Scott Pilgrim Vs My Sanity (spoilers)

According to Hit Fix one of the reasons Scott Pilgrim did poorly in the box office this weekend was because people were having trouble determining the plot. I never read the graphic novels upon which the film was based, so I think it is pretty fair to say I only had the trailers to go on myself. It seemed fairly obvious to me that Scott Pilgrim was based on a particular genre of graphic novel addressing disaffected youth, counter-culture, and the pursuit of women and/or girls. I’m not sure how you could watch the trailer and not know that.

Just in case:

the plot of Scott Pilgrim vs the World

Scott Pilgrim is a 22 year old slacker bassist in an unsigned band who thinks he has met the love of his life, hipster Ramona Flowers. In order to date her drama free, he must fight her 7 evil exes all of whom have magical or video game like powers. The bulk of the film takes place at video game speed, with power ups, point values, and information bubbles. Visually it is a cross between the arcade games of 70s childhoods and modern day play station lives. The whole thing is also set to music capitalizing on the popularity of guitar hero and indie rock cred to reaffirm its geek + hipster sensibility.

The Good

Scott Pilgrim vs The World/Universal Studios/2010

The script is full of snappy one liners that in lesser hands would come off as pathetic caricature. Fortunately, from the smallest roles to the largest ones, almost every actor in Pilgrim has the necessary comedic timing and snark to pull it off. Both Alison Pill and Kieran Culkin serve up the best performances in the film, helping keep the pace of Pilgrim moving and entertaining when it could just have easily insulted and fallen flat. Johnny Simmons is brilliant as Young Neal managing to delight in every scene he is in despite having few lines. The only people who don’t seem to elevate this film to similar teen-period-piece classics are  Bree Larson, whose comedic timing on US of Tara is always a joy to watch but here seems like she’s been directed to overact to avoid dealing with real female emotions, and Satya Bhabha whose role suffers from offensive stereotype too much for him to do much with it. But we’ll get to that … wait for it …

The music is both entertaining and sometimes really good in this film. Despite failing at the acting end of her role, Bree Larson on stage is a real treat and the song is one of the best in the film. All of the actors take their dual roles as grunge heroes seriously. When they are on stage their parodies play like the real thing. The least effective of these moments is the Asian dragon sequence, but we will get to that … wait for it …

The romantic moments in this film are both visually and emotionally compelling. Scott takes Ramona’s hand in the snow the shot captures the individual snow flakes and the open heart shape of their arms to the soft background music that would make any girl’s heart go pitter-pat. When they walk together in the x in the snow, the shot not only calls up the plot of the film (evil exes) but also speaks to the crossroad both of them have or will meet in the film. These scenes have all the magic of any romance and yet are couched in enough hipster quipping to keep it from making its core audience wonder what they got suckered into. For instance, in the scene where they sit on the swings in Toronto winter, Flowers in nothing but wool tights, mini, light jacket, and fingerless gloves, they both remark how ridiculous it is that they are outside trying to be romantic in freezing cold temperatures; then, they go inside. Take that Hollywood!

b. o’malley/bigshinyrobot.com

Ramona also makes a nice alternative to the leading women that dominate mainstream romantic comedies. While her disaffected attitude toward both the world and Scott has critics stumped, this seemed no more or less disengaged to me than any other hipster film. Ramona could just as easily be Juno or Nora from Nick and Nora, both of which critics loved. More interesting to me was the fact that she has a healthy body. While she is far a cry from a “plus size” model, she has ample hips and undefined arms; in other words, she’s normal. When Ramona takes her clothes off, the camera does not shy away from angles that will make her hips larger or her chest flatter, and no CGI turns her into Laura Croft eye candy either. As much derision as I have for hipster culture, one thing I have always appreciated is that there is room for women of all shapes and sizes in their films, you know as long as they are young, mostly white, and able-bodied … but will get to that … wait for it …

Finally, unlike any number of mainstream and alternative films, this is one of the first studio movies aimed at summer audience with prominent queer characters. Scott lives with his gay best friend Wallace, played by Kieran Culkin. Wallace is hilarious as the non-stereotypical wise-cracking best friend who just wants to live his slacker life and get laid like everyone else. Unlike the chirping snarkfest gay bestfriends of stereotype land, Wallace is compassionate when needed, horny in believable and non-pathologized ways, always has Scott’s back even when that means calling him out sans a single “girlfriend”, and rather than snark he peddles in a fair amount of cynicism that offers the only real moral compass of the film. While his ever increasing sex partners are a consistent joke in the film, this too is depicted in a way that runs against the grain of the hypersexed gay man or the tragically grateful coming out story that dominate queer young adult films these days. And truthfully, I like that he gets laid without much fanfare, struggle, or questioning but instead is just another guy living his life.

