Checks/Balances


I first set foot in ladymag land in the fall of 1999, when a teen magazine hired the 23-year-old me as the lone editorial assistant. Since then, I’ve worked in women’s magazines in some capacity—running the gamut from fitness rags to fashion, teen to adult, highbrow to lowbrow, freelance to staff and back to freelance again—for the majority of my 13 years of being in the workforce, which is to say the majority of my adulthood. Which is to say that for the majority of my adult life, I have spent thirty-five to, oh, eighty hours a week working on women’s magazines, or physically surrounded by them, or thinking about them, or reading them. And as a copy editor, which has been my primary professional role for most of those 13 years, when I say “read” I mean I read, very closely, every single word on every single page. There have been repeated 12-hour stretches of my life where—and I am not exaggerating—I have done nothing but eat, drink, pee, and read women’s magazines.

Have I made my point clear? I think I have. I have spent a lot of my life reading women’s magazines. Not as much as some of my colleagues—those who have been on staff instead of having extended freelance stretches like I have, those who work harder and more intently than I have, those who have simply been in the workforce 
longer—but I think it’s fair to say I’m in the top 1% of the population as far as taking in women’s magazines goes.

I still work in them in some ways—pinch-hitting in the copy editing department, penning the occasional piece—and I’m generally happy to do so, because as much as I’m critical of the velvet steamroller of women’s magazines, I’m also supportive of them in many ways. My ambivalence on the world of women’s magazines could fill a blog of its own, but suffice to say: I support what they do, and I want them to do with aplomb, and I also know that until we have a societal sea change, there will always be a stopping point in how far they can go toward truly serving their readers in all aspects of their lives.

Anyway. I’ve broadened my copy editing client base in the past couple of years to include publications outside of women’s magazines. One of those clients was a personal finance magazine, which meant I went from proofing columns about the difference between lip balm, lip stain, and lipstick to proofing columns about fixed annuities, variable annuities, and perpetuities. I wouldn’t go so far as to say I enjoyed it—the 
copy could be as dry as the Mojave—but certainly it was educational, and I came away from it knowing much more about personal finance than I had when I started.

The first week or so that I worked on this material, it only made sense to apply what I was reading to my own finances. I transferred my short-term savings to an account with a higher interest rate; I double-checked my bank fees; I eventually even rebalanced my IRA portfolio. But the fact is, I’m unmarried, child-free, and l
azy; my entire financial empire could fit in a shoebox. There’s only so much I could do to check up on my finances, you know?

Not that that stopped me. I started repeatedly checking the balances of my checking and savings account. Daily. Not because I was going to do anything to them—no transfers, no withdrawals, no deposits—but because I just wanted to make sure that what I thought was there, was there. It wasn’t a conscious decision I made; it just naturally happened that midway through reading an article about saving, I’d have to stop 
reading immediately and look at the number on my savings account to make sure it hadn’t magically changed in the past, oh, 18 hours.

A brief aside about my temperament: I’ve been blessed with a relative lack of anxiety about money. Part of this is sheer privilege—a largely middle-class upbringing and the accompanying assumption that I’d go to college and land in a field that would allow me comfort, if not wealth. My father grooves on finance stuff—indeed, his lifelong career was in the financial end of health-care systems on Indian reservations—so while I’m lazy in handling my finances, I grew up with the idea that dealing with money matters could be a source of satisfaction (which, in me, mostly manifested itself in a love of filling coin rolls. Better ’n’ Quaaludes! So relaxing). When I’ve been under financial duress, I’ve usually had few problems adjusting my budget; while I’m not the best saver on the planet, neither am I the greatest spender. Basically, while I get the occasional jolt of nerves about money like anyone, overall it’s just not on my worry list.

Yet there I was, 
checking my balances daily, sometimes more than once a day, almost ritualistically. Seeing the number I expected to see soothed me, allowed me to take a deep breath and remind me that the world was in order, or at least my world was in order.

At a certain point I realized that my “sudden” need to check in on my bank balances was directly correlated to the content I was reading all day. Reading about how to improve my financial life did a little to actually make my financial life better, yes. But the number-one thing it did was instill in me an anxiety about my finances—an anxiety that was either latent or nonexistent before. Surrounding myself with personal finance material for eight hours a day for only a few months, off and on, had done something to me. Nobody else was making withdrawals or deposits to my accounts; nobody else was making transfers. I was the only one whose hands touched my money, but somehow that knowledge was no longer enough. My incessant checking of my bank accounts reflected a loss of trust in myself—a trust I didn’t even recognize I had until it was gone.

And once I’d realized where this sudden compulsion came from—and more importantly, once I’d stopped working for that magazine and quickly went back to checking my account balances monthly instead of daily—well, surely you already know what I wondered next: Maybe what you’ve spent the past 13 years reading has done something to you too.

Strike a Pose: Vogue, Eating Disorders, and Desire

Vogue stopped using bird models in 1921.

Several years ago, after a long day at the magazine I was freelancing for at the time, I hailed a cab and cried the whole way home. The chief cause of the crying was the last task I’d had to do at the office before departing for the night: Communicating to the art department that a top editor wanted to digitally slim a celebrity whose former battles with anorexia were well-documented in the press. Transcribing her request onto the circulating page proof, every stroke of every letter felt like it was being scratched upon my skin. I hated that anyone would look at this particular picture of the (trim, lovely, recovered) celebrity and want it trimmer still, I hated that it was part of my job to communicate this request, I hated that the editor was so high up as to make it improper for a lowly freelance copy editor to question her, I hated that the people reading the final product wouldn’t understand all the labor that goes into making beautiful people look beautiful on the page. Most of all, I hated that the celebrity might look at the story, spot the digital manipulation, and yearn for her days of hunger. I hated it.

