Vanity Fair’s Big Butt Story Rejects People Of Color
April 9, 2014 by admin
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By Carimah Townes
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April 8, 2014 at 12:28 pm
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“Vanity Fair’s Big Butt Story Rejects People Of Color“
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CREDIT: Vanity Fair
The March issue of Vanity Fair drew headlines for the right reasons last month, when it featured prominent black actors on the cover of its annual Hollywood issue. For many, the cover signified a shift in attitudes about media representation, since the magazine, one of many in the Conde Nast empire, previously attracted negative attention for its exclusion of people of color. However, a two-page story in its latest issue shows that Vanity Fair is still stuck in the past.
On the surface, the publication (you can find it on pages 164 and 165) applauds female sexuality and self-empowerment, but a closer look reveals deeply-ingrained biases against women of color.
In an article comically entitled “Rear Admirable,” Vanity Fair showcases social media sensation Jen Selter, who skyrocketed to fame after posting photos of her butt on Instagram. The pictures used in the spread include a backside shot of Selter in a black corset, and another of the model in 1940s-inspired, fishnet lingerie. The accompanying text describes Selter as a “member of a rapidly rising subset of Instagram stars: young women unfraid to share their deeply bronzed, sculpted figures.”
The takeaway message is that showing off curves in a public way is not only a new phenomenon, but looking darker, “or bronzed,” is the new way to be beautiful. It’s a breath of fresh air to see curves and darker skin tones applauded by a world-renowned publication, but disappointing that Vanity Fair used a white Jewish woman to convey a newly-accepted norm.
We cannot and should not conclude that women of color have a monopoly on curves. Yet, Vanity Fair overlooked a number of women with naturally bronze skin and voluptuous bodies who were out there way before Selter. The article’s incorporation of hashtags — including “belfies” (butt selfies) — perpetuates the idea that curves are new, trendy, covetable accessories, thereby dismissing women of color whose curves existed long before it was fashionable to have them, and whose bodies have been critiqued throughout history.
And just as cultural trends are appropriated from people of color and capitalized on by mainstream media (eg. twerking), Vanity Fair’s use of Selter advances the narrative that non-white people, particularly women, are unprofitable. New ways of thinking only become valuable when fair skin is attached to them. It’s akin to Marie Claire dubbing Kendall Jenner’s “new braids” “epic,” overlooking millions of black women who have worn that hairstyle for years.
In response to XO Jane’s controversial piece written by a white woman, “It Happened to Me: There Are No Black People In My Yoga Classes And I’m Suddenly Feeling Uncomfortable With It,” Maya Rupert states, “The problem is that at some point you got the impression that you — in all your “skinny, white girlness — was the ideal. And that I would, if given the choice, choose to look like you.” In line with this argument, Vanity Fair is shifting away from the “skinny” image, but reaffirming the concept of the “white ideal.” In this case, curves were not en vogue when they belonged to racially and ethnically diverse people, but a Jewish American woman has made them so.
Thus, like many others, Vanity Fair puts the bodies of women of color in a precarious situation: they are either at odds with the standard of beauty or become that standard without being credited. And they are not allowed to be trendsetters or role models, whereas Jen Selter is inspirational and worth all of the “sponsorships, free gear, and most importantly, followers by the thousands” for showing her bodacious body.
It seems like Vanity Fair has a long way to go.
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It’s time for another Trash Brats reunion
April 9, 2014 by admin
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When the music world turned to flannel shirts and grunge in the early ’90s, there was a remarkable rebellion happening in Detroit. A band made up of guys who wore makeup, had big hair and dressed in women’s lingerie was a formidable force on the local music scene. I’m talking, of course, about the Trash Brats.
Formed in 1987 and inspired by ’70s glam bands like the New York Dolls and T. Rex, the Trash Brats leaned heavily on the glam genre but also drew on elements of rock, punk and pop. Members never conformed to any trend and never bothered with the naysayers or the haters, but by the time the ’90s rolled around, they were filling the area’s biggest venues and poised to be the next breakout band from Detroit.
Sure, the big hair and fishnet stockings made the band stand out from the pack, but they aren’t what made it significant. The real appeal was an arsenal of well-written, hook-laden songs, including gems like “3873 Marlborough St.,” “Downtown Nowhere” and “S.M.U.T.” Even 20-plus years later, the tunes stand the test of time.
After several albums and a multitude of tours, the Trash Brats disbanded in 2002. The group reunited in 2008 and has continued to play shows at the pace of about once every year and a half. On Saturday, it will perform again at Small’s in Hamtramck.
“At times I think we are almost overwhelmed by how good the reunions are going,” says guitarist Ricky Rat. “It’s pretty much been packed houses every time, and right away, when we’re done playing, people are like, ‘When’s the next one?’ I don’t know if we expected it to be quite that good.”
Fans from all over the country are expected at Saturday’s show. Rat says people from Canada, Ohio, Indiana and even a carload from Atlanta are planning to make the drive. “I’ve really been surprised this time about how many people are really excited about it and have bought tickets in advance.”
He says the band is planning to dig out a few songs it hasn’t done in a while and is stocking the merch booth with a batch of new shirt designs and new buttons, along with some of the band’s old CD’s, singles and show posters.
The Trash Brats are Ricky Rat (guitar), Brian McCarty (vocals), Tony Romeo (bass) and Troy Toma (drums).
Opening Saturday’s show will be the Dewtons and the Dives. Doors at 8 p.m. for all ages. Small’s, 10339 Conant, Hamtramck. 313-873-1117. $10 advance, $12 door.
For more: www.facebook.com/#!/events/672262816127788/
Get your fuzz on: Rock ’n’ roll isn’t dead, and the organizers of Fuzz Fest are prepared to prove it with 33 Michigan bands performing on two stages over three nights at Woodruff’s in Ypsilanti.
Fuzz Fest will take a look at a variety of styles from sweaty swaggering rock to blistering metal and indie rock. The aim is to present a collection of killer local bands of all genres on one bill.
Among the performers are the Ruiners, the Muggs, Blue Snaggletooth, the Boss Mustangs, the Wild Savages, Beast in the Field, Bad Indians, Bison Machine, Destroy This Place, Caveman Woodman, Lava Moth, Amino Acids and more.
Doors open at 7 p.m. Thursday-Saturday. The music starts at 8 p.m. Woodruff’s, 36 E. Cross, Ypsilanti. $7 per night, $10 ages 18-20, $15 for a three-day pass.
For more: www.facebook.com/michiganfuzzfest
Get your roots on: The second installment of the Gardenia Bluegrass Roots Festival returns to the Royal Oak Farmers Market on Friday for an evening of bluegrass, folk and roots music from Keller the Keels, the Ragbirds, the Crane Wives, Catfish Mafia and Whiskey Shivers.
A variety of craft brews and spirits will be offered as well as food from local eateries. Proceeds will benefit Camp Casey, a Royal Oak charity that offers horseback-riding programs for children fighting cancer.
Doors at 6:30 p.m. VIP, 7:30 p.m. general admission, music at 8 p.m. Royal Oak Farmers Market, 316 E. Eleven Mile, Royal Oak. 248-246-3276. $25 advance, $35 door, $50 VIP.
The official afterparty featuring Whiskey Shivers runs 12:30-1:45 a.m. at Royal Oak Brewery, 215 E. Fourth, Royal Oak. Free.
For more: www.gardeniafestival.com