Scott Pilgrim vs The World/Universal Studios/2010

Ramona is also not completely straight. Throughout the film, Scott displays typical heterosexism as he works out how exactly he ended up having to fight Ramona’s 7 exes. Every time he says, “7 ex-boyfriends”, Ramona corrects him with “7 exes”. It starts out as a subtle reminder about how heterosexism works and how people with gay bestfriend’s can still be guilty of it. This subtlety-turned-unnecessary-repetition is followed up with Scott finally cluing in with a scene that reaffirms the way the film naturalizes all sexualities; when Ramona says she was going through “a phase”, Scott replies “what a sexy phase?”. While in some ways that rejoinder reaffirms a heterosexist gaze at lesbian sexuality, ie for the entertainment of straight men, it also refuses to judge or pathologize Ramona’s chocies. And while it is not the most questioning -affirming comment in the world, I loved it when Romana’s ex responds to their love affair being called “a phase” by calling her a “has-bien”, we used to call it L.U.G. (lesbian until graduation) in my day. And I don’t think this film used the term to demean bisexuals, which I assume is how it is used in the real world. Instead, the comment markedly calls out women who deny or disavow parts of their sexuality with little regard for the women they ab/use in the process. To me saying a real relationship was “a phase” with all the implied judgment in your tone in front of your ex is a far cry from being confused about what you like or being bisexual and deciding to commit to a man. Ramona is guilty of the former.

Truthfully, as a person who teaches film, if the movie had not failed so horribly in other places I would be comparing it to Fast Times or Singles, for its ability to capture a particular cultural moment in youth culture that people can identify with now and look back on fondly later when, like those other moments, youth culture has moved on,

The Bad

This movie is choppy. It very seldom lets a scene play out all the way through and has even less transition scenes. While this fits with the overall goal of the film to be like a video game, it leads to some scene splicing that pulls you out of the film and makes you wonder about technique rather than story line; visionary work can use new techniques while telling a story.

The same thing happens with excessive use of pop ups. While most of them are in keeping with the film’s overall feel, sometimes they seem like an unecessary device reminiscent of the decline of Pop Up Video on VH1 than innovation. In at least one scene there are so many of pop ups you don’t have time to read them all. Alternatively, the film uses black marks to cover up cursing to hilarious effect.

Ultimately, the problems seems more about too much and timing than technique. While Director Edgar Wright had an amazing grasp on cinematography and story, his love of his concept gets in the way. Some times I think he does not trust himself with the meatier parts of the story (of which there are few) so he dumps in some graphics instead. This is particularly true when he is dealing with the love story that supposedly drives the film and is unfortunate because he clearly has the chops to make the story line sing.

Scott Pilgrim vs The World/Universal Studios/2010

Most of the characters in this film are two-dimensional. Some characters are introduced and then never seen again. Others are given significant enough attention or back story that we want to know about them but they are simply plot devices that appear and disappear in the night. This is particularly problematic with regards to Scott’s ex-girlfriend who is supposed to motivate all his douchebaggery. Of course, the film isn’t invested in female characters … But we’ll get to that … Wait for it.

For the vegan viewers, this film will also enrage. One of Ramona’s evil exes is a vegan who as a result of not eating animal products has magical powers and the condescension to match. For me, his ridiculous banter and ultimate dethroning were deeply satisfying as a critique against self-righteous vegans who act as though they are better than everyone else. Example: PETA’s beached whale campaign that incited an endless barrage of fatphobia and hatred toward large people as non-vegan or self-appointed voices of the vegan movement on the internet who transform multiple conversations about racism, classism, and other oppressions preventing veganism from reaching certain people or changing world systems that impact animals into myopic rants about how everyone who disagrees with them “eats meat” and “hates vegans”. This kind of pseudo-sainthood that targets others and refuses to address one’s own oppressive behaviors makes vegans an easy target and the film is spot on in its depiction of the sanctimonious set within a much larger social justice movement.

At the same time, there is no room in this film for vegans who actually are neither elitest nor judgmental. There is no real vegan in this film. The evil ex, it seems eats chicken occasionally. Even if he did not, there is no other vegan in the film who is sane, committed to social justice, and just trying to live their life in the best way possible. For those vegans this image is a huge slap in the face. It smarts even harder no doubt because in the graphic novel the character is actually a drummer with a bionic arm not a vegan at all … but wait for it …

The Ugly

The article I linked to at the top of this post, has a whole list of reasons Scott Pilgrim did not do well at the box office. None of these include that the film is offensive and thus fails to entertain at a deeper level. However, I would argue that it is the depiction of women and APIs that is at the heart of its failure.

Scott Pilgrim vs The World/Universal Studios/2010

Scott Pilgrim begins with a backstory about Scott being on the rebound with a high school girl. He is 22 and she is 17. To get around both legality and the potential morality issues involved in this hook up, the film spends a considerable amount of time pointing out that they do not kiss nor have sex. I know I am Catholic, and so is Knives Chau, the girlfriend, but seriously … Worse than these age differences is the way Scott treats her. Not only does he forget about her regularly, he misses dates, picking her up, and even jumps out of a window to avoid her. (The window scene is hilarious out of context but fails to read the level of the panty scene in the Breakfast Club precisely because the film never takes its female characters seriously and its characters of color even less so.) Worse, he also cheats on her without even thinking about it; the majority of the film depicts his heartless cheating as the great love story for us to invest in with little regard to Knives either. It is one thing if your hero is a douchebag, it’s another if your storyline elevates it to romance.