So you would think that I’d be thrilled about Vogue’s recent announcement that they are no longer going to work with models who appear to have an eating disorder, will encourage designers to consider their practice of unrealistically tailored sample sizes, and will be “ambassadors for the message of healthy body image.” All 19 global editions of the world’s leading fashion magazine signed on to the pledge, this after an international flurry of other body image actions in the world of high fashion: Italy and Spain’s leading fashion coalitions banned models with BMIs deeming them underweight, and in March Israel recently passed a law doing the same. And indeed, I felt a wash of righteous joy when I read about the announcement: I mean, this is Vogue we’re talking here. Vogue! The emblem of why the fashion world is so often hostile to women’s bodies, the embodiment of the severe impact the thin-young-and-beautiful imperative has on women worldwide. Let’s be clear: This is a good thing. But for the reader, it’s not as good as it seems.

The impact here appears to be significant, yes. Its largest actual impact is on the labor force in question: In addition to no longer working with models who “appear to have an eating disorder,” Vogue will not work with models under age 16 (and will ask casting directors to check identification), implement mentoring programs for mature models to give guidance to beginners, and encourage producers to provide privacy and healthy food backstage. Modeling is precarious work, a fact often overshadowed by its glamour in the public eye; for Vogue to publicly acknowledge that its success is partially built upon the backs of young, precarious laborers, often émigrés from developing or unstable nations, does a real service to those workers, and that fact shouldn’t be lost.

It’s the last item on Vogue’s six-point list that nags at me: We will be ambassadors for the message of healthy body image. To herald Vogue as a game-changing ambassador of healthy body image is to forget that fashion photography is specifically designed to elicit a response—yearning—within us, and few things in our culture inspire yearning like thinness. To point out the obvious: Thinness will never disappear from Vogue’s pages, only ill, underage models. Fashion photography is transportive, both real and unreal. The point for the reader has never been to be able to actually imagine ourselves in the photograph. Let the fashion still lifes do that; we can step into that empty dress, slip our arms through that stack of bracelets. The point of fashion photography is to synthesize distance and reality as we recognize it: It has to be close enough to what we recognize as real to trigger our response, but far enough away to make sure that response leaves us wanting, not contented. This is what fashion photography does; this is what makes it compelling. Longing built into its very function.

“The history of photography could be recapitulated as the struggle between two different imperatives,” writes Susan Sontag in On Photography. “[B]eautification, which comes from the fine arts, and truth-telling, which is measured not only by a notion of value-free truth, a legacy from the sciences, but by a moralized ideal of truth-telling, adapted from nineteenth-century literary models and from the (then) new profession of independent journalism.” Fashion magazines epitomize both of these imperatives: Grace Coddington’s magnificent styling certainly falls into the realm of the fine arts, but fashion magazines are always ultimately selling and promoting products that actually exist and are for sale—that is, they have an amoralized ideal of truth-telling. (Not that selling is without morals, but the sort of truth that advertising purports is quite different than the sort of truth we get from photojournalism. A seller’s intent, even if it’s a positive one, doesn’t stem from morality.) Even if few readers of Vogue are actually able to purchase the clothes on its pages, they can buy the fast fashion knockoffs; they can be inspired by the looks on the pages.

And, of course, they can be inspired by—and aspire to—thinness. Thinness became encoded as a part of the creation of desire, for all sorts of reasons that, if you’re reading this, you probably understand. The thinking here is that Vogue’s move to not use models who appear to have eating disorders will help separate that encoding; certainly Vogue will remain a manufacturer of desire, and they have all sorts of talent beyond emaciated models to do so. I’d love to see thinness separated from desire just as much as the next woman. But the Vogue announcement, on balance, is never going to be a part of that, for on the most basic level, simply refusing to work with models who “appear” to have an eating disorder hardly means the thin imperative will vanish from Vogue’s pages. We have encoded acquisitional desire as thinness—you can never be too rich or too thin—and the entire industry is predicated upon acquisitional desire. Yes, yes, magazines should do their part to end the conflation of thinness and desire, and on the most perfunctory level, Vogue has done so. But the work—the real work—must go far deeper.

For as significant as it is that it’s Vogue, with all its class and tastemaking connotations, making this announcement, it’s also a double-edged sword. If the go-to reference for the absurdity of the thin imperative has always been Vogue, and then Vogue says it’s switching up the game, we’ve suddenly lost our reference point. Yet the referent still exists. Models are going to remain far thinner than the average woman, fashion images will continue to do their job of creating longing and desire, and otherwise sensible women will keep doing the master cleanse. All that has changed besides models' labor conditions is that Vogue gets to seem like it's doing the right thing, and those who have been agitating for body positivity get to feel like we've made progress. Vogue is doing nothing truly radical to change the thin imperative, and to pretend otherwise is to silently walk in lockstep with the very system that put us in this situation to begin with.

There are other concerns with the announcement as well. Some argue it doesn’t go far enough, and I’d agree; certainly not everyone who has an eating disorder "appears" to have one, and when you’re talking about a workforce whose livelihood depends upon skilled manipulation of self-presentation, that risk runs even higher. I’m also a hair suspicious of the timing—both as a PR move to smooth over damage done by “the Vogue mom,” whose controversial piece in the April issue detailed putting her 7-year-old on a diet, and as a reaction to where Vogue is positionally. The circulation of American Vogue dipped 1.7% in the first quarter of 2012 (though it did extraordinarily well in 2011, earning the title of Ad Age’s magazine of the year), and the slow decline of its readers’ personal income may be figuring into their outlook. From 2008 to 2011, Americans’ average per capita income grew slightly (with some recession dips); in that same period, the Vogue reader’s median income dropped, from $64,429 in 2008 (which in and of itself was a 2.3% dip from 2007) to $63,094 today. This keeps Vogue readers substantially above the national per capita income, but I can’t help but wonder if this is an acknowledgment of the behind-the-scenes middlebrowing of the title. For all its prestige and class connotations, Vogue hasn’t been as highbrow as we might think; when I worked at a teen magazine a few years ago, I was surprised to find that readers’ parents were slightly better off than Vogue readers. And let’s not overlook that Conde Nast’s truly highfalutin’ title, W—which has a median reader income of $155,215—has made no such announcement. W has the luxury of doing whatever the hell it wants; Vogue needs to stay relevant to people outside the inner circle in order to continue its success. I’d like to think that prestige audiences care about body image diversity as much as the average American woman, but I’d be thinking wrong.

