was *something* - yes, teammate, your instincts are correct, so please stop digging because you are right but I am keeping secrets for a reason.
That's all that is needed in romantic relationships too. If you trust them, then you let it go right there. If you don't, well, then you have other issues.
I can be honest with my partners and still respect privacy:
I'm sorry, sweetie, I love you, but that's not my story to tell.You can decide how much trust you want to give to a partner who requests privacy. You can decide that whatever they don't wish to share with you is a deal-breaker. That's your right. But privacy is *their* right.
I'm sorry, but I'm going to have to ask you not to pry because this is a personal matter that I don't want to share.
Yes, you are noticing something correctly. I am not telling you everything. There is a reason for that, and I will be able to tell you soon, but not now. Please trust me.
Yes, there is something bothering me but I do not want / cannot go into it right now, please drop the subject. I will let you know when I can talk about it.
And as the person trying to maintain privacy, you can decide if this is the privacy you wish to stake your relationship on. But one can be transparent and maintain privacy at the same time. One can be *honest* about maintaining privacy. These are not mutually exclusive goals.
All too often, "honesty" is put in opposition to some other goal, like "kindness" or "privacy", as if you can only have one or the other. Most of the time, you can have both. But it takes trust going both ways in a relationship, and courage to be vulnerable and to stand one's ground, all of which require a foundation of good communication so that both people in the relationship *know* or feel confident about the trust and the safety of their vulnerability and in themselves to stand their ground.
But a good relationship does not require you to sacrifice something else important in order to be honest. If you feel that you are forced into this dichotomy, you are probably not in a healthy relationship.
*It's probably not a coincident that the teammate / boss who chose to be honest and just ask for trust is a female character. Male characters, especially cops, tend to bluster and bluff and let their egos get in the way. The female character relied on her relationship history. I doubt that was a deliberate feminist critique of emotional labor, but I also don't think it was an accident that this is the dialog chosen for her and had it been one of the male characters or had her character been portrayed by a man, I believe this exchange would have gone differently.
Too Many Blog Post Ideas, Too Little Time
Apr. 1st, 2019 12:48 amOne of them is about the portrayal of abortion in pop culture and my own story about it. There was one show where one person asked another to procure some abortion pills for her because she didn't have access to them. The other person did, but lectured her about "now make sure this is *really* what you want to do, because there's no coming back from this..."
And the first person interrupted her by grabbing the pill and dry-swallowing it, whispering "please act soon, please act soon, please act soon".
I want to see more representation like this. And not all by women who have gotten pregnant through rape. Not everyone who has an abortion makes a "hard choice", or has to "live with it" forever after. For some of us, it was the easiest choice we've ever made and we are grateful for having had the choice more and more as time passes.
I wish I could concentrate, because my own story is struggling to get out, and I have so much to say in support of people for whom this is not something to be agonized over. And the deep sorrow for those who feel that way but are not given the option to make their own choice.
Another blog post was bumping around my head earlier today, triggered by, I think, a podcast I was listening to. But I can't remember which one and now it's buried under the abortion post's noise. Hopefully I'll remember it when I have some time to write soon.
So you can't think Rey is a Mary Sue unless you think that of pretty much every (male) character in the entire universe, because she is consistent with the utterly fantastical (and by that, I mean "unbelievable) universe that is Star Wars - you can't think that about Rey w/o thinking of that for everyone else without that viewpoint being basically misogyny?
So, yeah, you can't think that the tech in Black Panther is "unbelievable" or "too advanced" unless you think that about the entire MCU, because totally unrealistic tech is completely the MCU's M.O.
To think that it's somehow suddenly unbelievable now that the people whose culture evolved for thousands of years literally around and on top of the super secret super amazing metal were not capable of developing that tech while Captain America in the '40s had fucking death rays can only come from embedded racism.
This doesn't mean you hate black people. It means you have some assumptions about what it means to be black (and African) that were deliberately created and fostered by white slavers and colonizers generations ago to do exactly what these kinds of thoughts just did - think that black people are less advanced, less "evolved" than any other people.
Her character isn't usually a character, it's a placeholder. She's just this generic sort of "woman shape", with generic sort of "woman attributes" that male writers think all women have - pleasant, loving, nurturing, capable yet needy, wants to save her man, shows him the light, keeps him on the right path, likes flowers and sparkly jewelry (but not too much), and is sensual without being dirty. And maybe a little clumsy, because, y'know, that's relatable.
The male leads are diverse and flawed and colorful. Exactly the sort of men that a boring, vanilla, "blank" woman would not be interested in.
But Vanessa has the same sense of humor as Wade (Deadpool), which, let's be honest, is a little over the top, if I'm being generous. Outside of a comic book movie, he's fucking annoying. Nobody who doesn't share his sense of humor is going to spend years with him smiling tolerantly while he goes through life totally incapable of having a serious conversation. But she's his match.
I like Deadpool because I *get* why the romantic couple is together. She's not a carbon copy of Wade. She compliments him. She has strengths where he does not. But she also isn't his Manic Pixie Dream Girl. She's just as fucked up as he is. As the character says right in the film "your crazy matches my crazy".
I like Deadpool because it's probably the healthiest, most compatible relationship I've ever seen on screen. It's at least up there in the top 10.
Watching Age of Ultron & the trumped up love story between Banner and Black Widow, where the super assassin who has never known a "normal" day in her fucking life is putting the moves on the dude who turns into a giant green monster every time he gets pissed off.
So Banner, once he finally figures out that Natasha is actually propositioning him and not just "flirting", rejects her advances, not because he's not interested, but because he can't offer her a "normal" life on a farm with kids and a day job.
So, in my head, I'm getting pissed off at the hubris of men all over again, for not allowing her to make her own damn decisions, and for assuming that a white picket fence is even an interest of hers (and at the presumably male writers who made fucking Black Widow's big secret be that she wants kids & can't have them), so this conversation pops into my head:
Banner: I can't offer you this! I can't ever have a normal life!
Romanoff: I can't have this either!
Banner: What?!
Me: Hold on a minute here.
Banner: Hey, who are you?
Me: Shut up and listen because you're mucking this all up. Bruce, look at her.
Banner: [looks at Black Widow in head-to-toe black leather]
Me: Does she look like Suzie Homemaker?
Banner: Huh?
Me: Does Natasha *look* like the house in the suburbs kinda girl?
Banner: Well...
Me: Is she a child?
Banner: No!
Me: Then stop making her fucking decisions for her! She is not under any illusions about the kind of life you lead. She's the one who tracked you down in the jungle. She's the one who talks you down from your rages. She's the one who has no super powers whatsoever and yet she can keep up with your entire fucking team!
Banner: But...
Me: No. Just stop right there. Do you like her?
Banner: I...
Me: Stop. Do you like her, yes or no?
Banner: Yes.
Me: Are you attracted to her?
Banner: Yes, but...
Me: Uh uh! Stop with all the objections. This is very simple. Stop telling her what she can't have and tell her what she *can* have. What is on the table? What can you offer her?
Banner: Huh?
Me: Excitement? Danger? Adventure? Violence? Extra emotional labor? A very good chance that one or both of you will die young in a horrible way? Some companionship on the journey? Maybe a little nookie?
Banner: Uh, yeah.
Me: Great. Natasha, how does that sound to you?
Romanoff: Sounds great to me!
Me: Excellent! Negotiations complete - you're now dating!
Banner: Wait a minute! What about when this all gets old? What happens when she changes her mind?
Me: The same thing that happens when you change your mind - you renegotiate when the time comes. Muggles! I swear!
Banner / Romanoff: Muggles?!
Me: Muggles - monogamous people. Y'all make this whole romance stuff way more complicated than it needs to be. Just say what you want, ask if they want that too, hear what it is that they want, and if you can find a compromise, then go with it, otherwise, don't.
It REALLY does not need to be this much trouble.
Me: [wanders off, muttering to myself about monogamous paradigms]
Banner: [stares after me leaving with a glazed look on his face - half confused, half "who the hell was that?"]
Romanoff: Well, you heard her - we're dating now. So quit your bitching and get over here and kiss me!
#HollywoodIAmAvailableForWritingConsultations #JustFuckingTalkToEachOther #ItIsNotThatComplicated #WhatDoYouWant?

Bullshit.
Basically all these "but historical context!" defenses are not exactly true. They're a retcon justification because people feel guilty about liking a holiday song about date rape (and one that actually has abso-fucking-lutely nothing to do with Christmas).
ret·conLet's talk context then if you want to talk context.
/ˈretkän/
noun
1. (in a film, television series, or other fictional work) a piece of new information that imposes a different interpretation on previously described events, typically used to facilitate a dramatic plot shift or account for an inconsistency.
verb
1. revise (an aspect of a fictional work) retrospectively, typically by introducing a piece of new information that imposes a different interpretation on previously described events.
Sure, in the 1940s, women did not have the freedom to openly desire sex and (I'm told - I did not verify it but I will concede that this is probably true because it doesn't matter for my point) some people used to use the line "hey, what's in this drink?" wink wink nudge nudge know-what-I-mean? to absolve themselves of responsibility or accountability for the sex that they were about to have. That was a thing.
But that was not a thing *in this song*.
Let's start with the background. The song was co-written by a husband and wife team, Frank Loesser and Lynn Garland. In their social set, in the '40s in Hollywood, there was, apparently, very stiff competition for who could throw the best parties. Hosts were expected to, not only provide the location and refreshments for said party, but actually *be* the entertainment, with singing, dancing, performing, whatever. Whoever was the best entertainment got invited to all the other best parties. And in Hollywood, who you knew was of paramount importance. It not only determined your spot in the social scene, but also got you employment, which affected your livelihood. So this was a Big Fucking Deal.
So the husband and wife duo wrote the song as the climax to their party, hoping it would make them popular. And it did. They literally moved up in social class because of that song. "It was their ticket to caviar and truffles", Garland once said. It made them so popular that MGM offered to buy the rights to it 4 years later and Loesser went on to write several other popular songs for movies and this one in particular even won an Academy Award.
The song is a call-and-response type song, with the characters in the song being named Wolf and Mouse, i.e. Predator and Prey. Loesser even introduced himself as "the evil of two Loessers" BECAUSE OF THE ROLE HE PLAYED IN THE SONG. Loesser would probably defend his line about "evil of two Loessers" as being witty, a play on words. Shakespeare played with words all the time! He certainly didn't *mean* that he was really evil, right? It's just a joke! Don't take everything so seriously!

So, OK, that's a little ... weird, but a bad "joke" is just one thing, right? Well, the next thing that happened was Garland did not want to sell the song. She thought of it as "their" song. But Loesser sold it out from under her anyway. Garland felt so betrayed by this, she describes the betrayal as akin to being cheated on. I believe the specific quote was something about her feeling as though she had actually walked in on her husband having sex with another woman.
This led to a huge fight which, by some accounts, contributed to the downfall of their marriage and they eventually divorced. So here we have a man who puts his own wants above his wife's needs (or strongly felt wants). Why is it so difficult to believe that he would write a song about pressuring a woman and not even understand that it was bad or why? It shouldn't be so difficult to accept that a man who would do this to his own wife probably has no problem with "wearing her down" and doesn't think his song represents straight up assault.
We have here a pattern where a man just, like many straight men, didn't think about what he was saying or how it would affect women, particularly the women in his life, and he, like everyone else that year, was merely a product of his time and not able to foresee 70 years later where we now recognize the deeply disturbing "boys will be boys" patriarchal reinforcement of the "what's in this drink wink wink" joke.
Frankly, I don't think he thought about his lyrics all that much at all, let alone tried to write some weird, backwards, 1940s female "empowerment" anthem. I don't think he deliberately set out to be an evil villain writing an ode to date rape either, I think he just flat out didn't consider all the implications of a bubbly song where one person keeps pushing for sex and the other keeps rejecting but eventually capitulates. Y'know, like the Blurred Lines song - it's bubbly, it's cute, it's got a catchy hook, but ultimately it's about street harassment, like, he literally said that he wrote the song by imagining a dirty old man yelling things out to hot chicks as they passed by on the street. But people love it because it's bubble-gum pop. Same as this song.
Only with this one, we're *defending* it as a "joke" people used to use because women couldn't be openly sexual. THAT'S PART OF THE PROBLEM. Women needed that kind of excuse because they were not allowed to have their own agency. So romanticizing this song only reinforces the message that a woman's "no" is really just her needing a better excuse, so if you keep "offering" her excuses (i.e. pushing her), eventually she'll find one she can use and give in. Keep pressuring her! She wants it! It's for her own good! It's empowering!
That's some fucked up shit.
But back in the '40s, they didn't really know better, apparently. Women used what avenues they had for expressing their sexuality, and at the time, "what's in this drink?" was what they had. They, and Frank Loesser, were not thinking how, in the next century, women who had taken back some of their agency would be constantly fighting to keep what we have managed to wrestle back precisely because of this line of reasoning - that "no" doesn't mean "no", it means "try harder" because we just need to be given the right push in the right direction.
But as the saying goes, when we know better, we do better. Not knowing any better back then isn't a good enough excuse to keep it around now. It may have been considered "innocent" in the '40s or even "necessary" because of the restrictions that women had, but now we know better. We know both the legitimately terrifying implications of the lyrics in this song as sung straight and we know the patriarchal implications of the lyrics in this song as sung "flirty". He didn't know any better back then, but we know better now.
So now let's get to the context of the song itself.
When Loesser and Garland were performing this song at parties, it was a huge hit ... but only within their social circle. It didn't reach mainstream attention until it appeared in the movie Neptune's Daughter, which is a really odd movie for this song, only partly because the movie takes place in the summer, not the winter. The movie is about an "aquatic ballet dancer" and swim suit designer who mistakenly believes that a South American polo team captain is pursuing her sister but who really wants to date her, and who accepts a date with the team captain just to keep him from dating her sister.
Got that? Swimmer lady thinks polo captain is putting the moves on her sister. Polo captain is not, and wants to date swimmer lady. So polo captain asks swimmer lady out on a date. Swimmer lady agrees to a date with polo captain in order to keep a guy she thinks is a predator away from her sister, but she doesn't like him. She ends up liking him later though, because it's a rom-com musical from the '40s.
Actually, I could have just said "because it's a rom-com" and stopped there, because "two people who don't like each other and don't communicate with each other end up married and we're supposed to think this is a good thing" is basically the entire motivation for the rom-com genre.
Meanwhile, her sister is pursuing some other guy who she mistakes for this polo team captain, and since he usually has poor luck with women, he lets her believe in his mistaken identity. What follows is a comedy of errors and mistaken identity that somehow manages to go from two women who go on a date with two men, get mad at them for things they did not do, learn the truth eventually, and go from being mad at them to marrying them. After one date. Because the movie was written by men in the '40s who followed formulaic story-writing to sell more movie tickets.
This film clearly does not show a woman looking for an excuse to stay. The scene is played as a woman legitimately trying to leave. So, on this date where the swimmer is grudgingly spending time with the polo captain, he puts the moves on her. But she still thinks he's a disreputable jerk who is courting her sister and she is only out with him to protect her sister from him. She is NOT into him (yet).
She grimaces when she tastes the drink ("what's in this drink?") and it's NOT storming outside - the Wolf is lying to her about the weather to get her to stay. It's summer in California, the entire premise of the song is a manipulation to get someone to stay against their will. She is playing the character as annoyed and legitimately trying to leave.