While Knives is doting on his every word, Scott is trying to get Ramona to pay attention to him. He orders a useless gadget to get her to deliver it after he finds out that is her job. He slides up to her at a party and tries to be witty using the same pick up line he used on Knives a few scenes before. He even goes to bed with her, though they end up not having sex because Ramona changes her mind at the last minute, while still dating Knives. In fact, he is so insensitive that he invites Ramona to the same concert Knives has promised to come see without breaking up with her. When they start to confront him, he simply runs away and does his best to keep them from talking. Only Wallace tells him he is cruel and needs to man up and even then, his answer is to try to avoid it and then simply tell her as she is going on about how wonderful they are, that it is over.

In a scene that should make every girl’s skin crawl, Scott rides home on the train looking pathetic because he had to break up with his girlfriend and that made him feel bad. Poor Scott. And then, his pathetic shell-shocked expression twists into a giddy grin as Ramona’s face pops into his head. His 5 seconds of guilt don’t even amount to remorse since they are really about how much it sucked for him to have to look at Knives teary eyes than about how how he treated her, demeaned her, and took her for granted. Did I mention he makes her pay for their dates?

In typical male fantasy fashion, we are supposed to excuse Scott’s treatment of Knives for three reasons: (1) Ramona is his true love, so of course he pursued her. Except, Scott was a self-absorbed user before Ramona came into the picture. (2) Knives is better than Scott, Wallace tells us so and so does Knives herself so that makes all his neglect and douchebaggery ok. And (3) After stalking him throughout the rest of the film, Knives herself gives him permission to go after Ramona even though he was perfectly willing to take her back as a consolation prize at the end of the movie. You know because Ramona said she was leaving and Knives still has an allowance to buy video games and pizza with on their dates. (Supposedly he learns a lesson in this movie, there is even dialogue saying “I think I am learning something” except the fact he is willing to reunite with Knives when he does not love her undermines the entire thing.)

What is most offensive about the Knives storyline to me is that it does not need to be there. Knives serves no purpose in this movie except as a vehicle for Scott and his friend’s racism and/or sexism… wait for it … and his overwhelming self-absorption. Including Knives seems like a huge mistake for a film that tries so desperately to convince us that Scott is a good guy. In case your smart enough to know better, the movie has Ramona says it over and over again. In this way, I agree with many of the mainstream reviewers who said one of the big failings of this movie is that the main character is not particularly likable or interesting.

Scott Pilgrim vs The World/Universal Studios/2010

The premise of the movie is also basically sexist when you get right down to it. In order for Scott to be with Ramona he has to fight for her with a bunch of beefed out men, and one puckish girl, who barely care that Ramona is there. In fact, it turns out that none of them are fighting for Ramona but instead to get her back for the only guy in this movie who is more narcissistic and sexist than Scott himself. Haven’t we gotten past the woman as property or prize days yet?

Worse, it turns out Ramona’s motivation is that she is only using Scott to get her ex to pay attention to her. Seems like Scott and his rival have a lot in common whe it comes to how they treat women and Ramona’s quite the catch with her lust for self-absorbed people who barely care about her.

Despite supposedly being empowered, Ramona does nothing to defend herself or put a stop to the conflict, except when Scott refuses to “hit a girl”. He can use them and ignore them but hitting is where Scott draws the line; I wish the director felt the same.

Hitting girls is pretty common place in this film. Mr. Vegan punches Knives with such force that he “knocks out her highlights”. While the refrain about her highlights being gone is meant to make us laugh, there is nothing amusing about seeing the former Superman punch a 4 foot something teenage girl in the jaw. And there is even less amusing about the fact that neither Scott nor her new boyfriend do anything about it until he insinuates his sexual domination over the two white women in the room. The white women don’t care either by the way, one even seems turned on by it. Worst of all, this fight takes place between two women in the graphic novel, meaning the director decided it would be “funnier” to have a huge, muscle bound, male actor punch a thin teenage girl than follow the existing story line; it’s a “joke” he resorts to too often and it also speaks to the fact that while he does not mind changing the pre-existing story to heighten iniquity, he has no qualms with leaving it alone when the inequity is already there.