Despite my arguments here, I am pleased that Vogue is making efforts to stay relevant and on-point with a growing national conversation about body image. I’m critiquing, not criticizing, the announcement. It’s at least a gesture in the right direction—and it’s showing that a critical mass of complaints and activism can actually work, which is enormously encouraging for all the body image and media literacy advocates who work tirelessly in the face of some daunting and culturally embedded issues. And, again, the labor impact here is significant. But as far as its larger impact on readers, I’m not ready to cheer. Short of a complete and total ideological overhaul, there is nothing Vogue could do to truly change the story, for it’s a business that revolves around creating and sating acquisitional desire; it’s why Gloria Steinem referred to the relationship between advertising and women’s publications as the “velvet steamroller.” The policy changes won’t hurt women’s body image, I don’t think. Neither will it truly help. As long as Vogue is a part of the machine of desire—and there is no way for it not to be—the narrative will remain the same; imagery, truth, and beautification will continue their morality play; and readers will receive the same message they always have. And a very thin band will silently play on.

Thoughts on a Word: Glamour (Part I)



Glamour is an illusion, and an allusion too. Glamour is a performance, a creation, a recipe, but one with give. Glamour is elegance minus restraint, romance plus distance, sparkle sans naivete. Glamour is Grace Kelly, Harlow, Jean (picture of a beauty queen). Glamour is $3.99 on U.S. newsstands, $4.99 Canada. Glamour is artifice. Glamour is red lipstick, Marcel waves, a pause before speaking, and artfully placed yet seemingly casual references to time spent in Capri. Glamour is—let’s face it—a cigarette. Glamour is Jessica Rabbitt, and it’s Miss Piggy too. Glamour is adult. Glamour cannot be purchased, but it can’t be created out of thin air either. Glamour is both postmodern and yesterday. Glamour is an accomplishment. Glamour is magic.

In fact, glamour began quite literally with magic. Growing from the Scottish gramarye around 1720, glamer was a sort of spell that would affect the eyesight of those afflicted, so that objects appear different than they actually are. Sir Walter Scott anglicized the word and brought it into popular use in his poems (“You may bethink you of the spell / Of that sly urchin page / This to his lord did impart / And made him seem, by glamour art / A knight from Hermitage”); not long after his death in 1832 the word began to be used to describe the metaphoric spell we cast upon one another by being particularly beautiful or fascinating. It wasn’t necessarily a compliment (“There was little doubt that he meant to bring his magnetism and his glamour, and all his other diabolical properties, to market here,” from an 1878 novel) but by the 1920s—not coincidentally, the time women started developing the styles that we now recognize as glamorous—the meaning had shed much of its air of suspicion.

Not that we’re wholly unsuspicious of glamour. Female villains in films are often impossibly glamorous, for as fascinated as we are with the artifice of glamour, we’re also a tad wary of it. Glamour keeps its holder at a distance, and it needs that distance in order to work; watch the magician’s hands too closely and you’ll spoil the trick. It’s unkind to glamour to call it strictly a trick, but neither is it inaccurate: On a person, glamour is a series of reference points that form its illusory quality. We perceive red lipstick and hair cascading over one shoulder as glamorous because we understand it’s referencing something we’ve collectively decided is glamorous. The same is true of glamorous looks with less direct artifice—say, a world traveler in a pith helmet and white linen—but in becoming a reference point, anything we code as glamour becomes artifice, even if it’s not about smoke and mirrors. It’s not hard to get glamour “right,” but since glamour is a set of references—a creation instead of a state of being—you do have to get it right in order to be seen as glamorous as opposed to pretty, polished, or chic. We don’t stumble into glamour; we create it, even if we don’t realize that’s what we’re doing. Call glamour a performance if you wish. It’s equally accurate to call it an accomplishment.

In 1939, glamour—rather, Glamour—took on an additional definition. In 1932, publishing company Condé Nast launched a new series of sewing pattern books featuring cheaper garments more readily accessible to the downtrodden seamstresses of the Depression; its more elite Vogue pattern line hadn't been doing well. Seven years later, Condé Nast spun off a magazine from this Hollywood Pattern Book called Glamour of Hollywood, which promised readers the “Hollywood way to fashion, beauty, and charm.” By 1941 it had shed “of Hollywood” and had already toned down its coverage of Hollywood in order to focus on the life of the newfound career girl; by 1949 its subtitle was “For the girl with a job.” That is, Glamour wasn’t about film or Hollywood or unattainable ideals; Glamour was about you. That ethos continues to this day: Glamour might have a $12,000 bracelet on its cover but will have a $19 miniskirt inside, and its editorial tone squarely targets plucky but thoughtful young women who want to “have it all.”

It’s all too fitting that the once-downmarket* sister of Vogue is titled Glamour. To the eyes of a nation emerging from a depression, the concept of glamour might have seemed faraway—but it also seemed accessible in ways that the gilt-edged Vogue wasn’t. The “girl with a job” knew that with the right sleight-of-hand, she could purchase aspects of glamour found on the magazine’s pages, pick up a tip or two about home economy (if one must be bothered with the terribly unglamorous domestic life, why not make it economical?), and find out how to enchant her suitors or husband—and she wouldn’t necessarily need money or social status to do any of those things. She just needed the know-how of glamour. Glamour magazine doesn’t target the highest end of the market, nor does it assume that its readers have the cultural capital of the modern-day gentry (“How to do Anything Better” is one of its more popular features; readers might learn how to make a proper introduction or throw a dinner party). At first glance this might seem counterintuitive to the spirit of its namesake, yet it’s anything but: With these specific moves, Glamour reinforces the notion of glamour as something actionable. In knowing that most of its readers, however stylish, aren’t among the cultural illuminati, Glamour acknowledges that maybe they have need of casting the occasional spell—which, of course, Glamour is happy to supply.