The Mouse is not trying to save her reputation, she is trying to give him a soft rejection, as women were (and still are) trained to do, to avoid punishment for rejection by passing the responsibility onto someone the aggressor would have more respect for (her parents, the neighbors, etc.). It's just another variation on "I have a boyfriend" - she is trying to give excuses that he will find valid without saying she's not interested and risking making him feel rejected and hurt by her disinterest.
The reverse gender scene in the same movie is even worse. Later, the sister is on the date with the pretend polo captain and she is obviously, aggressively, and annoyingly pursuing him. The man is visibly angry at her and trying to leave, and she is physically forceful with him to get him to stay. Apparently, because it's a woman assaulting a man, that makes it funny. But it's not any less rapey when a woman does it to a man, and sometimes it's worse because patriarchy.
Very shortly afterwards, each of the couples apparently gets over all of this harassment and mistaken assumptions and they get married. Which is exactly the sort of narrative that "what's in this drink wink wink" promotes. So even if it *was* the joke-excuse, it's *still* harmful to idolize it *today* because the lesson is that when a woman says "no", she means "keep trying until we find a loophole" and that eventually the man will wear her down and win the girl for himself.
Sure, maybe some women did have to find some kind of "excuse" to save her reputation because she didn't have the freedom to say yes back then. BUT THAT'S ALSO PART OF THE PROBLEM, and also not the point. 1) That merely perpetuates the myth today that a woman's "no" can't be trusted because men just need to give her an "excuse" to say yes; and 2) that is clearly not the context *of this song*.
That is retconning the song to assuage our modern consciences for liking it.
The writer here is not a man concerned with either protecting a woman's virtue or subverting sexual mores for women's freedom. He did not write some female empowerment anthem in which a sexually active woman gets to have the sex she wants by justifying it with the right excuse.
He is just what the Wolf appears to be - a selfish, egotistical man more interested in what he gets out of things than in how it affects the women around him, and fully believing he is entitled to whatever he wants at the expense of what the women around him, particularly his own wife, want. Which was absolutely status quo then and still is today.
And the producers who bought the song and the director who directed the scenes did not feel that the message was "no, really, I want to have sex, just give me an excuse". They very clearly saw the song as someone legitimately rejecting another person because that's how they directed the actors to play the scene.
AND THAT'S HOW THE REST OF THE WORLD SAW AND HEARD THIS SONG FOR THE VERY FIRST TIME
How's that for context?
Just admit you like the song even though it's problematic. Own that shit! Have y'all heard the music I listen to? I listen to pop country for fuck's sake! You like that song, the lyrics are disturbing but the tune is catchy. Just accept it.
Their Triforce of Communication is pretty simple. It breaks down communication styles into 3 categories:
1) Sharing - one person wants to share something with another person and does not want advice or anything else, they just want to share and for the other person to listen.
2) Support - one person wants to share something with another person and does not want advice but does want some kind of support, like praise or expressions of sympathy or whatever is appropriate for the thing being shared.
3) Advice - one person wants to share something with another person for the purpose of eliciting advice, practical tips, or actual help.
Even though I've heard of these 3 categories before, because I've been listening to the podcast from the beginning, it just dawned on me tonight that these 3 categories overlap with 3 of the 5 Love Languages.
- Sharing = Quality Time - specifically the dialect of Quality Conversation. This is where two people are sharing *intimacy* with each other by being vulnerable and sharing of themselves through conversation. This is also known as wanting to be "heard", wanting to be "seen", or wanting to be "witnessed". This is a connection-building moment. Someone wants to *connect* with another person by sharing something of themselves and the entire point of this conversation is to build intimacy and to make connections.
That is why advice-giving is so wrong here. Trying to "fix" the thing they're sharing about makes them feel like the connection has been missed, and the gift of their intimacy is being rebuffed in favor of problem-solving. They don't feel "heard", "seen", or "witnessed", they feel as though they are being dismissed, not accepted, a problem to be fixed, or that the situation has been turned around to focus on the other person and their problem-solving skills. I wrote about the Gift of Presence & The Perils of Advice recently, which included a link to a longer article on the subject. - Support = Words of Affirmation. This one is also about building connection and sharing intimacy, but they want it to be more of a two-way street. They are sharing something for the purpose of eliciting praise or sympathetic words. It's through these Words that they get to feel that connection coming back at them from the other person.
Again, advice-giving is wrong here because, to someone who is looking for Words of Affirmation, trying to "fix" their problem implies that they are not good enough to problem-solve on their own. It doesn't matter if the advice-giver doesn't feel that way, the point is that the speaker needs to hear Words of Affirmation and Support in order to feel loved, but what they are getting is "you should do something different from what you are doing" which, while *helpful*, is not necessarily *supportive*. - Advice = Acts of Service. Now is the time for advice because this person is asking for your help ... a "service" of sharing your wisdom and/or offering to actually do something for them. When a person speaks Acts of Service, and they share a problem with another person, they are requesting that the other person show their love by assisting in fixing the problem.
Our culture really reinforces the idea that we should not ask for help. It's often a gendered message, but still somehow everyone gets the message. Men are taught not to ask for help because they would seem weak and apparently that's the worst thing a man can be. Women are taught not to ask for help because it would *inconvenience* other people, and apparently being inconvenient is the worst thing a woman can be.
So it may not always be clear that someone wants advice. They may come to another person with just a story of a problem and be hoping to have solutions offered, but not know how to ask outright. If this is the case, then merely sitting and listening, or listening and offering emotional support, can be seen as not offering *help* when they are in need. They need an Act of Service.
In addition to all of that, these are all examples of Bids for Attention, as described by John Gottman. As a reminder, a Bid for Attention is when a person is requesting the attention of someone they love, and repeated rebuffs of these Bids result in the loss of intimacy in a relationship, which leads to a loss of the relationship itself. Bids are often very small requests, and not usually phrased as a clear "request", so if you're not paying attention, you can miss them. Which is part of the problem - that not paying attention to your loved ones.
So, there ya go - just connecting some patterns for you, bridging 3 different communication tools for your relationship toolbox. If you're having trouble wrapping your brain around one or another, perhaps seeing the connection to one of the other systems can help. Or maybe *you* get the systems just fine but you're having trouble expressing to others why this communication style is so important to you and this other one isn't because they can't really tell the difference? Maybe putting it in the terms from another system can help.
P.S. I teach a workshop on the 5 Love Languages where I take out the religion, the gender binary, the heteromononormativity, and even the assumption of romance, provide the basic framework of what the 5 Love Languages is and how to use it, and expand on it. I have very reasonable speaking fees and I'm quite often willing to waive the speaking fees for some kind of travel accommodation or assistance in getting to your event. Contact me to arrange a lecture or workshop for your group or event.
Logical Fallacies In Polyamory Research
Feb. 23rd, 2018 11:12 pm"Begging The Question" is probably the most misunderstood logical fallacy name, because it's not just *not* understood, it's understood incorrectly. Most people use it to mean "that statement you just made leads us to ask a followup question..." But what it *actually* means is "that statement you just made assumes the conclusion in the premise, making it a circular argument".
A Loaded Question is a question which has a false, disputed, or question-begging presupposition behind it. Here's an example:
"To what degree have you and your partner discussed the boundaries or “rules” related to sexual and/or emotional connections with other people?"The way it's phrased, in particular "discussed THE boundaries or rules", this begs the question. This assumes that we have rules (and the word "boundaries" is used incorrectly here in this sentence too, which is another begging the question) related to sexual and/or emotional connections with other people.
Because of this presumption, it can't really be answered if the premise is incorrect. If we don't have any rules telling each other what we can and can't do with other people, then how can we have had any conversations about it? But, of course, it *is* possible to have lots of conversations about things that we ultimately decide not to participate in. Except we can't answer "we have talked about this a lot" because then it implies that we do, indeed, have these rules in place when we don't. There isn't an option for "we have talked about this subject but we do not have any rules regarding this subject", because the person writing the question assumes the premise, and so did not provide any options to accommodate for a false premise option.
Now, had the question writer not had this assumption in mind when the question was written, it could have been written exactly the same but minus the word "the" - "To what degree have you and your partner discussed boundaries or 'rules' related to sexual and/or emotional connections with other people?" This is a general "have you discussed this topic" question. But, because of how English works, that article "the" implies a specific set of rules, while the absence implies a general "concept or subject of rules".
If we say "we discussed it a lot" under the original wording, then it implies we discussed *our* rules on what we can do with others a lot, but we don't have rules that needed to be discussed in the first place. If we say "we didn't discuss it at all" because we don't have rules, then it implies that we *do* have rules and we just didn't discuss them at all, we just went ahead and implemented them. Both assumptions are not only wrong, but things I actively want to combat about polyamory in general.
These kinds of things are really sneaky. Preset assumptions and biases sneak into all kinds of things, usually without our notice. Lots of times, when we read or hear things like this, we know that something is wrong and we have an emotional reaction to what was just said, but we can't always deconstruct *why* we know it's wrong and *why* we're feeling emotional about it.
Someone who has incorrect presuppositions and asks Loaded Questions gets to "just ask questions" while people get pissed off about it, and they don't ever understand why everyone is mad at them and the people who are mad can't always even explain why it was so angering. It's because we can tell that you have an embedded assumption. You're not "just asking questions", you're revealing what you think about the people you're "just asking questions" of.
This question is not a particularly offensive or antagonistic one. It just happened to be a pretty decent example of several things at once: of the logical fallacy, of how people get that logical fallacy wrong, and of how subtle this fallacy can play out and how simple it can be to correct for, as long as we know what to look for. We often use the really obvious example of "when did you stop beating your wife" when we talk about this logical fallacy because it's crystal clear how there is no good answer to that question that won't get you in trouble and it's so obviously an offensive question.
A loaded question is a question with a false or questionable presupposition, and it is "loaded" with that presumption. The question "Have you stopped beating your wife?" presupposes that you have beaten your wife prior to its asking, as well as that you have a wife. If you are unmarried, or have never beaten your wife, then the question is loaded.
Since this example is a yes/no question, there are only the following two direct answers:
"Yes, I have stopped beating my wife", which entails "I was beating my wife."
"No, I haven't stopped beating my wife", which entails "I am still beating my wife."
Therefore, either direct answer implies that you have beaten your wife, which is a presupposition of the question. So, a loaded question is one which you cannot answer directly without implying a falsehood or a statement that you deny. For this reason, the proper response to such a question is not to answer it directly, but to either refuse to answer or to reject the question.
Which makes supporting and participating in research on polyamory very difficult when their questions are written as Loaded Questions with false, disputed, or question-begging presuppositions behind their premises.
That famous scene from My Cousin Vinny where the lawyer asks the girlfriend a question that's "impossible to answer" is also a Loaded Question, and he doesn't even know that it's a trick question that can't be answered as-is (at least, that's how it's played in the scene, IMO). He didn't know the answer (I believe), he was just banking on the fact that she wouldn't know it either (mansplaining). Since he didn't know the answer, he made a lot of assumptions in his question, like that Chevy made a Bel Aire in 1955 or that it came in 327 cubic inch engine.
Say what you will about the banality of pop lyrics, but they're catchy and they stick, which is what makes the songs popular.
Popular music (through the ages and genres, not just Britney's and Justin's music) is popular for a reason. It's well produced, it's catchy, the combination of instruments and vocals blend into pleasing sounds, and if the lyrics themselves aren't exactly high poetry, they're memorable and they flow.
So I've long said that what we ought to do is just record parodies of popular music with poly themes - people would be much more willing to listen to it, I think. Of course, we'd still need decent recordings, but we already know that the melody will be liked.
So, here's an excellent example: One of my favorite songs is Pink's Leave Me Alone, I'm Lonely. I think it's an EXCELLENT example of what it's like to be solo poly, except the song is clearly not poly. It has one line that explicitly excludes multiple partners. But, it also means that there is really only one line that needs to be altered to make it a solo poly anthem. And it's ridiculously easy to change this line too...
I don't wanna wake up with another
But I don't wanna always wake up with you either
to:
I might wanna wake up with another
You might not wanna always wake up with me either
So now we just need someone who can do justice to a Pink song to get the karaoke track and a decent mic and record this very slightly changed song to make a *really* good solo poly song.
Go away
Give me a chance to miss you
Say goodbye
It'll make me want to kiss you
I love you so
Much more when you're not here
Watchin' all the bad shows
Drinking all of my beer
I don't believe Adam and Eve
Spent every goddamn day together
If you give me some room there will be room enough for two
Tonight
Leave me alone I'm lonely
Alone I'm lonely
I'm tired
Leave me alone I'm lonely
Alone I'm lonely tonight
I might wanna wake up with another
You might not wanna always wake up with me either
No you can't hop into my shower
All I ask for is one fuckin' hour
You taste so sweet
But I can't eat the same thing every day
Cuttin' off the phone
Leave me the fuck alone
Tomorrow I'll be beggin' you to come home
Tonight
Leave me alone I'm lonely
Alone I'm lonely
I'm tired
Leave me alone I'm lonely
Alone I'm lonely tonight
Go away
Come back
Go away
Come back
Why can't I just have it both ways
Go away
Come back
Go away
Come back
I wish you knew the difference
Go away
Come back
Go away
Give me a chance to miss you
Say goodbye
It'll make me want to kiss you
Go away
Give me a chance to miss you
Say goodbye
It'll make me want to kiss you
Go away
Give me a chance to miss you
Say goodbye
It'll make me want to kiss you
Tonight
Leave me alone I'm lonely
Alone I'm lonely
I'm tired
Leave me alone I'm lonely
Alone I'm lonely tonight
Tonight
Leave me alone I'm lonely
Alone I'm lonely
I'm tired
Leave me alone I'm lonely
Alone I'm lonely tonight
Tonight
Go away
Give me a chance to miss you
Leave me alone I'm lonely
Alone I'm lonely
Say goodbye
It'll make me want to kiss you
I'm tired
Go away
Give me a chance to miss you
Leave me alone I'm lonely
Alone I'm lonely
Say goodbye
It'll make me want to kiss you
Tonight
Go away
Give me a chance to miss you
Say goodbye
It'll make me want to kiss you
- She wouldn't have worn that makeup anyway, but I've given up on expecting period pieces to faithfully recreate period makeup; and
- Nobody in their right mind would believe this person with big doe eyes and pouty lips and hair obviously upswept into a cap is a man. Since there are dire consequences for women "passing" as men in previous eras, she especially would not have been wearing feminine makeup. If anything, she *might* have tried to roughen her face to look more masculine with makeup, but likely she wouldn't have had to wear makeup at all.
All it does is make your film look completely unrealistic when people have no idea that she's a woman. It makes the other characters look oblivious and unobservant and clueless when nobody recognizes her as a woman while dressed as a man with eyeliner and lipstick on. Nobody is buying that this short, very slender person (yet suspiciously bulky in certain places) with long hair tucked into a cap and lined & shadowed eyes is male. Women do not need to look "pretty" 100% of the time, even in movies.