B. O’Malley

Which gets us back to the other major issue in this film: race. The way Scott treats Knives is bad enough on its own. But as he discusses her with his friends and family, he makes sure to mention that she is Asian. Many of their reactions point to the exotic erotic. Just in case we are too dumb to pick up on the unspoken orientalism, Scott spells it out for his sister when he points out that she is both Asian and has a Catholic School uniform …

Throughout the film her race is used to casually express racism. Besides the multiple conversations referenced above, when Scott wants to break up with her he asks if she is “even allowed to date outside her race” as if his eroticization of her is acceptable but her parents’ potential fears about that eroticization are discrimination. At the end of the film, she shows up dressed like a hipster version of a ninja. And when she gives Scott permission to go after Ramona, he says “Chow Knives” you know, cause her name is Knives Chau …

The other Asians in this film fair little better. Ramona’s first ex is Indian and is forced to do an obligatory Bollywood dance with ghost-vamps in the middle of their fight scene. It’s the kind of thing that made me question what exactly does go on behind the doors of 20-something hipsters’ homes when they’ve locked all the people of color out. When Ramona explains their relationship, she says “he was the only non-white jock in the town.” So she did not date him because she liked him; she dated him because he fit into her rebellion against hypermasculinized whiteness that left her no room for female autonomy. In this way, she has something in common with Scott in that she dated a person of color to give her friends and neighbors something to talk about but otherwise could care less about them as people or lovers. She also has something in common with Julie Roberts’ new movie, in as much as her supposed act of feminist enlightenment was bought on the back of brown men. Yippee!

Ramona also dated Asian twins. Their sole contribution to this film is a synthesizer that shoots out Chinese dragons. If that weren’t bad enough, let me just point out that the twins last name is not Chinese, it’s Japanese.

Conclusions

Scott Pilgrim vs The World/Universal Studios/2010

I walked into Scott Pilgrim with the last shred of hope I had left for the summer movie season. I was expecting a sort of graphic novel angst that both entertained and sent up the original in unique ways. While the graphics and the overall gifted cinematic eye were certainly present in much of this film, its tongue-in-cheek hipster angst fell flat in the face of so much unnecessary racism and sexism. The film’s race politics seem to be  a fairly faithful adaptation of the graphic novel which means both the racism and some of the sexism originated there and the directors and writers made the decision not to omit it in the re-telling for film. What concerns me most about Scott Pilgrim then is that it is not new in its peddling of either oppression; instead, it seems like a sometimes funny, sometimes poignant, sometimes visually compelling version of the same old 20-something shlock. While hipsters pat themselves on the back for being completely disaffected with all the evil in our world, able to cut through the bullshit, and take on any number of liberal causes it seems like in their fantasies, and for many in their real lives, the oppressions that do not impact them directly do not matter to them any more than the fascists and neocons they define themselves against.

I understand why young men would be attracted to this film. Michael Cera as average Joe is always compelling and his fight scenes, done mostly himself, and endless supply of women makes him the perfect nerd hero whether playing Scott Pilgrim or the myriad of other versions of this character elsewhere. However, it is hard to know why white women, and a handful of women of color, buy into this culture that does not take them anymore seriously than the sexist society they rally against. While mainstream culture is both blatant and unapologetic about its exploitation and objectification of young women, hipsters do pay lip-service to their empowerment and does so in this film as well. But if all feminism means these days is you get to be as big a douche as the pompous boy ignoring you and you get to have everyone around you acknowledge that you are smarter and cooler even while they do nothing to change their interpersonal worlds to make room for you as anything other than the ignored girlfriend, hated interloper, or object of racialized sexual fantasy, than give me a new movement. And please spare me the transparent cinematic reinforcement that elevates average Joe at Jane’s expense.

Overall Scott Pilgrim gets a C for Crap.

Summer of Suck

I am annoyed. Shocker, I know.  But you see, the summer is essentially over for your dear professor and I realized that I did not see a single movie this summer I thought was interesting and very few I thought were even worth more than a mention on the blog. While I still hold out hope for Scott Pilgrim, mostly because I am desperate, I’d planned to write a post about how disappointing this summer has been. And then, I discovered “Nonskweeter” a blog whose movie reviews are even more snarky and disaffected than mine.

The omnipresent moral of Splice is that women shouldn’t do science. They’re all irrational, baby-crazy, bipolar shrews. No, really.

Splice doesn’t employ foreshadowing as much as a giant clown mallet with the words, “DUN DUN DUUUNNNNNNNN!” painted on it. I hate this movie. I want it to give me back that part of my soul that was lost when I watched … (read the rest here)

Even better, they address issues of race and gender, as you can see above and below:

Hi! I’m an upper middle class white woman who doesn’t like her husband. I’m going to let a bunch of cute people with accents change my life. Fix me, brown people! Your poverty & inability to escape your problems centers me.

What person with real ties to the real world can leave their friends and family, their bills, their job, and their responsibilities to meditate for hours and shriek at Brazillian men on a beach because, goshdarnit, they’re just so lovable and they don’t know how to handle it. (read the rest here)

I love these reviews. They make me almost want to go watch these horribly bad movies even though she confirmed everything about them that originally kept me away. Then again … no. But I will read Nonskweeter again and so should you.