I should say here that I worked for Glamour magazine for several years as a copy editor.** I share that not only to disclose my relationship with the magazine, but also because my specific post there—as a professional grammarian—was tethered to the concept of glamour more than I realized. For gramarye, the root word of glamour, also gave birth to the word grammar. The route is fairly straightforward: Gramarye at one time simply meant learning, including learning of the occult, and it’s this variant that went on to be glamour. Grammar stayed magic-free and pertained to the rules of learning, eventually becoming particular to the rules of language. But the two are linked more than just etymologically: Both grammar and glamour function as a set of rules that help people articulate themselves and allow us to understand one another. I understand you are telling me of the future by the use of words like will and going to; I understand you are telling me about your vision of yourself with red lipstick and a wiggle dress.

Some may argue that the rules and articulations of glamour are confining. They can be, when taken as feminine dictates, but they also make glamour democratic. It’s easy to aim for class or sophistication and miss the mark, for there are so many ways we can make unknowing missteps. But because glamour relies upon references and images, with a bit of thought and creativity almost anyone can conjure its magic—and unlike fashion, glamour doesn’t go in and out of style, so you needn’t reinvest every season. You can be fat and glamorous, bald and glamorous, poor and glamorous, short and glamorous, nerdy and glamorous, a man and glamorous. Perhaps most important, you can be old and glamorous. In fact, age helps. (Children are never glamorous; neither are the naive.) Glamour’s illusion doesn’t make old people look younger; it makes them look exactly their age, without apology. Glamour can channel the things we may attribute to youth—sex appeal, flirtation, vitality—but it also requires things that come more easily with age, like mystery and a past. Think of the trappings of adult femininity little girls reach for in play: not bras and sanitary pads, but high heels and lipstick, those two most glamorous things whose entire point is to create an illusion. A five-year-old knows that with womanhood can come glamour, if she wishes. She also knows it’s not yet hers to assume.

In case it’s not yet clear: I am a champion of glamour. That’s not to say I’m always glamorous; few can be, and certainly I’m not one of them. I like comfort far too much to be consistently glamorous. But I’m firmly in glamour’s thrall. When I am walking down the street (particularly 44th Street, in the general direction of an excellent martini) in something I feel glamorous in—say, a certain navy-blue bias-cut polka-dot dress with a draped neckline, clip-clip heels, a small hat, and the reddest lipstick I own—I feel a variety of confidence that I can’t channel using any other means. It’s not a confidence that’s superior to other forms of assurance, but it’s inherently different. It’s the feeling of prettiness, yes, and femininity and looking appropriate for the occasion. It’s all of those things, but the overriding feeling is this: When I am feeling and looking glamorous, I am slipping into an inchoate yet immensely satisfying spot between the public and private spheres. You see me in my polka-dotted ‘40s-style dress, small hat, and lipstick, and you may think I look glamorous—which is the goal. But here’s the trick of glamour: You see me, and yet you don’t. That is, you see the nods to the past, and you see how they look on my particular form; you see what I bring to the image, or how I create my own. Yet because I’m not necessarily attempting to show you my authentic self—whatever that might be—but rather a highly coded self, I control how much you’re actually witness to.

Now, that’s part of the whole problem we feminists have with the visual construction of femininity: The codes speak for us and we have to fight all that much harder to have our words heard over the din our appearance creates. But within those codes also lies a potential for relief, for our own construction, for play, for casting our own little spells. That’s true of all fashion and beauty, but it’s particularly true of the magic of glamour.

I promise not to play tricks on anyone. But forgive me if, every so often, I might want to use a little magic.
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Stay tuned for part II tomorrow, in which an author and renowned national columnist, a multidisciplinary artist and satirist, a four-time novelist with a bent toward otherworldly enchantment, and a publicist who's one of the "cultural gatekeepers in the literary world" share their own thoughts on the concept of glamour.
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*Glamour isn’t “downmarket” any longer, I don’t think; it’s more middle-market. Or, as a marketing poster once floating through the halls there read, it’s “masstige.”
**Given the dual etymology, I think it's only fair to declare all Glamour grammarians to be sorceresses.

On Ladyblogging and the Slumber Parties of the Internet

An early editorial meeting at Beheld HQ.

As a feminist who started my career at Ms. and wound my way through Glamour and Playboy before winding up at CosmoGIRL!—the exclamation point was part of the name—finding Jezebel shortly after its 2007 launch was delicious. I enjoyed it as a reader, and I enjoyed it even more as a worker in the industry they frequently critiqued, especially as I learned that some of their writers had been in my position—simultaneously excited and dismayed to be in the “pink ghetto,” eager to up the feminist content in glossy ladymags but frustrated by the conditions that Gloria Steinem labeled a “velvet steamroller.”

So it’s not surprising that I’m more kindly disposed to ladyblogs than n+1’s Molly Fischer appears to be. I was 30 when Jezebel launched, and was still eager for what blogs of any sort provided; Fischer, at 20, had gone through adolescence with public critique a click away. I’ve also contributed to two of the four sites Fischer critiques—Jezebel and The Hairpin—and my work there has brought me a portion of The Beheld’s readership, undoubtedly coloring my attitude toward them. I cannot pretend impartiality.