So if I want to get all schmoopy with music, I'll settle for songs that I can apply to any individual partner because they don't actively prohibit the presence of others outright or they don't violate autonomy by making promises that can't be kept and so reasonably shouldn't be made. In other words, if I can't have good quality "I love you and you and you" or "I love you, but not to the exclusion of the others I also love" in songs, then I'll take "I love you but without 'forever' and 'only you'".
So, now to my point.
I had the song I'll Be by Edwin McCain in my library. But as I added it to my YouTube playlist, I thought "why don't I just double check the lyrics, in case I'm missing some context that plain text might help me see?"
When I looked up the lyrics, I started to get a little wibbly about its inclusion in the list, what with it's line about "love suicide" and its future tense implying a promise. So I looked up the meaning of the song, and I learned that it was never intended as a love song, but of a guy processing his feelings during a breakup.
And, ironically, his explanation actually made me feel better about including it as a love song that doesn't suck.
"It was the end of a relationship for me, and it was also an admission of my inability to function in a relationship, hence the love suicide line. And it was the hope that I would be better, grow and be better as a person. I was struggling with some personal problems at the time, as well, so it was all of those things. It was this admission of failure and this prayer that I could be a better person, wrapped up as sort of the end of a relationship kind of thought. "To me, an admission of one's faults that contributed to the demise of a relationship and the motivation to become a better person through one's experience in a relationship IS a song about love. Maybe the relationship ended, but he is taking responsibility for his own part in the demise, he is using the experience to be a better version of himself and to grow, and he is not holding onto bitterness when he says he'll continue to be a fan of her and her work. Those are very loving acts.
I wish all breakups were as positive as that, even though this particular breakup was traumatic for him. Some breakups are relatively painless (but likely a little bit uncomfortable), and some are just fucking torture. But if this is how we come away from them, regardless of how much they hurt to go through, I will have considered that a successful ending (or "transition").
I thought that Luke Cage was possibly a better quality of script and story, but I liked the tragic damage of Jessica Jones better. Punisher had that same tragic damage. Where Jessica Jones explored the woman's experience of abuse and PTSD through domestic violence, and *finally* showed us a dimensional female character who is messy and complex, Punisher showed us a man's experience of toxic masculinity and addressing violent trauma from within a violent worldview.
"How do you live in the silence between gunshots?"
So basically any Netflix Marvel story that doesn't involve Danny Rand is worth watching.
Huh, here's an interesting thought: in a surprising turn of events, the woman, black man, blind man, and working class man all have depth and nuance while the rich white guy is flat, sullen, whiny, foolish, boorish, and manages to make even the group dynamic all about him.
So, like real life then.
The Clinton Body Count - The Movie
Nov. 26th, 2017 01:31 amHow much better would Defenders have been as satire mocking "Hilary kills all her rivals" conspiracists? White, privileged, whiney Rand makes more sense in this context - poor little rich kid mad at the white lady taking over the world and making teh menz feel bad about themselves.
I'm thinking an Inglorious Basterds absurdist romp where Hilary is just over the top karate awesome and evil, personally assassinating her rivals and co-conspirators alike to build her empire and keep her secrets. Alexandra Clinton running around spin-kicking Berniebros and Donny Jr. getting his ass handed to him by the evil Progressive Alliance while he stares torturedly into the distance at how much his rich life sucks?
And, seriously, cast Sigourney Weaver. She did Galaxy Quest, she can do action and satire simultaneously.
Hey, writers! You don't actually have to write in a disability into a show. People with disabilities have lives. They have adventures. They have friends and families and enemies. They do things and they know things.
If Stranger Things had never added that one tiny scene where one of the friends teases Dustin about his lisp, and Dustin says "I told you a million times, my teeth are coming in, it's called cleidocranial dysplasia", the show would have been EXACTLY THE SAME.
You don't have to give people with disabilities a "reason" for existing in the story. You don't have to give women a "reason" for existing in the story. You don't have to give people of color a "reason" for existing in the story. You don't have to give trans people a "reason" for existing in the story. You don't have to give not-straight people a reason for existing in the story.
A story happens, people are part of it, and lots of times, those people happen to be people with disabilities, or women, or POC, or trans, or gay, or bi, or anything other than white straight cismen. Just write the fucking story, and then cast someone who can deliver the lines convincingly in it. Or, if it's a text-based medium, just write the fucking story and then change around some of the pronouns or descriptors just because.
Like, the terrible Tom Cruise version of War of the Worlds could have been the exact same fucking movie if you had cast a woman in the role, or a person of color, or someone with a hearing challenge. Especially since the character didn't survive by some amazing abilities that he magically had exactly the right ones at the right time (like most of Tom Cruise's movies), but he survived pretty much on pure, blind luck (which is one of the many reasons I hated the film).
Straight white men don't need any particular "reason" to be in stories. Nobody writes a story and then says "wait a minute, we need a reason why he's straight and white for him to be doing this... I know! Let's write in a series of awkward flashbacks showing his struggle growing up where he likes girls or he doesn't experience racism, and how that leads him on his path to where he is today!"
We don't need to create a romantic subplot to give the women a reason to be in the story. We don't need to set a movie in the "ghetto" to give the character a reason to be black (which is different from setting a movie in the "ghetto" because we want to tell the experience of being in the "ghetto"). We don't need to explain away a character's disability if the story isn't actually about their disability.
Stories don't need to be rewritten to accommodate disabled people, or women, or POC, or anyone else. Only if the story itself is about the experience of being that particular kind of person. But an action film? A drama? A comedy? Just talking about people's lives and adventures? We all have them.
If their disability literally prevents them from doing the thing (like, probably a deaf character couldn't be one of those safe-crackers who listens to the tumblers to open safes), then, OK. But, like, this one actor with cerebral palsy talked about auditioning for a character *who had cerebral palsy*. She wasn't hired because the director was afraid her disability would prevent her from being able to physically handle the role.
As she pointed out, SHE HAS CEREBRAL PALSY. If SHE can't do those things, then the CHARACTER CAN'T EITHER.
So, just write your fucking stories and then cast people in them who can deliver the lines. You don't need to "write into the script" something to explain away your casting choice unless you are directly contradicting something in the script. "The character existed and had relationships and adventures" is not directly contradicting things like "the character also has a disability" or "the character also has a vagina" or "the character also has brown skin".
The headline is inflammatory. It makes it sound like the article will be one of those strawman arguments defending the "right" to sexual assault and criticizing the "over-sensitive liberal left" for being big whiny babies accusing everyone of rape and trying to wiggle out of accountability.
But it's more about acknowledging that everyone *is* culpable in perpetuating #RapeCulture and about looking inside ourselves for at least part of the solution.
If the #MeToo campaign made you feel better, gave you a sense of solidarity, had some benefit for you, then I'm genuinely happy that it helped you. It did not help me. It made me feel weary, cynical, and apathetic. So, even though I also raised my hand in #MeToo, I also took that opportunity to join another set of ranks - one that acknowledged my own participation in rape culture and in hurting other people. It's only by acknowledging it that we can even begin the work to change it.
As I've said before, abusers abuse people not because they have "feelings", like they're angry or afraid because everyone has those feelings, but because they have *beliefs* - they believe right down to their toes that what they did is justified and right. As long as they have those beliefs, they will never change their abuse. Abusers abuse because they believe they are right to do so. They believe they have the right to control other people in an attempt to manage their own feelings. Accusing them of abuse only makes them feel and react indignantly, offended, insulted, and more angry, because they believe they are *righteous* in their behaviour.
Rape culture is just more of that. People sexually assault, not because they're "overcome with lust", but because they believe they are good people, and since they are "good people", what they did must not be assault. They have a justification for it. They believe that they did not do anything wrong.
And as long as they continue to believe that, they, like abusers, will not change.
So we need to stop seeing people who do bad things as cardboard, cartoon evil villains, and start seeing them as complex people who have absorbed the very messages our society tells them to absorb and they believe they are right for having done so.
That has to start with ourselves. That has to start with it becoming "cool" to see the complexity in people, and "trendy" to look at ourselves deeply and acknowledge our actions, and morally right to accept accountability for those actions. We have to make it the more socially acceptable path to model and reward humility and accountability over strength and confidence (two of my own traits I am most proud of, btw, so this is not easy for me).
Nobody will be perfect. I'm sure there are plenty of things that I still believe I was "right" to do that others think I was wrong about. But I will start by acknowledging my participation in rape culture *even as I was a victim of it* my whole life, and I will apologize, and I will seek to change my behaviour in the future because sometimes that's all we can do when something is too far past or the people we have hurt are too far out of our lives to make reparations towards them personally.
But the hard part is that I am seen by society as a woman. My standing up to "MeToo" my participation, rather than my experiences, isn't what will fix things. It will take people seen as men, and respected as men, doing it visible and frequently to turn the tide of society.
Because otherwise, I am just a tu quoque example "well women do shitty things too!" defense.
"And, part of what was creepy about that night, is that I was hooking up with that girl for social status, not to connect with her. Of course I was tuned out to what she was feeling sexually; I was completely numbing my own sexual desires in pursuit of ego gratification. I wanted the feelings of success that would come after hooking up with her, but wasn’t much interested in the feelings of connection that came during hooking up. I wanted to fuck her as quickly as possible and get it over with just so I could say that I’d done it."
"How could people enjoy, and demand, being sexual with my body when they could knew it was hurting me?
The answer, I believe, is that they were in pursuit of ego gratification. They were disconnected from what we both were feeling, and were instead focused on the “accomplishment” of hooking up with me. The gratification they wanted wasn’t the gratification of connecting with another human, but rather achieving something in the eyes of society."
"Even if I didn’t do anything to her without consent, I think what I did was bad for her. I think I hurt her. "
"However, I think most of us *have* participated in the culture of sexual harassment in one way or another. There is not a sharp divide between the “evil” men in the headlines and a mostly innocent public; rather there is a spectrum that we will all find ourselves on."
"Sexual assault is a natural and obvious extension of our culture. It is a natural extension of values that we all have internalized."
Why You Polys Gotta Have So Many Terms?
Sep. 10th, 2017 01:47 pmWhy do poly people always need to invent new words? What's wrong with all the words we already have?
Because, even when we use the words we already have, people don't understand what we're saying, thanks to narrow gender roles and social expectations.
I'm watching a video where a couple of women are professional dance partners and they're talking about the nature of their relationship. They go by the professional title of The Decavita Sisters (I think - I wasn't really paying attention to their names; a big flaw I have in general). So the interviewer asks about other siblings, and they admit that they're not biological sisters. They're asked to go on, so they talk about meeting "a very, very long time ago" and how close they became very quickly, and eventually they became sisters. "We adopted each other".
The interviewer's next question was "so, are you *together*? Or just dance partners?" The women both look at her and repeat "no, we're sisters. We adopted each other." So the interviewer asks "and you changed your name legally?" They look at her as if to say "well, yeah, we adopted each other, that's kinda what you do," but they answered much more politely with a "yes, it's in our passports."
She then asks whose name they took, so the women have to explain that they made it up, and that they are "the only in the whole world with that name." The interviewer is just stunned and baffled by this. She has no idea what to do with this information. To me, this makes perfect sense. They became sisters, so they are now sisters. I don't understand the confusion. "Sisters" is the relationship that they have, therefore, they are.
I think my adopted background helps me in polyamory. I intuitively recognize families of choice. I have a sister, because we were raised together as sisters. We're not biologically related, but we're still sisters because that's our relationship.
When I was in junior high school, my clique did a thing where we all took on familial titles. I have no idea why we thought this was a good thing at the time, we just did. So I had 3 sons, I think, and a sister, and an aunt maybe? I don't remember them all, just that 3 guys were my "sons". We were all the same age, and there were maybe 10 or 12 of us in this "family". I think I drew out a chart. As I do.
Then, in high school, I had my 5-40 Fone Crew - my besties who all hung around the only pay phone on campus during our lunch break (40 minute lunch break, 5 days a week). Our boyfriends were all friends too (I introduced my friends to his friends when we started dating and everyone kinda just paired up), and we were the first in our school to all have pagers because our boyfriends were older and all had them, so we sat by the phone so we could all send each other l33t-type pager messages. We were also a family of sorts, and we had our own terminology for our group.
I was just in a thread discussing a term for a metamour who is technically no longer a metamour because one or both of you are not dating the person who connected you, but you both still *feel* like metamours (the word is metafore, btw, www.theinnbetween.net/polyterms.html#metafore).
There are 2 uses for the term "metamour" - one that means just the connecting line, which is "one's partner's other partner", and the other that means a special kind of direct connection between two people who have a mutual romantic partner in common. Both are valid and necessary definitions.
Because of the nature of poly relationships, as different from other forms of non-monogamy, which builds more interconnected, entangled, and interdependent types of relationships, it's important to acknowledge our partners' other partners as valid and deserving of recognition. So we have a word to call them.
I really like the fact that my metamours are MY metamours, not "something over there on the other side of my partner that he does that has nothing to do with me". I think there's a certain level of respect inherent in the metamour relationship that other forms of non-monogamy don't require in their partner's other partner relationships.
But this label doesn't tell us what *kind* of relationship we have with each other, just *how* we are connected. I make the analogy to cousins and in-laws: saying that someone is my cousin or my sister-in-law tells you how we are connected via other relationships between us, but it doesn't tell you if we like each other, or get along, or what. But it does tell you that we are *family*.
And I think that's an enormously important concept - the idea of acknowledging and respecting how people are connected to each other without dictating or prescripting how that relationship ought to look.
The other definition *is* about the nature of the relationship. Some poly people don't bestow the label "metamour" without that direct connection between them - usually an independent friendship or a sibling-like bond. We often hear about sister-wives (controversial because of the associations with religiously determined polygyny), and about metamours who see each other as "brothers" or co-husbands, etc.
This is why "metafore" came into being. This is when people feel a special closeness that is related to their shared connection to a mutual partner. It's difficult to really explain, but there is a special quality to the closeness between people who have a romantic partner in common that doesn't exist in any other relationship bond. So when the connection to the mutual partner is severed, that closeness can sometimes remain in spite of the break, because of that shared linkage in our history.
Or, in my case with my 2 metafores, that bond gets even closer when we both went through breakups with our mutual partner. I have people whom I like and respect a great deal who are former metamours, and I have 2 metafores because that bond is unique to that situation of having once been close metamours and remaining in (or strengthening) that close bond.
People ask why we need all these terms. And I think that's because society gives us such strict roles, that anything outside of that role doesn't make any sense without a new word to cover it. Instead, society tries to give us a blanket term, "friend", to cover *everything* from slightly more than acquaintance to "best" friend who can often be a more intimate, stronger bond than romantic partnerships.
Sex And The City, for as problematic as it is, was an excellent example of "friends" who are "more than" the romantic relationships in their lives. No matter what happened in their romantic relationships, their friendships were their anchors, their partners, the core of their lives. That show was instrumental for me in being my first step towards learning to see the relationship between women as valuable, and as necessary, even for tomboy Chill Girls like me.
https://www.youtube.com/watch?v=zx5N2b94BSk
We can't use "friend" because that means too many things, so it doesn't cover it. But, at the same time, we have a culture that privileges romantic couples. Romantic partners are privileged and prioritized above everything else, except possibly the parent / child relationship.
This is why the SATC show was so controversial. The characters were accused of "using men like Kleenex" because all their romantic partnerships took a backseat to their platonic friendships. The only men who made the cut were the ones who basically accepted that they came in second to "the girls".