CFP: Hip Hop Feminism

Rosa Clemente/former VP Candidate for Green Party/unattributed

There have been strong women of color at the center of Hip Hop theorizing since its inception. Many of these women have never received the recognition they deserve for their artistry or their profound critical feminist eye focused clearly on the experience of women of color at the margins and intersections of multiple identities. These artists have struggled to have their voices heard in and outside of Hip Hop even as they inspire, mentor, and help provide strength to face any number of gendered oppressions. Many of them have worked just as diligently at empowering young women and providing critical analysis of engendered experiences as they have at being the best at their craft. Often these things are inseparable. And yet, these women’s work has been overshadowed by the racist and racialized sexist discourses that only want to focus on the “video ho” until recently. (see my posts on Hip Hop for AfAm herstory and LGBT history month for more thorough posts and links to Hip Hop feminism and Hip Hop feminists.)

kin4life/outhiphop.com

While this shift has been important, I think currently there is far too much mainstream attention to Hip Hop feminism as the *only* form of feminism(s) of color. On the one hand, the emphasis represents a needed intervention into mainstream discourse about the “video-ho” in which black men are seen as the most misogynist men in the world and women of color are internalized sexists needing rescue from their “culture of violence, sex, and drugs.” On the other, the slowly won recognition of feminists for whom Hip Hop and B Girls have been critical forms of expression, solidarity, and empowerment has come at the price of the recognition by mainstream of feminists of color outside of these stereotyped (tho not stereotypical) scenes. This is not the fault of Hip Hop feminists or people doing needed documenting work on their movements but rather the ongoing problem of tokenizing woc feminist contributions by mainstream academic theorists and educators. In the last few years, scholars like myself who work on race and gender have been introduced as or referred to verbally and in print as “hip hop feminists” or asked what we think or will we write an article about Hip Hop feminism in the same way we were referred to as Womanists when Alice Walker coined the term and still have to fight for the right to define ourselves and our affiliations. My concern then is that there are at least two camps here: (1) those who want to embrace, document, and explore the meaning, history, and empowerment behind Hip Hop feminism and (2) those who see it as just a new word for “black feminists over there”. One way to posit a counter-narrative to the latter is to keep writing, keep filming, keep talking about what Hip Hop feminism is and about all of the feminisms engaged in by women of color in which Hip Hop feminism is only one iteration.

La Bruja/unattributed

So I am publishing this call for papers on Hip Hop feminism to encourage the continued struggle to talk about feminisms by women of color in arena that often posits us as both singular (ie one kind of feminism) and perpetual victims (in this case the video-ho) in need of feminism. I do so out of solidarity with the project of naming, claiming, and documenting our feminisms and our activism but also with the caution to take on the task of clarity and specificity in your writing so that you lend to both the needed discussion of the specific feminism under discussion and to the larger discourse about the longstanding presence of women of color in activist, feminist, circles.

melange Lavonne/David Laffe Photography

Also I would encourage readers to consider some of the queer and/or differently-abled black and Latina Hip Hop artists highlighted on this blog or even in this post for your potential papers/presentations. Just as interventions need to be made in the way mainstream feminist academics are approaching Hip Hop feminism as the new Womanism, interventions need to be made into the ways scholars have often shied away from discussions of queer sexualities or assumed able-bodiedness or cis gender. There are sub-topics in the call specifically open to making this challenge, where you could take the advantage.

Please find the CFP below:

Black and Brown Feminisms in Hip Hop Media

University of Texas at San Antonio – March 4-5, 2011

Submission: 500 word abstract to Kinitra Brooks and/or Marco Cervantes blackandbrownfeminisms@gmail.com on or before November 15, 2010.

Description:

Black and Latina feminist scholars offer multiple ways of understanding feminist cultures that transcend ideological borders and patriarchal conventions. More recently, Black and Latina feminists have negotiated the positionality of the woman of color in the ever-changing world of Hip Hop since its inception.  The Black and Brown Feminisms in Hip Hop Media Conference situates Black and Latina feminist theory in the context of Hip Hop representation to discuss ways Hip Hop music, film, and club industries fetishize, exploit, celebrate, empower and/or disempower Black and Brown women.

This interdisciplinary conference will feature unpublished work on women in
Hip Hop to exchange ideas, share research, and initiate a sustained conversation by and about Black and Brown women in Hip Hop media.  Vital to this discussion is attention to the blurring lines between Black and Latina feminist studies and a dialogue that attempts to understand an interweaving history of objectification, struggle, and potential for agency. How do we read Black and Brown women in Hip Hop culture? What readings of Black and Brown women other than conventional black feminist readings and Latina feminist analyses are cogent? What theories enable those readings? Finally, what would an investigation into autobiographical stories of video models yield? How would those narratives differ from that of more conventional readings?