Given the impossibility of impartiality, I admit to being both excited by and uneasy about the n+1 piece. The whole article is worth a read, but in a nutshell, she looks at the evolution of ladyblogs, sites that give traditional women’s topics signature treatment. (Seventeen assures you that masturbating is totally normal; Rookie tells you how to do it.) The bigger the sites get, the more they adhere to what Fischer frames as a particular form of triteness endemic to ladyblogs, in which Zooey Deschanel is shunned but eco-friendly cat bonnets are squeal-worthy. Drained of the gravitas of other alternative women’s media, like explicitly feminist spaces, the potential for ladyblogs to become a true alternative to women’s glossies becomes watered down; the tool for revolution is rendered in scratch-n-sniff. “The internet, it turned out, was a place to make people like you: the world’s biggest slumber party, and the best place to trade tokens of slumber party intimacy—makeup tips, girl crushes, endless inside jokes,” Fischer writes. “The notion that women might share some fundamental experience and interests, a notion on which women’s websites would seem to depend—'sisterhood,' let’s call it—has curdled into BFF-ship.”

What this argument overlooks is that a slumber party is sisterhood. Junior high slumber parties might have brought anything from makeovers to pained sobs over family dysfunction to raging tear-downs of pervy gym teachers. The adult slumber party touches on these, with our adult wisdom added to the mix. The voices of women online have brought me my birth control (“Ask Me About My Mirena!”), lessened my shame about my belly bulge, shined an uncomfortable light on the way social and personal notions of beauty can collide, and opened my mind to what I, as a biological woman, can learn about my own position in society from trans women. There’s fluff, of course (“Watch Kristen Bell Adorably Lose Her Shit Over a Sloth”), but just as silliness coexists alongside our more meaningful concerns, fluffy pieces can comfortably coexist alongside essays on healing from sexual assault. (In fact, for some of us, the fluff was a way to heal.) The slumber party goes all night, after all.

By talking about issues particular to women and treating them as though they matter, we create sisterhood. Ladyblogs do that in tones earnest, flip, and everywhere in between; the “Women Laughing Alone With Salad” Hairpin post Fischer mentions is downright effervescent, and it went viral because it brilliantly encapsulated the way women are painted into a corner where if we’re happy to be eating, it must be because we’re being guilt-free. The post caught on because we all got it, and because we were all fed up with it too. Women laughing alone with salad was, in its own way, sisterhood, and to dismiss it as mere quirk is to dismiss the day-to-day stuff that makes up the particulars of a woman’s life. Fischer ends her piece with a rallying cry for sites that stem from “the notion that women might share some fundamental experience and interests,” but I’m not convinced that the sites in question aren’t doing exactly that. They’re doing them in a more lightweight fashion than Fischer might desire, but the things that constitute gravitas (formality, for example) are frequently structures that purposefully omit the validity of the personal, that look to an “objective” viewpoint (as if there is any such thing) as the end-all, be-all. That is, they’re structures that dismiss the ways plenty of women have written for centuries. Here it comes, that clichéd rallying cry we feminists say over and over: The personal is political.

So it’s unclear what Fischer wants the reader to do—what, when I worked in women’s glossy magazines, we called “the takeaway.” Are we to eschew The Hairpin in favor of today’s equivalent of The Bimonthly Period, the newsletter of the women’s resource center Fischer’s mother founded during her college years? Sites like Feministing, Pandagon, and Feministe play a crucial role in feminism, and therefore in women’s lives—even for women who have never heard of these sites, as they keep the activist fires burning. They can also occasionally feel alienating. I greatly enjoyed my guest blogging stint at Feministe last summer, but I also walked away from it understanding, for the first time, why some people whose politics roughly parallel mine refuse to call themselves feminists. For every commenter who thoughtfully critiqued my message, there would be one who’d say I was a tool of the patriarchy, and another who’d accuse me of abusing my class privilege. It’s a vibrant, razor-sharp community and I was honored to be a part of it, but my point is, if explicitly feminist blogs are the only acceptable online outlet for feminists to inhabit, we’d get exhausted mighty quick. (Let’s also not forget that the number of people who wouldn’t label the targets of Fischer’s critiques as forthrightly feminist is pretty small. The other day I mentioned to a new friend that a mutual writer acquaintance was a “radical feminist”—as in, menstrual art—and her response was, “Oh, does she write for Jezebel?”)

Fischer hits plenty of nails on the head (you know, my opinions being the bed of nails), especially her questioning of the age-appropriacy of ladyblogs' tone. I enjoy Rookie, helmed by 15-year-old Tavi Gevinson—in fact, I enjoy Rookie so much at age 35 that I began to wonder how many teenagers actually read it. I’ll happily cheer unabashed femininity, but like Fischer I’m wary of mass numbers of adult women inhabiting teen spaces. In fact, many of my feelings on this topic can be neatly summed up by an excellent Julie Klausner piece that—oops!—ran in Jezebel.

Still, despite finding aspects of adult-girl culture downright creepy (Hello Kitty?), I see other aspects as liberating. Where women’s magazines place readers on a trajectory of traditional womanhood—teenager to single woman to mommy to retiree—ladyblogs generally treat their readers as though they’re child-free adult women. Ladyblogs don’t mommy-track their readers—and that’s part of why “lady” makes so much sense in describing them. Classically speaking, ladies were put into a somewhat separate class. Ladies of recent centuries had social status; earlier, they had feudal privileges. The ladyblogs don’t use lady in that sense, but it carries a separatist air: We needn’t be quite as serious as we might when using the broader term women, but we don’t want to be girls. Fischer asserts that “On the ladyblogs, adult womanhood is a source of discomfort, and so when we write posts or comments, we tend to call ourselves ladies.” I’d argue the opposite: On the ladyblogs, adult womanhood is a given, and within our shared womanhood we carve out a comfortable space we can all inhabit. Within ladyblogs, we all become ladies.