Normally, if a platonic friendship interferes with a romantic relationship, it is culturally expected that the platonic friendship will have to end unless the romantic relationship isn't The One. Nobody ever asks what happens if the romantic relationship interferes with the platonic friendship. Except abuse specialists.
If you get invited to a wedding, your legal spouse is pretty much automatically invited. I've never heard of anyone sending a wedding invitation to one half of a married couple and then getting upset when they RSVP for the spouse too. But bringing along "just a friend" is very controversial. It's often seen as the "consolation prize" - who you invite when you can't get a date. And you need to ask permission to do so. And it's totally cool for the bride to say no, but saying no to bringing a spouse? That's pretty uncool.
Legal marriage confers a whole bunch of legal rights and responsibilities that are *just not available* through any other means. Like immigration, for example, and not testifying against someone in court. If you try to use these rights, the government makes you "prove" that the person you're using them with is a "legitimate" spouse, meaning a *romantic partner*. If you aren't romantically involved with your spouse, that's actually grounds for an annulment in many areas, which means that the marriage never legally existed in the first place.
This is my entire problem with legal marriage. I should be able to enter into any legal contract with any other person I want, providing we are otherwise eligible to enter into legal contracts with each other. My ability to enter into a contract with someone should not hinge on something as subjective and ethereal and, frankly, nobody's fucking business, as romantic feelings for them. If they are of legal age and "sound" mind to give consent, that's all that should be necessary for entering into a contract with them.
But before I go too far down the rabbit hole of my moral objections to legal marriage, let's get back to the point. If two people seem exceptionally close to each other, we just automatically assume they must be romantically involved. Because romantic couple privilege.
If we call them "friend", it's not descriptive enough, even though it's true, because "friend" covers too many different things. But "friend", for as broad as it is, is also limited in its own way, *because* of that romantic couple privilege. As in, "just" friends. Since romantic couples are privileged, everything else is "just", no matter how close those "friends" actually are. So we come up with other terms. "Sisters" (but, if you don't have the same parents, how can you be sisters?), soulmates (but that's for romantic relationships!), metamours, anchors, nesting partners, core partners...
We need these terms because we're not *allowed* to be these things otherwise. Two women are supposed to be close because women have certain gendered expectations of their relationships and women (apparently) are all nurturing and emotionally intimate. But they can't be "too" close, because then they'd have to be romantic partners.
We can only understand that level of intimacy without sex as siblings. Never mind the fact that lots of sisters aren't that close. Only "sisters" can be that close. Blood vs. water, and all that (and don't even get me started on the irony of that cliché in context).
I don't really have a point, I think. I just heard this bit of dialog in a video, and it came on the heels of a discussion of metafores and people complaining about yet another poly term and why is it even necessary when we have the word "friend", and I got all annoyed at the interviewer's confusion because our current vocabulary is simultaneously too broad to be clear and too narrow to allow for the diversity of intimate connections.
In other words, our culture is incredibly stunted when it comes to recognizing and accepting intimacy. And that irritates me.
As a kid, I grew up on Kenny Rogers, Dolly Parton, and Crystal Gale. That was '70s country. Crystal Gale is the reason I gave to my parents, when I was finally old enough to articulate rather than just scream and throw a tantrum, how much I hated having my hair cut. I had my own 8-track stereo in the room I shared with my sister and a stack of cartridges with these '70s country icons (among others).
Then, as I started going to school and became aware of the social strata of popularity, I decided that I wanted to be one of the "cool kids". So I dumped the country in favor of Madonna, Janet Jackson, Paula Abdul, Corey Hart, and Culture Club.
Then, around 8th grade, I hit my rebellious phase and decided that being "cool" wasn't cool anymore, so I got into edgier music like glam rock, hard rock, and metal. If my mom wanted to throw the album in the trash, I thought it was great - Poison, Motley Crue, Alice Cooper, Metallica, Lita Ford, Def Leppard, Megadeath, Slayer, Skid Row, Ratt, etc.
But I still secretly harbored an interest in country. I wouldn't even admit this to myself, but it's true. And then, in my junior year, I found myself at a school dance with two guys who were vying for my attention, both of whom were total metalheads. We were standing in the courtyard as I desperately tried to make this encounter less awkward, when the Alan Jackson song, Chatahoochie, came over the speakers.
These two blond haired guys wearing ripped, stone-washed jeans, black band t-shirts, and heavy leather motorcycle boots playing passive-aggressive dominance games with each other both immediately stopped their one-upmanship, looked at each other, and shouted in unison "Chatahoochie!" and ran back inside the building together, while I stood there with my mouth hanging open.
Still under the mesmerizing sway of popular opinion (only now it was the "we're all so unique that we reject the mainstream in exactly the same way" type of "popular"), I decided that if these two rockers could like country music, that was enough permission for me to like it again. So I got into country music right then and there, with Alan Jackson, Martina McBride, Garth Brooks, Shania Twain, Tim McGraw, and Faith Hill.
About a year or two later, I was driving my sister around (who was not *quite* old enough for her license yet to drive herself). She liked rap and hip hop, which bothered the hell out of me. I couldn't stand the lack of melody lines and complex harmonies and the overwhelming percussion to almost the exclusion of any other instrument.
But it was my car, so it was my music. I don't remember if a Dixie Chicks song came on the radio and my sister expressed an interest in it, if the song was on one of my mix tapes, or if *she* put the music in herself. But somehow or another, she ended up admitting to liking the Chicks "because they're not really country".
So I said to her, "honey, they're bluegrass! They're more country than any of these other country stars on the radio!" She insisted that she didn't like country music, just the Chicks, who didn't "count".
This is the first memory I have of noticing the inconsistencies with the phrase "I like everything but country and rap". How could anyone like bluegrass music but not "country"? And then, a popular country song hit the charts that was released as a hip hop ballad almost at the same time. It was exactly the same, except for the accents of the singers - white twang vs. "urban" (i.e. "black").
This song became huge radio hits on their respective stations, but I noticed that A) most people had no idea that there was a version in the genre that they "hated", and B) when they did find out, they were outraged and they "hated" the other version in spite of using almost the exact same backing track and being nearly identical except for the singers' accents.
That started me down the path of learning about how the different genres influenced each other, which led me to the history of music in general (well, that and I was forced to take a Musical Theory class, which didn't actually teach us much "theory" (which I got more from my piano teacher) but did spend the whole semester traveling through time showing us how music genres begat other music genres), which finally led me to the conclusion that people who "like everything but country and rap" are full of shit. Including myself.
I have never been able to articulate why this now bugs me so much. I spend a lot of time rambling about the frustration of people who just don't know their music history. But this article simplifies the whole thing. This isn't just a widespread musical ignorance, it's a deliberate marketing decision to racially segregate an industry. And we all buy into it, literally almost a century later.
"That’s when the “everything but country” comment started to bug me. I figured people just weren’t trying, heard Toby Keith on the radio, and changed the station. Still, I couldn’t understand how some of the people I knew who were deeply interested in music like I was couldn’t see the light and recognize the worth of country music."
"“Everything but country and rap” at its core is a class issue. I just needed someone else to say it, and it confirmed why it had been bugging me. ... Where there’s class issues, there are race issues. This is no surprise. But that’s where the story of “everything but country and rap” starts: a formal racial division."
"When popular recorded music was first able to be distributed and marketed in the 1920s, a decision had to be made. This is the South-- do we keep all of the blues-based music together? That would mean white and black in one category. It was an easy answer at the time: no. This created two, in Hubbs’ words, “racially distinct marketing categories:” hillbilly and race."
"While they seem completely separate, hip hop and country sit on the extremes of the spectrum of popular musical genres, and find themselves subject to many of the same criticisms. This, to me, threw open the door on why “everything but country and rap” is a bigger deal than it seems. Authenticity is important in both musical communities, both policed inwardly and from outside listeners."
“Authenticity seekers today reject modern commercial country and its market-driven anything-goes stylistic idiom, idealizing past artists and purist notions of a genuine folk idiom,” Hubbs explains. In embracing this fantasy, listeners forget that “country has always been a commercial music.”
"To admit you like country music is admitting you like something inherently and purely working class, which jeopardizes your status as middle class. ... The middle class white actively avoid identifying with country music and hip hop because it represents something they’re afraid of being perceived as: something other than white, and something lower than middle class."
"Country and hip hop are seen as extremes: one very conservative, religious, and traditional, and the other vulgar and violent. ... These blanket statement topics are how the cultural majority is taught to interpret these genres. There’s no discussion that these are very rich groupings of music, with many vibrant subgenres of their own. ... The anxiety that causes people to avoid being fans of these genres, however, prevents understanding this. It all sounds the same because it all sounds different than what you listen to."
I've been trying really hard over the last several years to describe the sounds that I like or dislike, rather than blindly listing entire genres. I prefer melodic music, even better if it's in my own vocal range. I also like catchy hooks, and I also like complex harmonies and intricate interplay among different instruments. This means that I do occasionally like some songs that fall under the "rap" and "hip hop" genre titles because these are rich and diverse genres that sometimes incorporate these elements.
I don't like "country" so much as I like the sound of fiddles, banjos, and Southern accents, specifically. I am more likely to find that in country music, but not always. I also like blues bass lines, so I'm also going to find that in a lot of country music, because what's more "white culture" than appropriating "black" art?
After my departure from pop music into rock and metal, I adopted the typical rocker arrogance (which has since turned into hipster snobbery) where I didn't like anything "popular" because "everyone else liked it" (completely oblivious to the immense popularity of my own hard rock idols who filled stadiums with thousands and thousands of fans).
It has taken me a really long time to finally admit that I do actually like pop music. When I first started admitting to it, I tried to soften the revelation by saying that I only got into it because I do ballroom dancing, and we have an aging-out problem. It's really hard to continue bringing in new dancers when the dance style is an older style associated with older music.
So, as you might have noticed if you watch Dancing With The Stars, a lot of dancers have been dancing to modern pop music, partly in an effort to attract newer, younger dancers, but also because some of those dancers *are* new and younger and that's the kind of music they like.
If someone looked at me sideways for having a pop song or artist on my playlist, I would shrug and say "I'm a dancer. I build playlists, and this is what brings people in." But, honestly? It's on my playlist because I fucking like the song. Maybe not my YouTube playlists, which are deliberately built to introduce people to partner dancing and get them to learn how to identify rhythms suitable to each dance style.
But my personal playlists on my iPod contain songs that I like to listen to. And yeah, I have music from Nickleback, Britney Spears, NSYNC, and about half the former-Disney-bubblegum-artist squad. That music is commercially successful because it capitalizes on sounds *that people like to hear*.
So here is yet another rant on why I dislike when people dismiss entire genres of music when I know that they haven't put in the time to actually experience those genres. You can't always help the sounds that you like or dislike, and that's not what I'm talking about. I don't care if you don't like the sound of a fiddle. But that's not "country music". I don't care if you don't like lyrics that "glorify violence", but that's not "rap music".
What has bothered me about the "I like everything but country and rap" is something that I didn't have the words to explain - this is an inherently classist and racist attitude that was deliberately, consciously, developed in our society by a commercial mega-industry for the two-fold purpose of increasing profits and solidifying bigotry in our society.
http://www.runoutnumbers.com/blog/2015/11/16/everything-except-country-and-rap
(One of these days, I still want to put together an audio quiz with little snippets of songs and challenge people to identify the song as country or not, because I bet that people who don't listen to the genre and don't recognize the songs won't do well on that test.
I also plan to put together a YouTube video of snippets of songs that exemplify the different subgenres of country music, to show the diversity of the genre - Zydeco sounds WAY different from Beach Country which sounds way different from Southwestern Country which sounds way different from Pop Country which sounds way different from this new rap/sing-talk/country crossover thing, and sometimes it's *really* hard to tell if a song is bluegrass or Irish folk music.)
So now you have to shoot your mouth off about non-monogamy. Please sit down and shut up. You're making educated white women look bad. Not that they need any help in that area, but you're just making it worse.
Your biology is outdated, your sex and gender essentialism is outdated, your anthropology is outdated, your psychology is outdated, and your sex education is way outdated.
AND you make the same mistake as so many others before you of believing that, assuming that even if all your so-called "facts" were completely true, that humans stopped evolving millions of years ago around the point at which we split from apes and that our brains aren't incredibly plastic and highly susceptible to non-genetic influences like culture and higher-order thinking.
You're just so wrong on so many points that it would take me forever to correct you on each one. You're not just wrong, you're fractally wrong. Every single thing you said was wrong.
Except the part where you said that you don't get open relationships. That was 100% accurate - you don't get them.
I'll give you this: it's a good thing that you know your limitations. It's excellent that you have discovered that you lack the attention span and the emotional capacity to care for more than one human and one relationship at a time.
I just wish you had discovered that before you had children.
I'm not linking to the original post because I don't want to give her traffic. But if you really need to see it, do a YouTube search for Mayim Bialik and open relationships. She rants and raves about how she "gets" certain "excuses" for open relationships but then goes off the rails on all the things she doesn't "get" that are strawman arguments, using outdated or incorrect "science facts" to back up what amounts to her personal opinion that *she* is not capable of doing these strawman things. And she completely ignores gender diversity, boiling everyone down to biological "men vs. women" sexual dimorphism.
So. Much. Wrong.

There has absolutely been oppression and hatred and bigotry directed at any number of nationalities, ethnicities, and skin tones. It has not all been the *same*. I'm not even going to rank any of it - it was just *different* for us all. Our cultural histories are *different*. So when it comes to representation, someone of my heritage, or Gadot's heritage, cannot stand in for all POC, and sometimes not for any POC.
I may be Chicana, but the world sees me (and therefore treats me) as white, so my experiences, especially my successes, can't be used as examples of POC success or representation. As for Gadot, I will let the people most affected by her speak for or about her.
"But what about all the black AND Latinx people who tell me that POC is an umbrella term that includes black people, Latinx, Pacific Islanders, and Middle Easterners? Are you saying I'm wrong to call them all POC?"
You've been somewhat misled. If you look on any census or many government stat questionnaires, "Hispanic" is not a race. We still have to classify ourselves as white in the race category.
"Latin American" was created by white people to replace (and is often used interchangeably with) "Hispanic" because Peru speaks Portuguese and white USians wanted a single word to refer to a dozen different distinct nationalities rather than acknowledge us as all different. People from those regions do not call ourselves Latin American. We usually refer to our country of origin - Mexican, Cuban, Puerto Rican, etc. or even more locally by tribe or indigenous affiliation like other Native American people.
That's like Italians and Irish people all calling themselves "European", except if the US invaded Europe, colonized it, and then said "since we've renamed your continent Europe, you're all just Europeans now because we want to track you all but we really don't care enough about your individual cultures to track you that granularly. And, not only are you all just "European", you're also all white, because you're not black. But if you are black, you're not "European", you're still just black."
Because people of South American descent are discriminated against, we are often brought under the umbrella of "POC" because black and brown and red and yellow are all colors of skin and none have the status of "white".
But a success or a representation of one of us is not a success or a representation of us all. Our various histories of oppression are *different* and one group overcoming a hurdle is not representative of all people of color and all their distinctive hurdles.