A select number of accepted papers will be included in a one-day, academic
conference at the University of Texas at San Antonio as a part of UTSA’s celebration of Women’s History Month on March 4, 2011 with a Hip Hop performance from local Texas as well as national hip hop artists on the evening of March 5, 2011.  This conference will be an opportunity for presenters to share views and concerns on the growing intersections between Black and Brown women in hip hop culture.  Possible Panel Topics Include:

  • Interdisciplinary Approaches to Gender and Race in Hip Hop
  • Colorism within Hip-Hop video culture
  • The New Female Entrepreneur
  • Negotiating Sexualities
  • Black and Latina Diasporas
  • Video Vixens or Video Models?
  • Female Rappers
  • Chicana/o Rap
  • Alternative Models of Black Femininity
  • Latinas in Video Model Culture
  • Intersections of Video Models with Youth Culture
  • Performing the Black Body/ Brown Body
  • Reggaeton
  • A Case Study of Karrine Steffans
  • Strip Club Culture
  • Confessions of Video Vixens
  • Eroticism vs. Pornography
  • Women as Exchange among a Male Economy


WordPress Wednesday Aug 11

updated post

I know you are just chompin’ at the bit for today’s weekly installment of fascinating stats about wordpress fail with regards to race, sexuality, class, and often gender. Unfortunately, I got a late start this morning and the Wednesday count took longer than usual because we had to track down some of the authors identities and debate whether or not to include findings about another major criteria for wordpress posts: is it interesting, entertaining, or providing new information. We have been tracking this category all along but recognize that in many cases, this criteria is subjective. Today, after reading two very dry posts about nothing and one incredibly funny one about the same thing, the debate opened up again. So … all this to say stats will be late today because I have meetings all afternoon into mid-evening. Ahh the start of Fall how I hate love it.

So here are the stats:

Pictures

  • men of color: 40
  • women of color: 14
  • TOTAL PICS OF PEOPLE OF COLOR: 55
  • white men: 37
  • white women: 30
  • TOTAL PICS OF WHITE PEOPLE: 70

Men of color were overrepresented in this count because of a post set in India in which 20 photos were featured, 18 of which were Indian men. The number of white women is also overrepresented in this count because of a post featuring 19 photos, 17 of which were white women. Though the latter post was not racially-culturally specific, it was about a city in N. America, of the 19 photos only 2 were people of color and both were of the same family who owned a shop featured in the post. Another post this week had 16 photos of a city with an extremely diverse population but only featured 2 photos of people of color, one was a crowd shot and the other was an older sticker of the Supremes. There was also an omission of images this week based on the problematic decision not to count photos from a Latina’s post on her wedding as her family would be considered white in Latin America but by nature of being culturally Latin@, would be brown in the U.S. Despite all of these issues, you’ll note that white people still appeared 20% more often than people of color this week and white women were still twice as likely to be depicted as women of color.

Authors

  • men of color: 2
  • women of color: 3
  • TOTAL AUTHORS OF COLOR: 5
  • white men: 19
  • white women: 18
  • TOTAL WHITE AUTHORS: 37

Once again white authors dominate those who featured on Freshly Pressed despite the published response to one of my readers that wordpress’ Freshly Pressed page highlights the diversity of “all of its authors” and blogs. White people were featured at 6xs the rate of people of color as were white women over women of color. While white men and white women were 9xs more likely to be featured than men of color, white men and white women had near gender parity this week. There were also three authors this week whose race was unknown but whose gender information was available.

1 white male’s blog was highlighted twice this week and several online journals whose assumed audience is white were highlighted again over individual bloggers or bloggers of color. One multi-authored blog highlighted this week had 9 authors none of whom were people of color and only two of whom were women. Another featured multi-author blog had only 3 authors but again none were people of color, though 2 were women.

Gender and Sexuality

  • pictures of women: 44
  • pictures of men: 77
  • female authors: 23
  • male authors: 23
  • gender unknown: 1
  • articles about feminism: 1
  • articles about gay rights: 1
  • articles about, related to, or otherwise assuming heterosexuality: 10

Men out number women in pictures this week but are equal with women as authors. This week marked the first in three weeks of consistent collection of data that a gay author was featured! The author was white, male, and middle class and made no reference to diversity beyond sexuality in his post. This was also the first week that a black male blog author was featured who has his picture prominently displayed on the front page. Most of the men of color featured on freshly pressed do not have their images on the blog or have them on a separate page. Interestingly, most of the white women featured on freshly pressed have their photos prominently displayed on either their home page, attached to their author credit when they write a post, and/or on their about page. As per usual there were no mention of transgender identity or rights nor alternative feminisms; the fact feminism appeared at all this week was fairly important even though it was not the first time. Feminist posts are seldom highlighted.

Grammar & Copyright

  • grammatical errors: 8
  • copyright infringement: 27

This section of stats highlights things that wordpress claims will absolutely prevent you from being featured. As in all other weeks, posts written primarily, if not exclusively, by white cis heterosexual authors were featured that violated copyright and grammar rules over diverse authors who had not.