The lingo may be why the presumably adult women on the ladyblogs (Rookie excluded, as it is aimed at teenagers) might seem to be clinging to girlhood. Fischer questions both the hallmarks of ladyblog style and the way its commenters pick up on it. In my own writing I rilly rilly try to avoid the clichés of the ladysphere (amirite, ladies?), because I don’t want to rely on those methods to convey my point. But as Emily Gould points out, it’s not like “commenter sycophancy” is particular to the ladyblogs. Still, it’s particularly easy to slip into ladysphere lingo, for the very reasons these clichés evolved in the first place: When skillfully employed, ladymags’ “endemic verbal tics” connote personality. Instead of the self-seriousness of magazines, ladylingo gives a tilt to the voice, one that implies we’re all in it together (which, again, is why it’s contagious). The tics serve as a friendly politesse, a way of conveying that you’re typing with a smile.

In fact, that seems to be Fischer’s larger point, and one I’m ambivalent on: Ladybloggers and their commenters are typing with a smile. “They bake pies with low-hanging fruit: they are helpful, agreeable, relatable, and above all likable,” Fischer writes. “Surely one can’t, and shouldn’t, strive to like and be liked all the time. But how else can one be?” (I couldn’t help but wonder how much time Fischer spent actually wading around in comments sections. The culture of “like” looms large, but ladyblog commenters can get vicious, and they’re certainly not afraid to disagree.) The point is an excellent one, but two key points give me pause. First: What’s so wrong about wanting to be liked? I want to be liked; I want my writing to be liked. When I started The Beheld I repeatedly said that all I wanted was to be a part of the conversation. Some writers become a part of the conversation by being controversial, but that’s not my style. I’m a good girl from birth, and it’s built into me to want to be liked. But being liked isn’t my goal in writing; likability is a tool I use to pave my way toward the larger goal of being a part of the conversation, and occasionally hosting it too. There’s plenty to critique about women having a compulsive need to be liked, and it’s something I’ve wrestled with a good deal on a personal level. But I’m not going to apologize for couching arguments in a softer way than I would if my goal were to win.

But the larger issue here about likability is this: Maybe if more women writers were published in gender-neutral publications, writing stories that treat “women’s issues” as people issues, we wouldn’t be paranoid about being so fucking likable. This is a much deeper issue than I’m able to address here, and since most of my bylines have been in explicitly female-oriented spaces, I’m not particularly credible on this front. What I’ll say is that I’m not alone in being a female writer who writes about women’s issues who would be happy to publish in more gender-neutral spaces—and that I rarely pitch those spaces because there’s still a little voice inside me telling me that what I write about is just girl stuff. And people, this is what I do, every day: I write about girl stuff, and I treat it with the gravitas it has in my own life. But that voice is still there, and it’s a result of all sorts of things—internalized oppression, the realities of the “pink ghetto” of women’s issues, fear that if I did start writing more for gender-neutral outlets I’d have to face harsher criticisms than I usually do (the only time I’ve been forthrightly called stupid is from self-identified male commenters, and never on ladyblogs). It’s also a result of me specifically wanting to write for women; as they say, I “write what I know,” and what I know is being a woman. And I don’t particularly want it to be any other way; like I said, I’ve written for ladyblogs, and I wouldn’t bristle at The Beheld being categorized as such. Obviously I believe in what ladyblogs do. But I’m a fool if I think there are no other reasons I align myself with them—reasons that have to do with the “belonging” Fischer criticizes in her piece (“[Ladyblogs] tell us less about how to be than about how to belong”). I know I “belong” in ladyblogs, for I am a lady. I’m not so sure where else I belong.

Despite my misgivings, I liked Fischer’s piece. I like the questions it asks, and I just like that it exists. Recent discussions about women writers and where our bylines ought to be need to continue, and they can’t continue in an authentic manner if we’re afraid of critiquing one another. Ladyblogs aren’t above reproach or critique, and given that some of them serve as watchdogs to traditional women’s media, if we become lax in watching the watchdogs we’re perpetuating the problem. I just don’t want the conversation to be a ping-pong of should we or shouldn’t we, of ladyblogs versus the rest of the Internet. I want the sentiment behind Fischer’s piece to be explored so that whatever these spaces look like in five years, they’re serving women’s needs even more.

Perhaps it’s the women’s magazine veteran in me, but I want a “takeaway” from Fischer’s piece, and I want it to be something like this: We’re in an interesting time as far as gender and access to the public, and we’re also at an time when “voice” is a prime asset for online visibility—“voice” being something women writers have traditionally been told they excel at. We’re also living in a time of fragmented, personally curated information streams, one in which a person could read a handful of sites—even ladyblogs, depending on the blog—and have a reasonable handle on what’s going on in the world. So we’re at the era, and if the proliferation of ladyblogs is any indication, we’ve got the talent. Now what are we going to do with it?

___________________________________________________________

On a related note: I’m thrilled to announce that starting February 6, The Beheld will be syndicated at The New Inquiry. I’ll write more in-depth about this tomorrow but given the topic of this post I thought it would be downright dishonest to not share this bit of news, since TNI is a gender-neutral space that looks at my ladybloggin’ background as an asset, not a ghettoizing detraction. But more on that tomorrow!

Beauty Blogosphere: 11.4.11

What's going on in beauty this week, from head to toe and everything in between.

Clockwise from top left: eyeshadow app or police brutality?; the tiny tiny woman who lives inside Beyoncé;
fears of a clown; what did ever happen to Baby Jane?

From Head...
All made up: Meet the man responsible for all those makeover apps. Here's to hoping he wasn't behind the Beyoncé matroyshka effect that serves as the pièce de résistance in writer Lindsay Goldwert's photo collection of makeup apps gone wrong.