As, for example, the issue of marriage mentioned above. Mexican children were always able, legally, to go to school with white children, as another example. A Mexican getting a degree from a "white" university is not a "win" for black people, who were legally barred from entry into white schools. That accomplishment does not represent all POC and should not be celebrated as such.
And another point - South America is a colonized continent with an incredibly diverse ethnic and racial background. We are not all brown. For a long time, there was even a strict caste system in place based on how much white or indigenous or African ancestry one had. Being from Mexico could mean that I'm African-Mexican or Native Mexican or Spaniard (which is white) or some mix.
Mexican people in particular, of those with South American heritage, have been trying to gain some control over our nomenclature, but nobody seems to hear us. They just keep calling us "Hispanic" and "Latino/a/x" whether we want to be called that or not.
And then there is a segment of our population who is all about embracing assimilation and our colonizers and invaders. They'll vehemently defend those terms or tell you that its not problematic to use them, that it's not a big deal. Some of these people voted for Hair Gropenführer and made headlines when they were surprised to find their totally legal asses deported anyway.
So whether we fall under the POC umbrella depends on who is speaking and the context of the subject. But a success for one member is not a success for us all. Maybe if all POC finally figure out that we outnumber the white folk when we're all counted as one bloc and we rise up unified, but that probably won't happen. When it comes to POC rights and being equal, then we can all band together as one group. But when it comes to specific types of discrimination or specific landmarks and historical progress, we cannot each stand in for us all.
The history of Jews is not my history as a descendant of Mexicans. The history of Africans in the US is not my history as a descendant of Mexicans. And Gadot headlining a successful action film is a huge win for women in film and entertainment, but not a win for "POC", let alone WOC. Talk to me when a person of obvious African ancestry headlines a successful action film, or when an Asian actor headlines as the romantic lead or a successful action character that isn't a martial arts expert. Or a Mexican (playing a Mexican character, because there are some women of Latin American descent who occasionally play no specific ethnicity and pass as white) headlines anything not as a villain or in a film not related to drug cartels.
And then come talk to me when those landmark films are a drop in the bucket and we no longer need to point out "well, there was This Film who had This One Actor who did This Thing" to somehow "disprove" that racism doesn't happen in Hollywood.
#ContextualPOC
New Poly-ish Movie Review Episode - Trois
May. 16th, 2017 12:38 am
Just a tiny bit late, but this month's episode is out! One of these days, I will plan my episodes to have better timing with milestones. This movie is perhaps not the movie I would have wanted to mark my 2-year episode. But here is Episode 24 none-the-less!
Content Note: This review contains the sardonic use of ableist language & possibly sex-negative sex worker language intending to mock the sorts of writers who use "crazy" as a scapegoat and their poor depiction of mental illness as well as their obviously one-dimensional and low opinion of sex work.
I am using the language to describe what the *writers* of these sorts of behaviours think and by using these words, I am intending to show my disapproval and contempt for this viewpoint in my tone. I apologize if my intention does not come across or if readers are unable to read or listen because of the language.
What I am going to do is get on my soapbox about the "purity" of music.
YOUR COUNTRY MUSIC IS NOT AND HAS NEVER BEEN "PURE COUNTRY".
Neither has your rock and roll, or any other genre of music, for that matter.
All music has evolved and blended and stolen and shared with other styles of music. That's what art does, as an expression of feelings by people who have experiences. No one lives in a bubble and we are all influenced by other people, but art itself *deliberately* influences other art and *deliberately* allows itself to be influenced.
When pressed, most people who complain about the "pop" in "country" seem to think that Hank Williams. and Johnny Cash are the epitome of "country", as if country music was invented in an isolation lab in the late 1950s and lived on an island until the 1970s, when it got "corrupted" by outside influences and money.
I got news for you - that's not how "country" started, nor is it what "country" music *is*. Even Johnny Cash listened to Nine Inch Nails and appreciated and respected the musical artistry of Trent Reznor. One of Johnny Cash's greatest songs was also one of his last songs and it was a cover of a Nine Inch Nails song. It's hard to think of two genres of contemporary musicians further apart than those two, but because they were consummate musicians, they understood the complex, intertwined relationship that all music genres have with each other.
People seem most offended at the idea of country music and rock music blending, but the two genres (including pop music - I know neither genres' fans are willing to admit any relation to "pop music", but more on that later) are inextricably linked, twisting and spinning and folding and mixing around with each other from day one. "Country" music can be traced to its most heavily influential roots of Irish and other European folk music *strongly* blended with the cultural appropriation of jazz, which evolved out of a massive cultural appropriation of Negro music. Same with rock, btw.
"In the beginning", the music that eventually became known as "country" was a blend. They took some of the favorite musical instruments of poor white people and added the melodies, harmonies, and rhythms of poor black people. "Country" has never been "pure". Later (but not much later), rock and roll came along, which took that poor white music mixed with poor black music and threw in a little urbanization by removing some of the regional "twang", in one sense "sanitizing" the music for popular consumption.
In other words, rock and roll was the first modern "pop" music, a white-washed, pseudo-innovative, stolen version of music originally being made by people "the masses" weren't "ready" to hear.
Don't get me wrong, I love rock and roll music. I'm merely describing it. Because I love it, I won't let myself close my eyes to its origins or its cultural impact. In spite of the controversy and the upper classes trying to ban and block the progress of rock music, it was still originally a toned-down, less creative, less musically *interesting*, more polished version of other people's "edgier" music intended for commercialization. Exactly what rock snobs complain about "pop" music. And none of the modern sub-genres of rock, including disco, industrial, electronica, British Invasion, metal, etc. would exist if it hadn't been for that white-washed, sanitized "pop" music.
But back to country.
Country music, like rock music, isn't a single genre. I have two long-term YouTube projects on the back burner that I may or may never get around to: 1) is playing snippets of songs and having the listener attempt to guess if the song is technically classified as "country" or "rock", and if the listener doesn't already know the songs, I'm willing to bet that most people will find this challenging. A lot of "identifying" music into their respective genres is actually identifying the singer's accent, which is in a sense, a form of racism - if there is a southern twang, it must be country, if there is an urban roughness it must be rock, and if there is a "black" voice it must be R&B or rap or "whatever black people sing" (depending on how blatant the racism of person doing the identifying is), but switch out singers and some of this music becomes identifiable as a different genre by many people, even with characteristic instruments;
and 2) is sharing sub-genres of "country" music (based on my own categorization, not necessarily any "official" categorization, mainly because I don't think one exists, although there may have been other "unofficial" attempts) and giving examples to illustrate the diversity of this genre that so many people think is a single monolithic genre or, at best, 3 sub-genres based on decade ('50s vs. '70s vs. today's "pop country" that somehow "doesn't count").
As a preview, just off the top of my head, some sub-gengres include: Southwestern country (with Native American and "old west" influences), zydeco country, bluegrass country, Caribbean country & its sister "beach" country, jump blues country, slide blues country, old-timey country, country rap, and country electronica, just to name what first popped into my head. I'm quite sure I can think of more distinct categories, as could some of you if any of you listen to country music. If I played music from those categories for you, I guarantee that even non-country listeners could tell the difference. But non-country listeners, by definition, don't listen to country and are likely not aware of all these different styles, even if they have actually been exposed to it at some point before. And some country listeners are too busy trying to preserve the "purity" of whichever version they think is the One True Country to acknowledge the existence of the others or to dismiss them as a few fringe songs out there somewhere rather than a whole genre on their own. But they exist and they have celebrity artists and cultures all their own.
So, Beyonce guest starred at the CMAs. OH NOES! What is country music coming to?!?! Well, I'll tell you. Country music is continuing on the path it has always traveled, by being an incredibly rich, diverse, and complex musical art form that is influenced by and borrows and steals from other cultures and other styles of music. Whether you *like* it or not is a different question and I'm not trying to make people *like* it, but "country" music is an amazingly colorful, intricate, heterogeneous art form, filled with hope and and anger and feminism and misogyny and racism and tolerance and anger and passion and love and deep sadness and great joy and silly fun and everything that makes up the human experience.
As we are not all the same person, so country music is not all the same sound. It is made up of the same conflicting, contradictory mishmash that we are as a species, comprised of the same capacity for transcendence and depravity, for simplicity and complexity, and influenced by the world around it, as we are.
I love taxonomy. I love categories and boxes and neat labels. But if being poly has taught me anything, it's that labels for X and Z may be necessary but that Y is something messy and in between, and *that's OK*.
So, welcome Beyonce, to the racist, sexist, yet beautiful world of country music. Where we are all different, and more the same for those differences.
The really ironic part is that, in the middle of the performance, they broke into a few bars of a Dixie Chicks classic song that literally complains about the "impurity" problem of country music:
They sound tired byt they don't sound Haggard (Merle Haggard)
They got money but they don't have Cash (Johnny Cash)
And for reference, the original song, which is quite Louisiana blues all on its own and lends itself very easily to a "country" version (if you don't count this as "country" to begin with). Certainly the subject matter is a common country trope - lessons from daddy, guns, and women retaliating against domestic violence:
The Truth About Dishonesty
Jun. 24th, 2016 07:32 pm"In his mind, he wasn't just stealing music, he was fighting for freedom!"
Coincidentally relevant to my last post (coincidentally in that it happened to cross my feed and my attention right after making my last post).
This is an interesting observation on exactly the points I was making - 3 in particular:
- We are all the heroes of our own stories and we can justify everything we do from within our perspectives;
- That doesn't mean that there is no such thing as "right" and "wrong" just that it's more complicated and the paths to correct people need to reflect that complexity and that understanding; and
- We have to leave room in our communities for people to fuck up and to treat them with compassion and understanding if we want to have any hope at all in changing the culture around us to lead to fewer fuckups with lesser degrees of consequences.
This is why punitive justice systems don't work. If people come to believe that they are Bad People, for whatever reason but often because their society insisted that they were Bad, they tend to think "well, fuck it, if I'm bad, then I'm going out all the way!" There has to be room for redemption. That is actually much more effective at stopping bad things from happening and in limiting those bad things that still do happen to more manageable bad things.
So he starts out the divorce following the script he usually gives to his clients, which is to prioritize self-preservation on the assumption that the other person is his opponent. But she sits him down and points out that the person on the other side of the table is not one of his clients' "crazy ex-wives", but HIS wife. How does he want to handle this one?
He admits that he has no freaking idea. In all his years of being a divorce attorney, it has never once occurred to him that the person he is fighting is a human being with a shared history and complex emotions and that the person on his side of the table also has complex emotions about that other human being. In all his years as a divorce attorney, he has seen people at their worst, fighting for what they believe is their survival against an evil enemy but he has never thought that self-preservation might actually be counter-intuitive and cause exactly the sort of situation where self-preservation tactics are necessary.
So now he's facing his own wife across the table. Preemptively shutting down the accounts to prevent her from retaliatory spending didn't protect him from her vindictiveness, it made things worse. It hurt her and treated her like a criminal. It attacked her very sense of self as a decent person. It created self-doubt in both of them. It tarnished not just the memory of their marriage together, but even the love that they both still feel for each other behind all the pain.
That action actually changed the very nature of their relationship and their feelings towards each other and about themselves. That action was not the result of things changing, it was the catalyst.
But in their future, they won't remember it that way. They will see each other through this new lens, and that action will be representative of this new changed perception of each other, rather than the action *causing* the change. Because that's how our memories work. They rewrite themselves every time we recall them, influenced by whatever we're feeling when we recall it, so that your memory gets changed and you don't even know it.
What would our world look like today if the entire divorce industry had been built up from a societal foundation of compassion instead of brutal self-preservation? I don't mean that self-preservation was thrown out the window and that everyone just rolled over and let people take advantage of them. I think that self-preservation is a natural extension of compassion, it's just that it takes different roads to reach that destination, and the destination is a prettier landscape than what the other road leads to.
What would our world look like today if ALL divorce attorneys had a background in psychology that believed compassion should form the foundation of every interaction? Would there be more attempts by attorneys to reason with each other and their clients? Would law firms have mottoes espousing compassion, ethics, and dignity? Would law schools teach, in addition to the law, how to see others as fully formed human beings and how to see multiple perspectives?
Would divorce offices have couches and personal end tables for writing instead of large, domineering conference room tables where people square off against each other? Would everyone sit down in these comfortable but not vulnerable seats, and would the attorneys lean in and say to the future ex, "I'm so sorry this is happening. This must be very difficult for you. Let's try to work together to make this as painless and equitable as possible. Would you like some tea? Can I make you more comfortable? How is the temperature in here for you?" and would they make every effort possible to instruct their own clients to reign in their tempers, to give just a little bit more than they're getting, and teach them how to see things from their soon-to-be-ex's perspective?
And if this was the *norm* for the divorce industry, not just individual practices existing here and there or a specialized subculture of contract mediation, but the very foundation of the entirety of divorce law in the US, what would the society that spawned this kind of industry look like?
We are all the heroes of our own story. Everything we do seems rational and justified from inside our heads, with the information that we have and the feelings that we have and the experiences that formed us and and the memories that we have created. If other people could only see from that specific perspective, they would also understand how rational and justified our positions are.
That doesn't mean that we are always *right*. Our memories are faulty. Our information is incomplete. Our brains are subject to logical fallacies and flawed premises. The world in which we are operating is the way it is, and within that way, sometimes things have to be done that do not reflect the way we would like to see the world become but the way the world is. But from within that perspective, things look very different from outside that perspective. And, most of the time, with the situation being what it is, people are not unreasonable for making their choices from within that perspective.
When you're on the opposite side of the table from someone with a very different perspective, it can be difficult to remember that. This is not one of my strengths. I got the nickname Flame Warrior for a reason. I have a long history of burning people at the stake and razing forums to the ground. In each and every case, I felt justified in doing so. I have very good reasons for everything I've done. My compassion has always been reserved for the people on whose behalf I was doing the burning.
It was from that very deep wellspring of compassion that I acted as I did, because it was held exclusively for the people whose side I was on, much like a divorce attorney going to the mat for a client. I put everything into the best defense for "my side" and fuck the other person for being on the opposite side in the first place. They were clearly wrong, that's why they were on the opposite side.
But what would the world look like if I was better at sitting down in one of those comfy chairs? I'm not naive. I identify far more with the Operative in Firefly than with most of the other characters (although I love the other characters more).
He explained that he was there to do the hard, ugly work of creating his perfect world. When Mal snidely accused him of going to live in his perfect world after he's eliminated all the messiness, the operative said quite clearly that the perfect world was not for him. He was a monster. But a monster was what was needed to create the perfection for everyone else, because it was not yet a perfect world.
I don't believe I'm a monster, but I've never literally burned an entire colony of children and peaceful people just to hurt one man and get him to come out of hiding. My point is that there is no such thing as a perfect world and I don't believe that all conflicts can be solved in pleasant rooms with cushy chairs. Just look at any of our upper-tier "diplomatic talks" throughout history - they have plenty of cushy chairs to sit in and yet still they send other people out to die for abstract ideas like power and religion. Sometimes, we need a bulldog to defend us who will keep holding on until he wins.
But just what if? What if we were all taught how to see through different lenses? What if we all learned how to identify with those on the opposite side of a conflict with us? Without giving up a goal of putting more credence and weight to objective facts and metrics, what if we knew how to value other people's feelings and how we affected them? What would divorces look like then? What would political squabbles look like? What would social justice look like? What would our communities look like?