Other Issues

This week saw the return of both white identified posts, posts that assume whiteness as the shared and normative experience, and racist or racialized posts. The biggest offense included a post that was exclusively about making fun of the way Middle Eastern people use the English language to sell product. The post included the image below which combined ablism and racism to form the crux of the post, including a caption that stressed the use of the word “retard” as ablist insult that was also the featured image on the Freshly Pressed page that day.

JeremyFugelberg.wordpress.com

Of the posts about racism highlighted, of which there were 2, both were written by white people about race issues in communities of color. The purpose of these posts was to highlight internalized racism, spoke only of as racism, ie putting the onus on communities of color rather than on the global system of racist inequality that ultimate is internalized by some targeted people. No people of color discussing racism have ever been highlighted on the freshly pressed page in three weeks this project has gone on even though they write about it every day on wordpress blogs. The week prior to the official start of this project, a person of color excusing away racism was featured, she was the first person of color discussing racism I had seen featured in some time.

Getting Radical About Publishing

I am pointing you all to the post at Vegans of Color blog today in order to raise awareness about radical publishing. As many of you know, issues of diversity in publishing are very important to me as an editor, author, and activist. I have spoken often on the blog and twitter as well as at academic conferences about the disappointment I have in the feminist, critical race, and queer activist communities for excusing away exclusionary practices, erasures, and unequal treatment of authors by publishers because they publish books that support some feminist, queer, or people of color authors. Quantifying our support based on proximity to our identities is not a revolutionary or radical act.  IE saying white women feminists are published and actively supported here so we can’t shop elsewhere or use our money to build alternative publishing just because black women do not; or really committed black cis male revolutionaries get published here but not elsewhere so we cannot shop elsewhere or use our money to build alternative publishing because black women and black queer people do not, etc does not ultimately support social justice or social change for the communities we claim to support because ultimately feminists, queer people, poor people, elders, etc. are being left out and often intentionally excluded or erased to support others.

Now the vegan community is debating whether or not feminist and vegan authors being published matters by a zine distro (zines and their distros being important intervention into mainstream publishing) more than the fact that the publisher is accused of domestic violence. Once again people are weighing who matters and who can be “left behind” and once again doing it the name of social change and “alternative culture.”

I find myself compelled to ask, what kind of revolution is it when we leave any marginalized person behind just because they don’t look like us or we are not directly impacted by their issues? When did we give up on getting creative about how we support existing published authors, or any other community, AND work toward inclusive publishing in favor of “some is better than none”?

via Vegans of Color
What’s it worth to you to have good vegan recipes? Would it bother you to pay money to a publishing company run by an abuser? (more info here; linkdump here.) This cookbook has gotten a lot of positive reviews, but I won’t buy it because I can’t stomach giving money to Microcosm. Probably a lot of people reading this blog, who may have this cookbook or be thinking about ordering it, won’t know the story behind its publisher. Given that people hav … Read More

In many ways this gets us back to the issue of boycotting I raised earlier. When people engaged in bus boycotts, they also created alternative transportation for people who needed to get to work or to school. They did not just say “screw working class people who need public transportation; racism is more important.” Instead, they got together all of the people who had access to transportation and helped to make sure as working class people got to work and to school all the while demanding that public transportation be inclusive. When people boycotted mainstream education, teachers who were providing inclusive education did not say “what about me?” the majority of them joined the walkout and taught on the streets, in the coffee  shops, or in alternative schools designed to provide the education that was lacking in mainstream schools. While the fight for educational equality went on, teachers worked to integrate existing school curriculum while actively working for freedom schools and providing books and training for those schools and alternative school models, people with education began to imagine and open schools specifically for excluded students of color. Radical by definition means actively working to change the system while envisioning and providing alternatives to it. You can do the same thing with publishing and the books you buy. You don’t even have to figure out a way to do it, Cherrie Moraga, Barbara Smith, and more recently the Speak! collective have all show you the way now the choice is up to you.

What I am working On

I am working on a post about women of color in graduate school based on an intervention we did with an old friend at our house this weekend. Unfortunately, it is taking longer to write than I imagined because

  1. I want to make sure the information does not glare like a neon sign pointing to her – though her experiences are so similar to most woc in school I doubt it will
  2. I want to include a list of helpful survival tips in the post for those of you struggling with similar issues

So what this means is that my quick post today has turned into a long and time consuming one.

SCEED/asu

Interestingly, it comes at the same time that a new study has come out showing that schools that have equitable graduation rates between white students and students of color have aggressive programs to recruit and support students of color.  In other words, instead of just claiming they “support diversity” or making inconsistent recruitment efforts when the diversity bug bites too hard to ignore, these schools have ongoing recruitment efforts that ensure that every class has a critical mass of people of color to support each other throughout their time in college. They also have programming that goes beyond “diversity week” or February, May, and August-September. Instead most of these schools have theme houses, regular events throughout the year like film series, symposiums, lectures, etc., that address intellectual contributions, new and hot research, and intersectional study rather than just “doing diversity” or “inclusivity”. This sends the message to ALL scholars that race is part of intellectual work and not just a PC endeavor. Both numerical significance of students and faculty of color and an overall focus on integrated knowledge or study makes these schools places where, at least in the aggregate, students of color and white students succeed at the same or similar levels.

