Mayannah Beauvoir

Many hands make light work

[mayannahspeaks-blog]

A Tribute to Black Women or Just Another Capitalist Agenda?

Beyonce’s visual album, Lemonade, her sixth studio album was released on April 23rd, 2016. The 60 minute film aired initially in HBO and music streaming website, Tidal, which she partially owns. She shocked the world with her seemingly personal subject matter, exploring an emotional rollercoaster associated with infidelity and marriage as well as political topics such as mass incarceration and natural disaster relief.

Such subject material caused Beyonce to “break the Internet” once again (She has formerly done so by dropping her self titled album by surprise with no singles on the radio). The reactions to her videos spanned from complete disbelief that Beyonce was political and that she made subject matter that related to the authentic, painful experiences that Black women experience in relationships. Since Beyonce and her family generally keep a low profile, do few interviews and stay out of the tabloids, it is difficult to ascertain what her intentions were behind this film. Was it to reveal a personal story that would promote visibility for Black women? Or was it capitalist ploy and tokenism of buzzing topics to make a profit. I argue that Beyonce’s visual album was meant to be a story for women, particularly Black women to relate to by portraying a truthful story and political content.

Her album ushered in a timely need for music to be political. With the 2016 election polarizing the country, her album came at a time that attention was needed on those who are so heavily disenfranchised, African Americans. Although these issues are trendy and generate views, Beyonce is a mother of Black children and from the south where natural disasters are common. This shows that there is some correlation between her personal politics and those she chooses to display in her music.  In her Formation music video, visuals include a boy “performing” for the police, a sign that says “Stop Shooting Us” as well as the  Hurricane Katrina disaster dramatized by footage of a sinking police car in a flooded city. Each of these images represented the attempt for institutions in the US to control and belittle the livelihood of African Americans whether it be through the prison industrial complex or failure to assess and control damages followed by natural disasters. Although her work gains an incredible amount of attention, it is apparent that these topics are of critical importance to her and her platform.

Many people would argue that because Lemonade was released on an inaccessible streaming site, that her message was not geared toward people of color, but rather a whiter audience that can easily afford such costs. This is a reasonable argument, that class assumptions directly correlate with racial ones. However, a recent study of Tidal’s users reveal that predominantly Black users tune into Tidal. In March 2016, analysts found that 45% of Tidal users identify as Black. According to Business Insider, White users had a much lower presence on the site. Tidal appears to put its efforts into securing Blockbuster artists such as Kanye West and Rihanna, other popular cultural figures in the Black community. This information diminishes the argument that Tidal is inaccessible to Black users and therefore, albums such as Jay Z’s 4:44 and Beyonce’s Lemonade are not intended for Black listeners.

Furthermore, in a recent interview for the New York Times with Jay Z, he reveals some interesting content pertaining to the controversy of whether or not there was a real cheating scandal between Beyonce and Jay Z. While Lemonade’s focus on infidelity has led many listeners to believe that it was a publicity tactic for album sales, this interview reveals that it was likely a real occurrence. He comes to terms with having to listen to the album and recognized the hurt that he caused her. This interview, which aired at the end of November of 2017 reaffirmed fans who believed the controversy was real. All of this is to say, that there is validity in Lemonade’s message to Black women and their encounters in relationships.

Overall, the Lemonade album is debated for validity of intention and audience because of how Beyonce and Jay Z keep their personal lives, out of the mix. It is fair to say that given the politics of Beyonce’s personal life trends of Tidal users along with Jay Z’s recent interview that Beyonce’s album does in fact target Black people, particularly women for relatable lived experiences and music that speaks to their reality.

[mayannahspeaks-blog]

Miss Representation and White Feminism

The 2011 documentary, Miss Representation, explores the realm of media representation in film, television, politics and the professional world. While this documentary does a stellar job of explaining the limiting and derogatory images of women in television and its impact of young women, it fails in its discourse to give a voice to women of color. I argue that overarching concepts of women’s activism need the necessary intersections of race and class for any progress to be made.