Every time I get into a conflict, if it's bad enough to require me to vent to my partners for some relief, Franklin has to butt into my ranting with "well, from their perspective..." It's infuriating. Not just because it's interrupting my momentum for a good rant, but because he's not wrong, and I already know that. It's so much easier to be pissed off at them when the opposition is so clearly wrong and irrational and mean. It's so much easier to work myself into a righteous rage when they're malicious and evil and hateful.
And it's so damn irritating to have to acknowledge their humanity even while the objective facts still bear out that my side is the more correct side. When I'm right, I should be right, goddamnit, and they are just fucking wrong. It's much less satisfying to be right-but...
Franklin makes me aspire to be a better person. And I fail often, but I am ever striving to do better. Which is all anyone can really hope for, honestly ... just to keep doing better. To keep seeing the humanity and the nuance in other people, especially those who I find myself opposite of in a conflict.
It doesn't mean that there are no "right ways" or "wrong ways", and it doesn't mean that even when I can see the other side that I am necessarily "wrong". But it informs how I treat the other side as people. Which makes me a better person for my own sake and the sake of those I interact with, no matter who is "right" and who is "wrong". Because I am not talking about who is "right", I'm talking about how to be *better*. There can still be a "right" and a "wrong" side while the participants are practicing being their best selves. It just makes those sides more complex, richer, nuanced, and messier.
And it also opens up the options for solutions because the sides are not black and white. There are more ways out of a conflict when it isn't an all-or-nothing brawl. Yes, even if only one side is seeing the situation in color and the other is still viewing it in monochrome, there are still more solutions available.
And I think that's symptomatic of a generally adversarial worldview. All of our conflicts are seen as adversarial, not collaborative. We so often immediately jump to opposing sides rather than individuals with similar goals but differences in opinions on how to obtain those goals. And even when we try to institute these kinds of collaborative processes, we discover that they are too easily manipulated by operatives working in bad faith. Because you can't just plop a collaborative process down into a culture that is combative. It's a variation on the Prisoner's Dilemma writ large.
Make A Man Uncomfortable Today
Apr. 8th, 2016 02:17 pm"If you’re ever going to date a guy who treats you like someone worthy of respect, though, you’re going to have to set about the unpleasant job of alienating the men who don’t." ~ Priscilla Pine (Make A Man Uncomfortable Today - Brooklyn Magazine)This was from an article that I'm not linking to only because my comments are probably going to be longer than the article and I didn't feel there was much *practical* advice in the article to share, but this line was really important.
The point of the article was how women who date men need to unlearn all our social programming that tells us to make others comfortable at the expense of our own needs and happiness in relationships and in life. We have to start deliberately doing things to make men more uncomfortable.
Pine defines "uncomfortable" as not violating boundaries, making anyone feel unsafe or threatened, etc. She calls on us to not let people get away with ignoring the impact that their dismissal of us has. In other words, make sure that people who are raised in a culture to feel entitled and privileged start feeling cognitive dissonance when they act on that entitlement and privilege.
It is not your job sit at home and wait patiently and pleasantly for someone who has had something "come up" *again* without expressing your irritation about being stood up for the 68th time. I try to make space in my relationships for each person to be able to have feelings of disappointment while not infringing on the other's autonomy by making them *responsible* for that feeling because that can work against us too.
See, in our patriarchal culture (whether you as an individual experience this or not is irrelevant, because I'm speaking of cultural trends now), a man is expected to have this full and busy life while a woman is expected to bend herself around him. He's working late at the office? No problem, she'll just put the roast in the oven to warm and somehow not let it dry out by the time he stumbles home at midnight, ready to eat, and use that time constructively to get other household projects done, pleasantly supporting his job at the expense of her neglect and not feeling any icky feelings about it, ever.
But if a *woman* has to work late at the office? Regularly? Why, she's neglecting her husband and children! She has her priorities screwed up! So, on the one hand, some people are taught that it is not OK to feel their feelings because that might make the other person uncomfortable (because then he would have to face the fact that he is dismissing the importance of her time / effort / whatever by doing the thing that makes her feel the feeling). But on the other hand, those people are also taught that when the other person has their own feelings, it means that they are *responsible* for having caused those feelings because they are a Bad Person and they should stop whatever they're doing for themselves to make the other person not have those bad feelings. In both situations, it's the same person who is expected to do the changing and the catering.
So, when I say I make space to have feelings while not making the other person "responsible", I mean that I have to have room in my relationships to feel disappointed if my partner cancels a date, for example. I'm allowed to feel that disappointment without having to squash it in order to now comfort *him* for his feelings of guilt that my disappointment is triggering. He SHOULD feel guilty about canceling a date with me! That sucks.
But that also doesn't mean that he is necessarily a Bad Person for having something come up as things do. He needs to be aware that his actions have consequences, but it's my responsibility to do something about my feelings. I have to define the threshold, define the boundary, between what is an acceptable amount of "sometimes shit happens and we both make accommodations for each other" vs. "he is not prioritizing me as much as I would like" and I have to decide what is done about that. That is my responsibility, but he also has to know when I'm feeling uncared for so that he can also make decisions about his behaviour that affect me. When this is accomplished between two people who are negotiating and relating in good faith with each other, we have a healthy relationship, even if that relationship doesn't ultimately "work out" or it ends due to conflicting priorities.
The problem is that, for people for who that social programming really took hold and they don't know how to "lean in" to the discomfort they cause other people, or they internalized the messages and making people uncomfortable makes them feel bad themselves, it's not easy to see where those boundaries should be drawn. There is a tendency to draw them too close in, meaning that their partners can avoid the cognitive dissonance too often and therefore not have any motivation to learn or change; or that the boundaries are drawn so far out that they feel isolated and alone because they deliberately keep people "at arms length".
I delight in making people feel uncomfortable. I'm like a kid who sees a giant red button with a label "Don't Push" - when I hear about someone's "buttons", the first thing I do is push on them.
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One of my favorite stories that I've told several times is the Pegging Story - I was the crew chief this day and most of the crew did not know me (and was mostly men). As usually happens backstage, we start joking and talking about sex, and as usually happens when there are women in this industry, we started taking the conversation further than the guys would. They would have left it to a few raunchy jokes, but the women both topped the jokes and then started actually talking about "uncomfortable" sex stuff.
Eventually we got onto kink, and as usual, the crew were unfamiliar with that world and started asking me questions, which I answered. Eventually, one guy finally had enough cognitive dissonance which was forcing him to challenge his assumptions about what "kinds of people" explore kink and what kinky sex "meant" and he blurted out "I don't need any of that kinky shit! The most I'll do is anal!"
So I, recognizing the unspoken assumptions underlying his outburst (based on other things said and non-verbal signals that I've seen a hundred times before) about just who was expected to be on the receiving end and what anal sex "meant" about the person receiving it, quipped back "oh, you like anal sex? Great! I have a strapon in the car, let's go!"
He backed up, hands in the air, and stuttered "no, no, that's not what I meant!" So I said "well, you didn't specify," much to the amusement of the crew listening. I went on to point out that he shouldn't assume that the girl must necessarily be the one to take it up the ass, he brought up the "I'm not gay" thing so I got to point out that having a woman fuck him kinda by definition doesn't mean he's gay, etc.
He didn't find any allies in the crew because of the humor I used to make him the butt of the joke when he tried to turn it on me to make me look deviant and because of the work I had just done in explaining stuff. He thought, as men who try this shit with me so often do, that making me look "perverted" would get everyone else on "his side" so that he could hide behind his assumptions once more and validate himself at my expense. Instead, I made him look foolish, but I didn't badger or bully him for not being kinky, I only teased him so that his intolerance was the butt of the jokes, which made *him* look small instead of allowing him to force *me* into being smaller than I am for his comfort.
That conversation made him uncomfortable. He was uncomfortable because he was challenged to examine his biases.
Within the context of romantic partnerships, I'm going to assume that the two people actively like each other and desire the other person's happiness, at least abstractly. I realize that's a big assumption, because I've been in relationships myself where that's not true. But I'm going to make that assumption here anyway.
For these relationships, if he genuinely likes her (again, using gendered pronouns because of the patriarchal programming that makes this pervasive and endemic, although this can apply to any relationship) and wants to see her happy, then it is in his best interest to be made uncomfortable in this context. He can't be expected to know how to contribute to her happiness if she swallows herself and makes herself small for him. He doesn't even know her when she does that. He can't see who she is, so he can't reasonably be expected to treat her the way she needs to be treated in order to be happy in a relationship.
**This should be obvious, but I'll say it anyway - if someone is stuck in an abusive relationship and leaving is not an option at this time, then clearly the victim should do what they feel they need to survive. Maybe that means making yourself small so that you don't make him uncomfortable by your presence. Maybe that means he doesn't know who you are, really, because he doesn't want to. I am not qualified to address how people in these situations should get out of them or how to apply healthy boundaries with people who are not operating on good faith with each other.**It is not in his best interests for her to not draw healthy boundaries. It doesn't help him be a better person and it doesn't help him love her. But drawing those boundaries, making people aware of when they fuck shit up and don't treat people well, makes people uncomfortable and that will likely narrow the dating pool. You might find yourself alone for a while. You might find yourself having to reject a lot of people, or being rejected a lot for being "too harsh" or "too bitchy" or "too needy" or too whatever, or even not "compassionate enough" or not "caring enough" or not "gentle enough" or not "ladylike" or not whatever.
Trust me, I've been on a lot of first dates that had no second date. I've had a lot of conversations with guys that go "before I go out with you, you should probably see my OKC profile and read my FB page for a while to make sure that I'm really the person you're interested in" and then never had a followup conversation where they said "I did all that and you're even more awesome!" Most of the time, people I send to those pages just fade away. They might continue to flirt with me when they see me in person (that's a coworker thing - a product of my industry), but no more specific invitations to dinner.
Yes, making people uncomfortable will tend to filter out a lot of people. It will alienate people who don't respect your boundaries or your values. But that's how you clear the path for those who do to find you and for you to recognize them among the otherwise vast sea of humanity. Your pool will be smaller. Your pool will likely be more long distance (thanks to the internet, but at least it will be possible with the internet).
But your choices are to be alone for a while until you find your tribe who gets you and respects you, or to be alone even while in relationships because those people won't respect you or even know you. I decided long ago that my value is worth the respect of my partners and not a farthing less.
Are there any articles that directly compare and contrast the difference between being gaslighted and someone who is *actually* the horrible things that a gaslighter accuses the victim to be?
Let me expand a bit. OK, a lot.
I've had the misfortune to see a gaslighter work his black magic now in person, right in front of my eyes but on someone other than me, and I've seen the devastation it caused. I've seen it in a poly context, which, for some reason, actually made it harder for me to see at first - easier for the gaslighter to hide. I've been an outspoken critic of what I have eventually come to see as real abuse in the poly community and how our own community standards protect and privilege abusive relationship structures and behaviours. So, in no way do I want to counteract any of the work done to bring awareness and solutions to gaslighting.
But I'm reading a lot of articles on gaslighting lately, and it struck me that, if I switched perspectives in my head and read the article *as if I were* the gaslighter himself (choosing a gendered pronoun because I am most familiar with male abusers and female victims, and I feel the need to use different pronouns to help keep the illustrations understandable), using the excuses and justifications he gave to make it look like he was the victim, if I took on that mindset for a moment, I couldn't tell from many of these articles who was whom. And a gaslighter or narcissist can find ammunition in these articles to continue their subjugation, and validation in these words.
So, for example, this one article lists several "tell-tale signs":
1. Something is “off” about your friend, partner, … but you can’t quite explain or pinpoint what.
So, this gaslighting observation that I mentioned above, in the beginning, he had me (a close but outside observer) convinced at first that he was the real victim. He confided in me his perspective. I do believe that he really did believe the stories he was spinning to me. It wasn't until I talked to the victim alone and then confronted him about the victim's side, and then HEARD him say "no, they don't feel that way, here [victim], tell Joreth that you don't feel that way" and then the victim proceeded to confirm the gaslighter *even though* I had just had an hour long conversation with them in tears about exactly how they felt. The victim told me that *I* must have misunderstood or misheard their anguished cries, that it wasn't a big deal, that everything was worked out.
I KNOW WHAT I HEARD. The victim felt a particular way, the gaslighter insisted that they didn't, and then the victim's story changed to match the gaslighter's version.
My point is that I believe the gaslighter is that fucked in the head that he (and most of them) really does believe his (their) version of events. I don't believe that most gaslighters are deliberately plotting to undermine people like in the movie, but I know for a fact that undermining people is the effect that's happening. I was one of his confidants, so I heard what I really believe to be his honest and true view of himself and his motivations. I believe that I understand the view of himself that he holds, at least well enough to read an article from a gaslighter's perspective who doesn't think he is doing anything wrong.
So, when I read articles like this and I put myself in the mindset of that confidante for whom I was on his side before I knew better, I have a hard time telling from these articles that *he* was the one who was doing the gaslighting. That's how he had me fooled for as long as I was.
He believed that something was "off" about his victim. They kept "changing their story". They weren't consistent. They saw things in strange, corner-turning ways that he didn't understand. I was constantly playing "interpreter" for them because he just didn't understand the victim.
4. You feel threatened and on-edge, but you don’t know why.
As the blogger Shea Emma Fett alluded to, abusers really do feel victimized, but they feel victimized by their victims' resistance to the abuser's control. When this gaslighter attempted to control his victim, and they resisted, the abuser felt personally threatened. I went out on a date once with a guy who I had a history with and I was interested in a future with, and my then-bf, when I told him all about it, accused me "HOW COULD YOU DO THIS TO ME?!" Listen here, asshole, I did *nothing* "to" you. This thing *happened* to me. It may have affected you, but it wasn't done *to* you and certainly not with malice. Nevertheless, he, and the abuser I'm talking about, felt threatened. This abuser was *constantly* fighting with his victim, to the point that he started working as late as possible to avoid being at home where another fight might break out. He was on edge all the time. He didn't understand why this was happening or how to avoid it (because he didn't understand that it was his own doing and he didn't understand the victim's wants - namely the desire to not be abused). He would check off "yes" to this one too.
6. You never quite feel “good enough” and try to live up to the expectations and demands of others, even if they are unreasonable or harm you in some way.
The motivation for this gaslighter's behaviour was a massive amount of fear and insecurity. Every time he felt his insecurity crop up and it prompted him to try to control other people to manage his fear, I stuck my nose in to tell him that he should do better. His victim also ineffectually tried to tell him that his attempts to control them was hurting them and he needed to do better. In my own arguments with him, he accused me of being unreasonable for insisting that his attempts to control his partners were harmful. He insisted that *my* suggestions for not controlling people were actually harmful *to him* somehow. We argued in circles and I never got a clear explanation for how other men (even men that he didn't like) seeing naked pictures of his wife harmed *him* (for example), but he clearly believed that it did.
Remember that ex above? He honestly believed that my date, and what we did on our date, with my new prospective partner was something done *to* him, and that it harmed him in some way, even though he wasn't on that date and he was told about the date both before and afterwards, prior to my seeing that ex in person again so that he could make informed decisions about how to relate to me in the future (and no, I didn't have wild, unprotected, fluid-exchanged sex with some random stranger and come home with an STD or something, which is usually what people point to when they want to defend the position that it's reasonable to be upset about what one partner does outside of a given relationship or to control, or even request, a specific set of behaviour for outside a given relationship).