This seems like information we should all already know. Yet the racial disparities in educational attainment speak to the fact that even if we do not it, we are not doing anything about making lasting change. While there are many factors that lead into limited representation and subsequent graduation of students of color in higher education that are beyond the purview of the university, the policies in the study certainly are within our ability to enact. And speaking as someone who went to an undergraduate institution that use to operate like those referenced above and then decided to focus on “increasing donors and funding”, aka moving away from diversity toward a model of courting white male old money as if somehow those students were not already at my institution, I can attest to how well they work and why some schools avoid them despite their success. Perceptions about import, exclusive education, etc are still very much tied into visible race and class differences and elitism is still the cache of many SLACs and Tier Is.

So what does this all mean for scholars of color, especially those from working class backgrounds? I suppose that depends on the willingness of those of us on this side of tenure to read the study and try even harder, now that we have national data to back us up, to make it happen and the willingness of those who say they “support diversity” or are “tired of diversity/victim stance” to look at the national data and finally cut the crap.

Color of Change Save Net Neutrality Email Campaign

Worried that the end of net neutrality is the beginning of the official sanctioning of class, race, and location (as in rural vs urban, inner city vs gated community) inequality on the internet? Worried that this will in turn translate to large inequalities in the real world as even the most basic job now requires a large degree of internet savvy? I am. Most of the people who I know, read, or follow on the internet are as well. And if you are, here is your chance to tell Google how much it will cost them to join hands with the oppressor (you know, for those of you who don’t think they already have):

Dear friends,

If you value the free, fair, and open Internet, then you need to act now, before two corporate giants deal it away.

Several news outlets have just reported that Google and Verizon are about to cut a deal that would allow giant corporations to control which websites load slowly, quickly, or not at all. Google used to oppose this kind of corporate control over the Internet, but now it looks like they’re changing their tune. Google’s motto is “Don’t be evil,” but it looks like their pursuit of profit might be getting in the way of living up to that ideal.

Thankfully, it’s not a done deal yet. If enough of us speak out now, we can create enough pressure to get Google to back off this corporate takeover of the Internet. Will you join me in adding your voice, and then ask your friends and family to do the same?

sign petition here

The basic promise of the Internet lies in the guarantee that information you put online is treated the same as anyone else’s information in terms of its basic ability to travel across the Internet. Your own personal website or blog can compete on equal footing with the biggest companies. It’s the reason the Internet is so diverse — and so powerful. Anyone with a good idea can find their audience online, whether or not there’s money to promote the idea or money to be made from it.

This is critical for Black communities and others that have had our voices compromised by corporate-controlled media. For the first time in history we can communicate with a broad audience, educate, politically organize, and create new businesses — without prohibitive costs or mediation by gatekeepers in government or industry. It’s the strength of your ideas, not the size of your budget, that largely determines your success. In television, radio, and print this can’t happen on a large scale because access is determined by big media corporations seeking to turn a profit.

This deal could take the Internet in a different direction. It could end the Internet’s level playing field by allowing rich corporations like Google to pay for faster-loading websites and services. It could destroy the potential for independent voices to compete with giant corporations for an audience — big corporations who can pay for preferential access to Internet users would drown out the smaller voices online. And it could mean that you’ll start getting less Internet service at a higher cost.

We expect the big telecommunications companies to try to stifle freedom and equality on the Internet — they’ve hired an army of lobbyists to do just that. But Google has always said it supports a free and open Internet. Google likes to portray itself as a corporation with principles that go beyond profit, and it would be disappointing to see Google abandon them.

Google has tried to downplay this story. They issued a short, carefully worded statement that says they’re still committed to an open Internet, but they haven’t denied that they are in talks with Verizon to cut a deal that would give corporations more control over Internet traffic.

By speaking out, you can pressure Google to walk away from this deal. But time is running out — please join me in signing ColorOfChange.org’s petition to Google today:

Sign Petition click here

Thanks.

Key Links:

1. “NYT: Google Just Killed Net Neutrality (UPDATING: Google and Verizon Deny Internet Traffic Deal),” Gizmodo, 8-5-2010
http://gizmodo.com/5605310/google-just-killed-net-neutrality

2. “Google and Verizon Near Deal on Web Pay Tiers,” The New York Times, 8-5-2010
http://www.nytimes.com/2010/08/05/technology/05secret.html

3. “Google, Verizon Try to Shape Net-Neutrality Law,” Wall Street Journal, 8-5-2010
http://bit.ly/bivjd6

4. “Google, Verizon Said to Strike Deal on Web Traffic Rules,” Bloomberg, 8-5-2009
http://bit.ly/diIrZP