...To Toe...
Tootsie: Another reason to show off your pedicure with bare feet: You won't be mistaken for a mama cannibal. (Not that cannibalism would do anyone any good anyway.)


...And Everything In Between:
Land of smiles: Thailand is well-posed in the beauty industry because of its biodiversity and the growth of the call for natural products—it's expecting a 10%-15% increase this year alone. Here's to hoping a beauty boon can help offset some of the damage caused by recent massive flooding.

Avon not calling: Between corruption charges in its Asian arm and tumbling sales, Avon hasn't been doing so hot, and the New York Times questions whether it's time for CEO Andrea Jung to hand over the reins.

Occupy skin cream: A small skin-care line is urging us to "occupy" the beauty industry by supporting small lines started by women "who were fed up with products that didn't work" instead of the Citibanks of the beauty industry like Estee Lauder and Revlon. 

Lipstick philanthropy: The Helena Rubinstein Foundation, after nearly 60 years and $130 million in charitable distribution, is closing its doors.

A peek inside cosmetics law: Apparently product names can takes years to clear, trademark-wise? Wondering how Lancome got the Bureau of Consular Affairs to approve Shimmer Mocha Havana.

Can men handle being ogled? Well, women have been handling it with aplomb for centuries; surely the old boys are up to the challenge?

Apple man: Did Steve Jobs have disordered eating? Certainly his habits point toward yes—an apples-and-carrots diet for weeks on end, for example—but reading about his peculiarities makes me wonder how exactly we defined "disordered eating." Does suffering need to be a component?

"How do you spell 'Ms.'"?: Wonderful oral history of Ms. magazine, collated by the daughter of one of the founders. A personal note: Ms. was the first magazine to issue me a paycheck, making the 23-year-old me just about die when I found myself sitting in a real-life honest-to-God meeting with Gloria Steinem, who is just as awesome as you'd expect her to be. This article, in the same issue of New York, about the feminist blogosphere ain't bad either. Ladybloggers represent!

Boxing day: Speaking of Ms., they're the ones who bring us this piece about the Amateur International Boxing Association recommending its female competitors wear skirts, to distinguish them from the men. I think this is bollocks (though at least it's not the Lingerie Football League, which Fit and Feminist beams her laser focus at this week), but there's also a part of me that thinks the fact that women aren't otherwise distinguishable from men sort of proves that "not bad for a girl" might be on its way out? High hopes, people, high hopes.


East meets west: The communist-era Prague metro is now a "virtual drugstore."

Prague officially the land of the future: Commuters in Zlata Praha can buy shampoo, razors, and other goods at the "virtual drugstore" in certain metro stations by scanning codes with their smartphones; the wares are then delivered to their door by mail.
 
Skweez me: Karen Duffy reviews shapewear, and isn't afraid to name names. (Spanx may have the highest brand equity, but it's far from the highest quality, it seems.)

Fair fashion: One of the earliest makeup lines for women of color, Fashion Fair, is revamping its image.

Bathroom bounty: British women have £964 million of unused skin care products in their bathrooms. Unsurprisingly, the number of failed products dwindles with age, making me want to act like a 60-year-old and clean my bathroom shelves already.

Equal-opportunity eating disorders: Adios Barbie on the LGBT community and eating disorders: Gay and bisexual men are at increased risk for eating disorders, while lesbian and bisexual women suffer at the same rate as hetero women.

Calling all angels: Beauty Redefined questions Victoria's Secret tagline, "We are redefining what it means to be sought after." I'm not sure which is more upsetting: the possibility that the tagline is wrong because VS is obviously not adding anything new to the conversation, or the possibility that the tagline is right and there's more redefinition to come.

How little is enough? Verging on Serious examines the Minimum Effective Dose—of exercise, of makeup, of blogging, all of which are dear to my heart, and all of which I do just enough of to be able to live my rightfully slothful life.

By the numbers: I'm usually a tad wary of "here's what I weigh" information, though I understand the arguments in favor of transparency, and enjoy My Body Gallery. In any case, the way Already Pretty presents her measurements is done in such a way as to show why the measurements tell us nothing, even when they're all laid out as they are in her post. "This post shows how little you know about someone just by looking at them, and how body stats actually provide scant additional, relevant information.... And even though you’ve now got a whole bunch of details about my body, you still don’t know everything. ... You know the stats, but you don’t know the story." 

About face: The Jaunty Dame follows up her inspirational "photo philosophy" post with photos not just of herself completely bare-faced, but with her Halloween-ish alter ego, reminding us that we all "perform for a live audience nearly every day." Is your costume comfortable?  

Girl army: Virginia questions the underlying message of the potential Army ban on French manicures and ponytails: "So what does it mean when the strongest woman in the US military agrees that displaying overt signs of femininity might impact a female officer's perceived strength as a leader?"

Nose jobbed: Dress With Courage looks at the connection between body dysmorphic disorder and nose jobs. Much of the talk about BDD surrounds the body, but in fact it's a fixation on any part of one's physical presence. Sadly, I'm unsurprised by the findings Elissa expounds upon here—43% of rhinoplasty patients have BDD.

Beauty Blogosphere 9.30.11

What's going on in beauty this week, from head to toe and everything in between.

(via Makezine)

From Head...
Totally rhombic: Math haircut!

But what about the log lady?: Portrait of Twin Peaks' Audrey Horne (née Sherilyn Fenn) done in cosmetics for the biweekly "Beauty Myth" feature in Toronto Standard, in which the newspaper commissions artists to do portraits using makeup as the medium.


...To Toe...
The littlest libertarians: The Hartford Courant profiles an unlikely champion to make a case for industry deregulation: fish pedicures.