The film used a montage of “women’s history”  in order to display agency over the years that holds true today as a counter argument to why women do not deserve the positions of power, prestige and authority that they now inhabit. Unfortunately, the producers erred in beginning women’s history with the rights that only applied to white women. Majority of the images were of white, middle class women with some level of power and biographic availability that enabled participation in such movements. The  “Feminist” movement has and does not generally feature the interests of Black, Chicana, Asian, Native American and Third World Women. These women were forced to assemble into their own distinct spheres of feminism in order for an agenda to be reached. The film failed to identify the individual and intersectional struggle that face women of color in comparison to white women. In order to show real progress, it should not be limited to the contributions and victories of an inclusive representation of women in this country. 

Primarily, these intersections are necessary for any progress to be made that is multicultural and expansive in practice. The mission of Miss Representation as both a film and a cultural object is to inspire and cultivate change among young women by ushering in a new era of representation. This film counteracts this by leaving out Black and Brown women's history. What I hope to see in the future, is a more accurate display. The imagery for women in different groups is varied. Indeed, each do face subliminal messages that perpetuate negative stereotypes and tropes, but the film focused on those of white women.

Even the Miss Representation website features more white female faces than any other race. In my opinion, films in the future that aspire to inspire, must include a realistic vision of the future. It spoke about the need for feminism in Disney films, and didn't mention that there is only one Black princess, one Asian princess and no Hispanic princesses. This is a representation issue: So why isn't it addressed? The agenda is focused on issues that face predominantly white people for a white audience.

Secondly, using terminology such as "all women" is in need of lexical refinement. The word, woman, encompasses women of all classes, races and sexual orientation. Without regard for how these different identifies dace different forms and layers of oppression, there is no progress. Without this, we rely on "universal" and "default" which of course is white. Events such as the "Women's March on Washington" symbolize how his universality operates. The goal of the march was to address the needs of women as a whole. The issue was that an outstanding amount of white women were present, overpowering the mass amount of people. Without necessary intersections, women's rights are limited to problems that only face white, perhaps middle class women. Moreover, marches such as these exemplify the use of women of color as tokens for faux solidarity. In nationwide events such as this march, women of color must choose whether to support an often exclusionary call to action, when their own issues have gone underserved by white people in this country.

Lastly, privilege is not acknowledged when we have these conversations concerning women's representation. Without doing so, we are left with an imbalanced argument that reverts back to the default of white feminism. While women are underrepresented on television, their Black and Brown counterparts are nearly invisible. This is not to say that white women should not have their platform to voice their opinions on the lack of representation, but they should use it to spread awareness of its immensity among other women as well.

Overall, films and projects such as Miss Representation should take an intersectional perspective when analyzing the issues that face women in this country so that a more truthful understanding of the realities they face can be reached.

[mayannahspeaks-blog]

Working Class Damsel in Distress

According to Class Dismissed there is a “deeply engrained belief that workers should be held accountable for their inherent inadequacy. Most workers do not change their class position.” Given this frame of mind in society, particularly in low income communities, people are often culturally encouraged to heighten their social class by marriage. This image is especially popular for working class women on television. The ideal life is to thrive through capitalism, with enough wealth to comfortably support material and consumer based needs.

I argue that the controlling images of working class women on American television perpetuate the idea that women should attempt to elevate their class level by appealing to men of a higher class. The idea of the white savior is reinforced. Shows such as The Nanny and Modern Family have characters that have been able to achieve social mobility by marrying or dating a man with a substantial amount of wealth and recognition. The narratives encourage women to find a wealthy spouse rather than seek education, or pursue a better career. According to Ann Swidler’s toolkit theory, individuals make use of cultural experiences a resources that they utilize when making decisions about social action. (Visit Professor Dustin Kidd’s website to learn more about theory and sociology of popular culture) That considered, these images enforce the idea that women of a lower class are 1) in search of welfare related sources of support and 2) should seek upward mobility and success through men rather than personal potential and 3) lessened to their sexuality and ability to attract.

The Nanny starring Fran Drescher is an example of this. It aired on CBS from 1993-1999 in which a Jewish woman from Flushing, Queens sells makeup door to door when she is scooped up by British elite, Maxwell Sheffield to be a nanny for his children. By the end of last season, they are married and enjoy a lavish life without financial worries. Throughout her life, Fran is berated by her mother for not having a husband to take care of her and move her out of their small apartment. Rather than encouraging her to pursue an education or look for work in a different field with better pay and benefits,her mother and dominant society encourage her to marry a rich man.