I insist that a no-rules, boundaries-based relationship is the better relationship standard, and the gaslighter believed that my standards are too high, are unreasonable, and harm him in some way. He's not the only one who thinks that either. I have been told, verbatim, that not everyone is as "evolved" as I am when it comes to relationship and emotional maturity. I call bullshit on the "evolved" part. As far as I'm concerned, respect for agency is the bare minimum. I get that it's not always *easy*, but it's also not some advanced, high level concept set aside for, I dunno, monks who have reached enlightenment or Clears who have spent millions of dollars to the Church or whatever. Learning to respect other people's agency is something that children are capable of learning, and it's a lifetime of societal reinforcement that causes us to unlearn it (if we learned it in the first place) by instilling a sense of entitlement to other people's bodies, emotions, and minds. When fear has a hold of you, respecting other people's agency may be challenging, but challenging is not the same as "harmful". But because it can be challenging, someone who is an abuser or who is gaslighting someone can indeed believe that the standards their victim might suggest are "too high" and are "harming him". Personal growth is uncomfortable, especially when you resist it. That doesn't make it, necessarily, "harmful", but it can feel that way, so a gaslighter could see this "tell-tale sign" as evidence for his narrative too.
7. You feel like there’s something fundamentally wrong with you, e.g. you’re neurotic or are “losing it.”
The gaslighter excused his efforts to control people away by claiming he had PTSD. I do not believe that self-diagnosis, I believe another one made by an actual diagnostician but that's not actually relevant right now. What is relevant is that the gaslighter *does* believe that he suffers from PTSD and he does, indeed, exhibit several symptoms, including "checking out" (which, I'm told by reliable clinicians, are also symptoms of a handful of other mental illnesses including the diagnosis I believe is more likely to be the correct one). Every time he tried to control his victim and they pushed back, here's what would happen. The victim would insist on their reality, and the gaslighter would go glassy-eyed and catatonic, unable to interact with the world around him. *Until*, that is, the victim recanted and accepted the gaslighter's reality. Then, suddenly, he would "wake up" and start interacting again. Later, though, he would use that as "evidence" that the victim was "inconsistent" and kept "changing their story" and therefore shouldn't be trusted to know what reality was.
But because he would get "triggered" by his victim's resistance, he would often come to me in distress over how he was "losing it" or that there was something wrong with him. PTSD and other mental illnesses are viewed as "something fundamentally wrong with you" or "neurotic" by society in general, so regardless of which mental illness he might have, he could legitimately think that "something is fundamentally wrong" and he would be "correct" about that. He felt that he was being hollowed out, that he couldn't function in daily life anymore as their arguments increased in frequency. He had trouble concentrating at work because he was always upset about their latest argument. He was stressed and frightened by obsessive thoughts of losing his victim. When I saw only his catatonia and the aftermath of their arguments, it was completely believable that he was the "victim". But that required keeping the victim feeling isolated in an "us against them" tribalism within the group, because as soon as I started talking to the victim themself, and seeing the arguments from the beginning, not just the effect of the argument on him, things looked very different.
My second fiance was a gaslighter. He was very young, though, and clumsy about it, and I'm way too self-confident for those kinds of tactics to work for very long on me. He did things like this too, only he wasn't nearly as believable about it. Whenever we got into an argument, if it looked like I was going to win (or that he was going to lose, since the argument was usually about whether or not he could have sex with me or I could go out in public without him), he would get "sick" somehow. He got "the flu" twice a week on the nights of my ballroom dance class. He got an upset stomach on laundry night if I wanted to do it at my parents' house instead of his parents' house. He got another one of his upset stomachs on the night of a friend's bachelorette party when I told him it was "no guys allowed".
One time, he even "knocked himself unconscious" on a low-hanging pipe in the carport when we walked from the car to the house during an argument. He managed to somehow hit himself in the head hard enough to lose consciousness completely without actually making any sound of impact and while moving at the rate of a slow lumber. I've had someone swing a metal pipe at me with the intention of hurting me and hit me on the head and I didn't go fully passed out. Head injuries don't work like they do in the movies. And when I left his ass lying on the concrete, he also somehow managed to get "robbed" in broad daylight while lying unconscious (that one was the last straw and I called his bluff hard enough that he admitted his lie). His various maladies and misfortunes were intended to distract me from the argument and trigger my compassion so that I would forget why I was mad at him and run to him to take care of him. Fortunately for me, I'm not the "maternal" type and my reaction was to give the benefit of the doubt the first time or two, but then to become contemptuous of an adult who couldn't care for himself. Contempt is the number one relationship killer, and unconsciously developing that emotion as a response to abusive tactics has probably saved my life on multiple occasions.
So, once I saw this gaslighter's tactic from the other side, I recognized it from my own abusive ex-fiance. He would get "sick" and I would have to stop arguing to care for him, because if I kept being mad at him while he was sick, then *I* was the monster with no compassion. Fortunately for me, I'm not terribly bothered by people I'm mad at thinking that I'm not compassionate because *I* know better, and that's what matters to me. But this gaslighter was taking legitimate mental health issues and preying on his victim's concern over harming others and their fear of being seen as not compassionate. Again, I believe that he really believes his side of things. I don't think he actually deliberately calculated how to fake PTSD in order to win an argument (whereas I do believe my ex-fiance faked his unconsciousness - which happened more than once - although his upset stomachs were probably a real reaction to anxiety). I believe that he really was "checking out" because I believe there is really something very wrong with him. But it was always just so *convenient* that it ended as soon as the victim recanted, and then that recanting was used later to further undermine the victim's position and even their standing in the community. If the victim stood their ground, they were "driving" the gaslighter to a mental breakdown, but if the victim backed down, they were unreliable and couldn't be trusted. Either way, the victim was the "monster" who kept "harming" their abuser.
But from the gaslighter's perspective, since these episodes came more and more frequently as the relationship spiraled faster and faster towards its demise, he felt that he was "losing it" and becoming more and more unhinged. And he was becoming unhinged. He was a total wreck of a person by the end. But he was still a gaslighter, and I do not believe the victim was doing it *to* the gaslighter. I believe it is a consequence of the sort of person the gaslighter is who had to face the sort of person that the victim was.
8. You feel like you’re constantly overreacting or are too sensitive.
9. You feel isolated, hopeless, misunderstood and depressed.
This is really just more of an extension of the last one. The relationship was spiraling out of control because the victim was doing more and more resisting of the gaslighter's attempts to control them and their own breakdown as a result of the gaslighting working, and that led to daily fights that consumed their every waking moment and also took over the atmosphere of the rest of the immediate community whenever either of them was present. When you feel like your life is going out of control, regardless of why or how, it's not unexpected to feel isolated, hopeless, misunderstood, or depressed, especially if someone is trying to tell you that your behaviour is out of line. When he wanted to control his victim, I told him that he was essentially overreacting. I told him that he needed to dial it back and let his victim (who I had not yet begun to think of as "the victim") have their agency and do their thing. I told him, more or less, that his feelings of fear and the need to control them were too much, out of sync with the reality of the situation, and that the solution was for him to get over his issues, not control the victim's behaviour. In essence, it could be argued that he saw my words as telling him that he was "overreacting or are too sensitive". So, from his perspective, these are a big "yes" also.
11. You feel scared and as though “something is terribly wrong,” but you don’t know what or why.
Again, I believe that he believes his own narrative. This gaslighter felt that his life was spinning out of control and he didn't know how to wrestle control back. Every day was fraught with arguments and intense fear. More and more people were becoming unhappy by the splash zone of this one relationship. Life began to look chaotic and turbulent. Not only was this relationship a source of pain and fear, but because the two of them were constantly fighting, all his other relationships started to suffer and he started to fear that he was about to lose his other relationships as well. Then, not a month after he told me that I was the one stable thing in his life, we had our own blow-out that he apparently couldn't anticipate. Everything was "terribly wrong", but because the truth was his gaslighting and he didn't recognize it, he didn't know why everything was "terribly wrong" or how to fix it.
12. You find it hard to make decisions.
With his catatonic episodes happening more and more frequently, and the arguments happening constantly, he started to revert to a more child-like mental state. He had trouble making decisions because his brain was just freezing up from all the chaos. He was never good at making decisions anyway, preferring others to take the lead on things, which is actually one of the reasons why it took me so long to figure out that he was controlling the people around him to manage his insecurities. It's hard to believe someone is a manipulator when they appear to be such a follower. But because he felt that his life was out of control and that he was losing his own grip on reality, making decisions became more difficult than usual.
13. You feel as though you’re a much weaker version of yourself, and you were much more strong and confident in the past.
This was something he actually told me, more or less. He was so distraught by everything that was happening, that he felt like he was becoming "hollow", which is sort of like saying he is a "weaker version of [himself]". I have absolutely no doubt that he felt like he was losing his mind. His life wasn't looking the way he wanted it to look and the way he had always controlled his life in the past wasn't working with this partner. This partner was resisting his control, and he felt so entitled to controlling them to keep his own mental issues manageable that their resistance to his control was threatening and made him feel harmed. Having those feelings, and the extent to which this whole relationship was disrupting everyone's life, it doesn't matter that he was the one abusing the victim, those feelings still feel real and still affect how one sees oneself and their place in the world.
14. You feel guilty for not feeling happy like you used to.
This gaslighter was *known* for his exuberance for life. In the dictionary, next to the word "happy", you'd see his picture. I've known a bunch of people like that - in fact, it seems to be one of the elements of "my type".
![[livejournal.com profile]](https://www.dreamwidth.org/img/external/lj-userinfo.gif)
So, this gaslighter failing to control his victim, causing them to be miserable, which causes them to challenge the relationship and the attempts to control, which makes the *gaslighter* unhappy, this can lead to a sense of guilt for not maintaining this happiness in the face of all this loss and misery even though the gaslighter is the one causing the chain reaction in the first place. Since this sort of gaslighter doesn't realize that he's the one setting the spark, he has a difficult time recognizing that his unhappiness is something he can fix because it's something he caused. Or, he might suspect or know (possibly subconsciously) that it's something he caused (even if he believes he caused it but have the wrong ideas on *how* he caused it), and so feel guilt for knowing that he did it all to himself.
So, this whole long exposition is to explain that I am looking for sources to help explain why, when a gaslighter feels these things, it's *not* a sign that they are a victim or being gaslighted by their actual victims. When a person is gaslighted, they start to believe that they are an abusive monster who is doing terrible things to their abuser, but an abuser actually *is* doing all those things. I could write a similar checklist of "how to know you're being abusive" and read it through the perspective of a gaslight victim and that victim could conceivably reach the conclusion that they are, indeed, an abusive monster because of the lens that each is viewing the world through. I know there's a difference, I just don't know how to explain or illustrate that and I'm looking for sources to cite and other people's words to use as analogy or illustration or explanation.
Learning Lessons One Day At A Time
Dec. 24th, 2015 11:20 pmOne of the TV stations that comes through (barely) is a classic TV station - showing nothing newer than the early '80s and some stuff quite a bit older. Late at night, they stick mainly with the '70s. So I've been watching a show I had seen before but wasn't a major portion of my viewing rotation because I was just a bit too young to be really interested in the plot back then - One Day at a Time​.
I really like sitcoms, but I'm kind of particular in my sitcom viewing. I like watching shows that are groundbreaking in some way and that are, by their very existence, social commentary. Whatever other flaws that show might have, it had an important message that shaped the society I grew up in.
This show is about a divorced mom trying to raise her two teenage daughters in a "liberated" society that she was never a part of. She grew up conservative and traditional Italian Catholic and married young. But her husband had an affair, so she divorced him - a radical enough notion at the time. To make matters even more shocking, she didn't go home to her parents to help her with the kids, she chose to get an apartment in New York and live alone with the kids - no man or family to protect her or help her.
That alone makes the show worth praising, to me. But every time I see an episode, I'm bowled over by the complexity of the situations and the nuance of the responses. It really was a terrific show. I'd like to sit down with the DVDs sometime and really do some thorough reviews on specific episodes, because there are some gems in there.
For instance, the episode I saw a couple of nights ago had the husband trying to back out of child support because he over-extended himself with his business and his new wife and was now facing financial trouble. This is a really easy situation to get black-and-white about - too fucking bad, it was your bad choices, you owe those kids their money because a single woman in the '70s with no college education couldn't get the kind of job to support the three of them without help, and it's your fault they're on their own in the first place.
To make matters worse, the father wasn't just facing financial hardship due to the economy or not making enough money from his company. He sold the kids' childhood home to buy a mansion with a pool and to hire a full-time maid to live in the lap of luxury. So it seems like a no-brainer that the dad is the bad guy and the solution is to sell the damn house, fire the maid, and live more frugally if he can't support his lifestyle.
Although these points are all made in the show, it doesn't stop there. In the course of the arguments over the child support, the mom figures out that the new wife doesn't even know about the financial hardship, and that the dad wants to quit child support because he wants to maintain his lifestyle so that his new wife never has to find out. The *reason*, he says, is because the new wife isn't "like [the mother]" and "can't handle it". She's accustomed to a life of luxury and wouldn't be able to cope with living a more meager existence.
The mom, here, has a perfectly justified opportunity to say "tough shit, that's part of what being married is all about". Instead, she stops her arguing, stunned that the new wife doesn't even know. She points out that the husband is being patronizing, and orders him to go home immediately and talk to the wife - to give her a chance to be an equal partner in their marriage and how to address the situation. Her sympathy in this moment, goes to the new wife, when the rest of society would have seen the new wife as a homewrecker and not deserving of sympathy.
Repeatedly, as the mom argues with the dad over the course of the series, she sticks up for the wife and insists that he treat her better than he ever treated the mom. She does not let him get away with being the same chauvinistic, overbearing, dismissive prick that he was to her.
And then the show goes one further. The daughters, when they find out all the details, turn to their father and say "Daddy, I know you want to support us, but you forget that we're supposed to support you too. That's what family is for. We'll work something out. Let us help you." Without compromising the kids' well-being or letting the father off the hook from his responsibilities, they insist on pulling together as a family, even though they're not a traditional family anymore. The support and respect isn't a one-way street. In fact, it's an excellent example of support through accountability without becoming a doormat.
In the end, there are no Bad Guys, just people who make mistakes and have messy feelings, who learn from each other and help each other out. The family is changed to match the needs of the people in it, and even though there are growing pains about it, everyone is better off living in a non-traditional family structure which gives each of them opportunities to be their best selves. And they consistently live up to that, stumbling and tripping along the way, but always climbing upwards.
I wonder, since these are the kinds of influences I had growing up, what our society might look like if we still made such programming. And I wonder, since I wasn't the only person to watch and be influenced by shows like this, why I seem to be one of the only people to have absorbed these kinds of lessons.
I find it interesting that the vast majority of the lessons that influence how I do poly and that form the basis for my various activisms, come from mainstream, monogamous, heteronormative culture. I recommend re-visiting these old sitcoms, or visiting them for the first time if you missed them back in the day. Many of them are partially responsible for the adult I turned into, with lessons in empathy and consideration and intentional family and non-traditional choices. Sometimes wisdom comes from unexpected places.