In the embedded video, Fran’s friend Val visits the mansion for the first time and expresses her awe and jealousy that her best friend that is now living next door to celebrities. Val’s reaction shows the nature of consumerism and the want for a savior for someone of their class and the importance of class mobility.

The same is true of Gloria Pritchett on Modern Family. Gloria is married to Jay Pritchett, an older man who has done well for himself through his closet making business in Los Angeles. Gloria frequently refers to living in a poor village in Columbia, often for comic relief:

“In my country theres a saying that means ‘Love is just around the corner.’ I come from a neighborhood with a lot of prostitutes.”

When she marries Jay and moves in along with her son, Manny, they elevate their social status significantly and become acquainted with the ease of upper middle class living. Much of Gloria’s characterization and humor involves her accent and mispronunciations  of commercial and consumer culture being the punchline. This contrast is enforced when Gloria’s sister comes to visit the family from her hometown. She claims that because Gloria was the one to leave and marry rich and left her with no opportunities , she “stole her life”. Here, there is clear competition between the sisters and regret associated with not being able to have someone to take care of her. 

Both Fran Fine and Gloria are also made sexual objects by the show with several innuendos that project this stereotype. Fran Fine’s style of dress has been assaulted many times on the show for being inappropriate. The narrative that is created, also affects how Fran is sexualized on the show. It further enforces the idea that young women can attract heterosexual men with money using their bodies to achieve social mobility. 

Overall the image of working class women on television needs to be improved, to enforce a culture that encourages them to have their own autonomy in elevating their class.

[mayannahspeaks-blog]

When Sports Get Political

In February 2016, families gathered around the television on Sunday evening for the 50th annual Super Bowl. For Americans, The Super Bowl is a time to put aside political views and watch the game. This is how the night went with exception of the half-time performance.

Beyoncé Knowles, was scheduled to perform at half-time, the show’s highlight and one of the most watched programs of the year. Her performance was an immaculate representation of how sporting events reflect the political climate.  Beyoncé performed, Formation, a song symbolizing a call to action. She and her backup dancers were clad in black leather suits and berets, reminiscent of the Black Panther Party’s style of dress. Given a global platform, Beyonce made a statement about police brutality and rampant racism in the United States and paid homage to the Black Power Movement. Her video and performance incited overwhelming controversy. It also prompted Saturday Night Live’s commentary in the skit, “The Day Beyoncé Turned Black”, joking she was not political before this event. As an influential black artist stepping in the world of sports, was she wrong for politicizing the event?

I argue that African Americans involved or connected to the world of sports are put in a problematic position when confronted with their tremendous platform and an intense political climate. In these situations, they are 1. Lauded for their heroism 2. Labelled a sellout or 3. Silenced for their radical actions  There is a distinct line between preservation of the supposed neutrality in the sports arena and acknowledging responsibility as a figurehead to make a statement about social ills. 

In Not Just a Game, Dave Zirin, illustrates this dichotomy. He explains the complex nature of protest in sports by contrasting the stories of Muhammad Ali and Michael Jordan. Muhammad Ali fits into the hero category. The three time world heavyweight champion of boxing explains in the film that “Boxing was just to introduce me to world.” Inspired by Malcolm X, he used his high profile status to stand up against racism and the Vietnam War. His actions resulted in his imprisonment. According to Zirin, Ali realized “he was part of a larger struggle” and worked on it in and outside of the ring. Ali once stated “I’ll never fight again if it means I have to sell out...I love freedom and the flesh and blood of my people more than the money!” Ali demonstrates the high cost of bringing politics into athleticism, though his legacy is honored today.

The second way African American athletes are put into a difficult position, is through the idea of selling out. Take Michael Jordan for example. He achieved astounding success in the NBA but is it fair to say that he sold out during his career? He never used his platform for the benefit of those who looked like him, other than to sell products for large corporations. Zirin explains in the documentary, Jordan ushered in a “play it safe” era of commercial content where athletes are controlled by the brands they work for. He “acted as though Nike ran him”, tip toeing around social justice issues in order to please the companies that endorsed him.