Don't get me wrong, I enjoyed your fluffy romps with comic movies in the last bunch of years. But that's all they are - fluffy romps with little to no substance. They're trite and common. I'm not saying there's no room in the diversity of entertainment for trite. But if you want to increase your sales, then instead of "pandering" to your target audiences with naked hot chicks but no role of their own except to be rescued or fucked by the male protagonists, with the token female lab scientist or the token female ass-kicker, with dark and brooding action heroes torn up over the loss of their wife or child that shows their "sensitivity", start talking to the writers over at Netflix about how to show the humanity and complexity in a character that doesn't require lots of sex, lots of rape, lots of on-screen violence, or lots of dark, scowling white male faces contemplating the loss of loved ones.
And I'm not just talking about the action series either. Netflix is totally kicking ass at entertainment in general these days. Their series' present us with diversity in emotion, in response, in reaction. They don't rely on "something Bad happened, now the protagonist will sit, staring out at the moon or off in the distance while they prepare to make themselves into a bad-ass fighting machine for vengeance". They show anger. They show pain. They show walls. They show confusion. They show shame. They show remorse. They show internalized blame. They show characters bumbling around and making mistakes. They show lack of acceptance. They show redemption. But not all in the same character. Not even all in the same gender or race or orientation of character.
Sure, there are lots of things I could criticize about any given Netflix show - no media is perfect. But, just like the Bechtel test is best used in aggregate to show trends, looking at the trends of big box office movies in the last decade and the slew of Netflix originals coming out in the last couple of years, and it stands out in sharp contrast that Netflix has a handle on how to write interesting, complex, nuanced characters and plots whereas Hollywood is still leaning on tropes that should have been retired 30 or more years ago.
Walking In Your Shoes
Sep. 12th, 2015 06:15 pmThis is from an article that I'll be writing about later, but this sentence, out of context, is important. This is about empathy.
One of the biggest problems I encounter in other people is empathy - they are not able to put themselves in someone else's shoes. What happens, is that they imagine *themselves* in whatever situation we're talking about and conclude that they'd do things totally different *because they're themselves*. They have different feelings, different priorities, different experiences that all add up to different conclusions.
That doesn't help to see things from another perspective. When not-poor people give me financial advice, as I was saying in a previous post on FB about it, they give me advice from their own perspective - the one that says that there is enough money hanging around to open up that savings account or to count on coming in regularly enough to pay for health insurance or to buy those $75 boots that will last longer instead of the $10 boots for right now.
"Well, if *I* were in that position, I'd do..." No. It's not if *you* were in that position, it's if *you* were *them* in that position. They can't put themselves in the shoes of others because they can't take off their own shoes first. They keep putting *themselves* in someone else's situation.
And I'm *quite* certain that I do this too. After all, we're not talking about literally taking on and off shoes here. Removing our own expectations, perceptions, experiences, memories, and personalities isn't just difficult, it's often impossible. Sometimes, the best we can do is to just recognize that someone else is different, and their experience of the world will not match our own. Sometimes, all we can do is just *believe* them when they tell us how they are experiencing something, and feel compassion for them. We need to try to take our own shoes off in order to try their shoes on, and if we can't, then we just need to look at their shoes and say "yep, those are your shoes, and I hear what you're saying about them."
And that's empathy.

"Storytelling helps us all impose order on chaos—including emotional chaos. When we're in pain, we create a narrative to help us make sense of it. This story doesn't have to be based on any real information. One dismissive glance from a coworker can instantly turn into I knew she didn't like me."
Some of us do this all the time, don't we? It's implicit in the Passive Communication technique that some of us are taught, some of us do naturally, and women in general are expected to use (either we are told we should communicate that way, or we are assumed to communicate that way and our statements aren't taken at face value by people who hear them and assume there's some other intent).
"They can recognize their own confabulations and challenge them. The good news is that we can rewrite these stories. We just have to be brave enough to reckon with our deepest emotions. "
It was pointed out in the commentary from the post where I got this that we have to beware of putting too much emphasis on the consequences of storytelling, without addressing why we develop storytelling in the first place because we might end up giving too much shelter to manipulative behavior. I'm a huge fan of understanding the "why" of things.
Pointing out the consequences of storytelling is important because that's often how to get someone's attention and impress upon them why they need to change a behaviour. But it's also important to understand why someone is doing it in the first place. If the storytelling is a survival technique (you have to read into someone's words in order to anticipate their own passive communication so that you can modify your behaviour before the punishment happens, for instance), then altering the storytelling won't actually solve the underlying problem and, in fact, may make things worse.
I discovered that with the whole "girls don't respond to guys' OKC emails" thing - it turns out that girls get punished for responding even with good intentions if the response is not the one the guy feels entitled to. So I push for women to respond more often, but as long as women get socially punished for it, they're not going to listen to my advice. Society has to start punishing men for being entitled before women will feel brave enough to respond, or even to make first contact.
So the storytelling thing needs to be tempered with understanding the root causes. Yes, it's absolutely important to build a society in which people are less prone to storytelling and passive communication. But, as was pointed out, that assumes a baseline of good faith and direct communication on all people doing the communicating. So we also need to be aware of that baseline, which changes the course of action for what we should do when we learn to identify that we are, in fact, storytelling in this context.
But, y'know, examine your root causes for your emotional reactions. Barring manipulation, it'll make you a better communicator, a better partner, and a better person.
"OMG, women like hardcore porn!"
Uh, yeah, no shit. This author makes the same mistake that I see all too often - they compare stats showing that women like hardcore porn to so-called "feminine porn" that's "soft focus" with slower sex scenes.
The mistake is that there is any kind of porn out there that is "for women". By that, I mean that people think there is a *type* of porn that having a vagina makes you more likely to like (conflating vagina-having with "women", of course - the rest of my rant will keep the gender binary because that's what the people I'm criticizing are doing). There isn't.
What "porn for women" tries to do (at least, those that aren't just as misogynistic as mainstream porn) is have representation of the *woman's experience* instead of catering to the "male gaze".
Here's what this means: Porn that is written and performed with the assumption that men like certain things and they want to highlight those certain things is what is called "the male gaze". Obligatory #NotAllMen here. Yes, I know not all men like those things, that's part of the problem with this shit. Moving on. They are made with the ASSUMPTION of straight male interest and the performers are performing for the pleasure of those men whom they are assuming are watching.
"Porn for women" isn't about there being two categories of sex acts for which men like one category (usually involving getting messy) and women like the other (usually involving perfect hair). Both and other genders like a variety of sex acts. This type of porn is about writing and performing stories that a woman-centric audience can *relate* to, vs. performing acts that men supposedly find attractive. There may be some overlap.
For example, I love giving blow jobs. According to the common misconception of "porn for women", none of my porn should have any blow jobs in them because only men get something out of blow jobs, so showing that act on screen is for men only. And, yeah, in mainstream porn, I hate watching blowjob scenes. Those women don't look like they're enjoying it. It doesn't look authentic. They do things that might look "attractive" to someone who has a penis and knows what a blow job feels like, but they don't do the things about blow jobs that make them so much fun for me to give. Things like, taking a flaccid penis and rolling it around in my mouth, gently squishing it between my tongue and the roof of my mouth, and gradually feeling the texture change from soft to hard.
"Porn for women" would show a blowjob like that. Porn that people who don't understand what "porn for women" is make for women (that is, when a person who doesn't understand that phrase attempts to make porn for a female audience) wouldn't show a blowjob at all, and if it did, there would be a soft focus on the camera, diffusion filters on all the lights, high key lighting, pastel colors, no actual images of oral penetration on screen, perfect hair on the girl, and the guy tenderly whispering how much he loved her. Blegh.
So, yeah, of course some women like hardcore porn and of course some women aren't interested in the fuzzy romance-novels-on-screen type porn. Women are interested in a huge range of sexual activity. What makes porn "for women" or "for men" is not the specific sex acts depicted in them, but in how those sex acts are portrayed and what assumptions that the performers and writers are making when they make their choices for portraying them. Is the sex act performed so that someone with a penis can have the view of those things it is assumed he will want to look at? Or is the sex act performed so that even someone without a penis can feel that their experiences or desires are represented on the screen?
A hardcore, explicit gangbang can be portrayed either way. And women who like gangbangs are probably going to spend plenty of time looking up videos with gangbangs in them, but they will probably *enjoy* watching the ones in the latter category more. Nowhere, on our Woman Membership Card, does it say that we can't like gangbangs or that we're betraying the sisterhood if we do. We just want to see gangbangs (those of us who like them) that take into account whatever it is we like about gangbangs, not see gangbangs that are nothing but posturing for the straight males watching. And only people who don't think of women as some Other species with a totally unique category Sex Acts We Like To Perform are going to know how to direct and write and film those gangbangs the way we like to watch them.
Or they might film it right purely by accident. Either way, of course women like hardcore porn. Why do you think fucking 50 Shades was so popular? It was crap, but it was told from the perspective of a woman experiencing "kink", rather than from the perspective of the Domly dom male. We just need better writers. When women's experiences and women's stories are represented, women attend those media in droves (Mad Max, anyone?). They're even willing to spend fortunes on absolute shit examples (not Mad Max). If we could just get some decent writing & production value, you'd see a new social wave of the Every-Woman (the female equivilent of the Every-Man) embracing hardcore and explicit sexual media like the Pope suddenly endorsed it.
But Teach Him To Fish...
Jul. 30th, 2015 11:23 am"Cheikh Mohammed, do your friends give you gifts?" I started in Arabic, breaking off a piece of village bread.The above conversation was an excerpt from an article I just posted about voluntourism - the pattern of relatively wealthy white Americans swooping into areas we considered "underdeveloped" and doing things that assuage our white, wealthy guilt, but that don't help those areas in the long term. But I found this conversation was a much bigger symbol.
"Of course, it's a friendly thing to do." He adjusted his posture on the scratchy woven carpet.
"Now if I'm coming from America to give you gifts, am I your friend?" ...
"You asked me if my friends give me gifts," he said. "Make sure that YOU are my friend. Make certain you understand me, first. Learn my strengths, my heart, my efforts. Once we are established in brotherhood, then yes, send me a present, one that won't hurt me to open."
This is the essence behind the Platinum Rule. This is the meaning behind feminism and feminist critiques of so-called "compliments". This is complaint behind racism. This is struggle behind poverty here in the US with the nation's refusal to provide healthcare and screening welfare recipients for drugs and concern trolling the grocery carts of food stamp recipients. This is what everyone who is oppressed and who speaks out against it is trying to say.
It is not a "gift" when it is not given out of understanding for the other person. It is not a "gift" when the reason for giving it is to make the giver feel good but doesn't account for the effect on the recipient. It is not a "gift" when it doesn't reflect the recipient themselves - their humanity, their feelings, their personhood.
When feminists complain about compliments or opening doors, the comments inevitably get bogged down with "but it's NICE to open doors and tell someone that she's pretty!" This is the very epitome of what's wrong and what this excerpt is trying to say. It's not about the opening of a door, it's about what the gift of opening the door says about the person opening it and the relationship to the person it is being held open for. Opening a door for someone is nice, unless it isn't. And it takes a deeper, nuanced understanding of the person, the culture, the circumstances to know if that gift of "courtesy" is one that won't hurt me to open.
"We are proud of this; we are empowered by this. Now, give a village man a handout? You've just weakened him. You've increased his dependency; diminished his sense of self-esteem. One of the most widely-accepted notions is that Westerners are the solution to African problems. This requires portraying us as helpless and endlessly recirculating images only of abandonment and violence, or innocence and primitivism." ...
[Give a woman a pedestal? You've just weakened her. You've increased her dependency; diminished her sense of self-esteem. One of the most widely accepted notions is that men are the saviours and guardians of women. This requires portraying us as helpless and endlessly recirculating images only of weakness and femininity, or innocence and infantilism.]
"You see, Heather," he set his meat down to look closely at me, "We are not weak. We are not underdeveloped. If you believe we must be helped, look more closely. We are content in our hearts, affectionate to each other, and attentive to our souls. Perhaps the greater need is for us to be helping you."
Psychologists often talk about a quirk of human psychology called the fundamental attribution error. It's a bug in our firmware; we, as human beings, are prone to explaining our own actions in terms of our circumstance, but the actions of other people in terms of their character. The standard go-to example of the fundamental attribution error I use is the traffic example: "That guy just cut me off because he's a reckless, inconsiderate asshole who doesn't know how to drive. I just cut that car off because the sun was in my eyes and there was so much glare on the windshield I didn't see it."
We do this All. The. Time. We do it without being aware we're doing it. We do it countless times per day, in ways large and small.
For the last several years, since I first heard of this error, I've started catching myself when I, for instance, call people assholes on the road. I still do it, but in my head I remind myself that I'm just letting off steam and that they feel just as justified as I do when I do it to other people. I think it's helping me (and is entirely appropriate) to feel my feelings as they are and to be validated in my reaction to situations while still considering my opponents as "people". I think it's important to be able to be angry at someone for doing an assholeish thing, and even to judge people for their actions, while still keeping the situation in context that they are a complete person who believes they are the hero of their own narrative just as I do.
"I would like, therefore, to propose a radical idea:
The world is made of lots of people. Some of those people are different from you, and have different ideas about what they want, what turns them on, what is and is not acceptable for them, and what they would like to do.
Some of those ideas are alien, maybe even incomprehensible, to you.
Accept that it is true. Start from the assumption that even if something sounds weird, distasteful, or even disgusting to you, it may not be so to others--and that fact alone does not prove those other folks have something wrong with them. If someone tells you they like something, and you have no compelling evidence that they're lying, believe them--even if you don't understand why.
I've been trying forever to get people to understand this, and I started by getting myself to understand it. I know lots of people (myself included) who think they have The Answer to other people's problems. I know, for instance, people who get really upset when other people make career choices that are not choices that they would choose for themselves. These are usually people who pride themselves on their "work ethic" because they have bought into the erroneous tale that people who work hard enough will be rewarded with an increase in the quality of life based on capitalistic standards.
So anyone who is poor must not be "working hard enough". Anyone who is poor who turns down a job, or who gets sick and goes home instead of working through their illness, or basically does anything that they, themselves, think they wouldn't do in the other person's situation, those people (by this logic) deserve the poverty they get.
I know, I've had that same perspective myself for most of my life. It gets *really* tiring to keep explaining that other people are DIFFERENT PEOPLE. They have different limitations, different perspectives, different preferences, different goals, different priorities, different feelings, different abilities ... and all these differences add up to making different choices that people should not necessarily be punished for.
People who have lots of sex do not "deserve" to get STDs, or to be beaten up, or to be thought of as some kind of "lesser quality" of person. People who do not want to work 80 hours a week doing manual labor in two or three different jobs and still not get any medical benefits do not "deserve" to remain poor or thought of as "lazy".
We do not all need to have the same house, the same jobs, the same clothing, the same kind or amount of sex, or the same goals out of life. And yes, as long as we live in a scarcity-model capitalistic society, sometimes that means that some of us pay more in dollars than others for that right. But if that means that people get to live the lives that makes them happy (which, btw, ultimately *does* contribute back into society), then I'm all for that.
"Equality" does not necessarily mean or have to mean equal dollar amounts. It means equal opportunity for "life, liberty, and the pursuit of happiness".