In 2016, Jordan made a statement after he retired in concerning police brutality. According to The Undefeated he states: “I am saddened and frustrated by the divisive rhetoric and racial tensions that seem to be getting worse as of late. I know this country is better than that, and I can no longer stay silent.” After years of silence, he can finally speak up now that corporations are not restraining him.

Finally, in contemporary sports, athletes are held accountable for their political actions. In the past few years, many NFL players have publicly recognized the oppression of African Americans by refusing to stand for the national anthem during games. This form of protest began in early 2016 with San Francisco 49er’s quarterback, Colin Kaepernick. He explained: "I am not going to stand up to show pride in a flag for a country that oppresses black people and people of color.” His decision sparked outrage and hateful online commentary. His actions are also said to have impacted his inability to get resigned or traded for the 2017 season. 

Overall, African American athletes and figureheads who enter the sports arena have complex social and political system that works against them. Nevertheless, it is important to acknowledge those who have put their careers on the line for their communities. 

[mayannahspeaks-blog]

How Social Media Provides Agency to Mobilize Social Justice Movements

After watching the 2014 PBS documentary, Generation Like, I was met with many ideas that are ubiquitous in current-day social media. The film discusses the generation of millennial teens and young adults who have transformed daily interactions with their use of social media. It has been three years since its release and a few changes have been added to the list of social networking advancement. With the creation and flourishing of Snapchat stories, Instagram, Youtubers and the “Facebook Famous”, the far reaching impact of the like button did not surprise me. As millennials, we have a general understanding of how people and companies who can get likes, favorites or retweets make money off of them, but the exact linking of likes to data and systematic control in real time was an interesting look at something we engage in regularly. Generation Like showed the influence of the consumer who initiates the like, and therefore a chain of data that sends monetary gain and social impact to the producer of the product. The push of a button has the capability of placing t fame, money and access in the hands of those in power AND in the hands, or thumbs of the consumer.

I argue that we, as users of social media, possesses an immense amount of power at our fingertips that can provide a source of agency for social justice issues. Not only do consumers generate data with every like, they create patterns and suggestions for other users in their friend group or their followers when they use Google search, shop online or view the pages of people they like. Collectively, this is a powerful position of influence that does not go unwatched. The focus of Generation Like, is the individualistic nature of these likes (individual fame, fortune etc.). I began wonder how these likes can instead empower us in a way that benefits the greater good and simultaneously help a large number of people come together in solidarity.

In terms of social justice, social media can have an important role in creating data that speaks to people in a way that will better society and connect on issues of injustice and inequality.  In Social Media Freaks, Dustin Kidd exemplifies social media’s tendency to give its users a “valuable course of action” or agency. When tragedies occur, social media can be a way to congregate, respond and act. In addition, viral videos on social media often come from organizations that strive to see a change in the world. For example, Ditch the Label and its anti-bullying campaign produced a video last year, “Are You Living an Insta Lie? Social Media VS. Reality”: (https://www.youtube.com/watch?v=0EFHbruKEmw) that yielded over two million viewers. The video showed discrepancies between people’s lives on social media and in real life. By portraying the lives of people displaying false versions of themselves online, it revealed a vulnerability that is present in everyone. This was Ditch The Label’s biggest hit online earned by teaming up with Boohoo, a popular UK clothing site. Together, they were able to  create a video that still stays within the mission of Ditch the Label’s intentions of inclusivity, anti-bullying, anti-hate and self-love through collaboration, art and access to resources.

Additionally social media provides us with agency by providing a useful source to uplift one another. This occurs in two ways: 1. By creating a space for positive influence (also known as techno-optimism ) and 2. By creating a space for community. For example, the human rights of women are not fully recognized in every society nor every household. Seeing powerful women engaging together online provides visibility and empowerment in spaces where it is otherwise inaccessible. An example of this is a video created by The Global Goals, entitled #WhatIReallyReallyWant. The video went viral with 1.8 million views online: (https://www.youtube.com/watch?v=sZQ2RUFd54o.). Some of the messages included are, “ Equal Pay, End Violence Against Girls, End Child Marriage”. This video of young women dancing around the world displays an intersectional feminist message emphasizing girl power and egalitarian society.

To conclude, social media can serve as an effective platform for social justice movements to organize and develop courses of action with large audience and diverse profile.

[mayannahspeaks-blog]

[mayannahspeaks-blog]