...And Everything In Between: 
Pacifica discount: If you're still mourning the fact that you didn't win my August self-care giveaway, fret no more! Pacifica—a company I've loved for a while, both for their delightful lotions and transporting candles—is giving readers of The Beheld a special deal: Just use the code pacifica5r9 at checkout on www.pacificaperfume.com for 10% off any order. And you can get a taste of the other part of the giveaway, Beautiful You by Rosie Molinary, through her meditative blog. 

Pink think: Two interesting bits on the pinkification (word?) of breast cancer this week. First, an interview with "pinkwashing" activist Barbara Brenner, who takes on Avon's breast cancer research and questions not only its efficiency, but its possible hypocrisy. Second: New research indicates that heavily gendered breast cancer awareness ads might not be as effective as gender-neutral ads. When female study volunteers were shown pink-heavy ads with female faces, they rated their own personal risk as lower than volunteers who were shown non-pink ads with no photos of women. Obviously breast cancer is overwhelmingly a female disease, but I'm happy to see people looking at how pink kitsch might backfire. (Unless it means I have to give back my pink Kitchen-Aid "Cook for the Cure" mixer, which is adorbs.)

GenX beauty today: How GenXers are shaping the beauty industry—and indeed, fragmenting traditional markets on several levels. "Like baby boomers, [Allure editor Linda] Wells says, Gen-Xers have grown up not accepting the status quo. That can translate to wearing long hair even past a certain age, eschewing 'mom jeans' and participating in music, sports and other interests once reserved for 'younger women.'" Basically, we are still totally radical.

Digital beauty: L2, a think tank for digital innovation, rated beauty brands on their digital and social media savvy. Unsurprisingly, cool-girl club MAC tops the list—and with three other Estee Lauder brands not far behind, the brand is proving itself to be a digital leader. The report also shows that "digital IQ" correlates to heightened shareholder value.


Root for the little one: Procter & Gamble takes on a small soap company for trademark infringement. Willa, a soap company named for the 8-year-old daughter of an entrepreneur who created the suds after hearing her complaints of the "babyish" soap offerings available, is uncomfortably close to Wella, P&G's hair-care line that has nothing to do with soap, children, or the g.d. American way.

What's the buzz?: The making of a hot new brand in China: Burt's Bees.

Lighter shade of pale: Business-side look at skin-lightening creams, which make up 30% of the skin care market in China.

Ripoff down under: Australian retailers appear to be pocketing makeup profits; Aussie women are paying up to twice what U.S. women are for the same products, a disparity not explained away by duty taxes or currency differences.

Cosmopolitan's role in bulimia treatment: Bio of psychiatrist Chris Fairburn, who "discovered" bulimia after working with a patient who exhibited symptoms of anorexia but was curiously of normal weight. Fascinating bit of ED history: Because bulimics tend to be secretive, Fairburn couldn't find enough patients to allow his research to be comprehensive, so he rallied the editors of Cosmopolitan to write a short article about this "new eating pattern"--and got more than a thousand responses (most of whom thought they alone suffered from bingeing and purging), enough to begin treatment research.

Abercrombied: The "look policy" of Abercrombie & Fitch employees, and what that means for women with textured hair. (Thanks to re: thinking beauty for the link.)

"From where I come from, you holler at a girl": Nice look into what actually happens in the teen groups moderated by Men Can Stop Rape, beginning with a deconstruction of street harassment.

Fame game: Lady Gaga is suing Excite Worldwide for branding makeup under the Lady Gaga name. The buried lede: She did the same to a London sweets shop selling breast milk ice cream under the name Baby Gaga.

Hotel humanitarian:
Two of my favorite things, flight attendants and travel shampoo, come together here with Karen Duffy's story on Nancy Rivard, a flight attendant who started Airline Ambassadors after persuading her colleagues to donate their tiny hoarded hotel bottles to refugee camps.

 Cynthia!

Gaba girl: Thanks to Autodespair for turning me on to Lester Gaba's Cynthia, the first "realistic mannequin," who had her own radio show in the 1930s. It seemed pretty awesome à la Ruby until I actually saw Cynthia, and now it seems more like Real Doll territory, but maybe that's just my damage from this documentary talking.

Mais oui!: French feminists are rallying to get rid of mademoiselle, which denotes one's marital status à la miss. I'm all for this, but the fact is I get a kick out of using miss. I also like and use Ms., but sometimes Miss feels more appropriate because it allows me to simultaneously poke fun at and utilize its old-fashioned gentility for my own purposes. La hypocrite, c'est moi.

X-ray specs:
Which underwire bras work best for airport security? Chime in over at Hourglassy!

Ladies of the press: Anna Kendrick, Seth Rogen, and Joseph Gordon-Levitt briefly chat about the different ways men and women are treated by the press, with Kendrick reporting that she's always asked about her beauty routine. Besides the overarching idea that what a woman looks like is more important than she does, there's another thing at play here: You know all those beauty pages in magazines? Editors are desperate to fill those pages with something other than straight-up shilling, and so there's always a need to get celebrities to say what they like. Anytime a ladymag reporter goes to an event, she's armed with questions about facial care and exercise routines in the hopes that the celeb will throw off a quick answer. (There's an amusing bit in Laurie Sandell's wonderful graphic novel The Impostor's Daughter on this, from when she interviewed Ashley Judd for Glamour. Laurie: "So, what's your biggest beauty secret?" Ashley: "Serenity." Laurie: "OK, um, what's one beauty product you never leave the house without?" Ashley: "My higher power.")

Smells like cream spirits: Pastry chef who has made his name concocting desserts with notes of famous perfumes is reversing the equation. You know, another thing I did in the '90s was just wear vanilla extract behind my ears, but whatevs.

Fashion vs. beauty:
Feminaust—an excellent site geared toward Australian feminists but of great interest to us Yankee feminists too—on delineating fashion from beauty in ways that go beyond neck-down versus neck-up. I don't necessarily agree with the conclusion (I'd put "attraction" closer to the end of the beauty spectrum than the fashion end), but it resonates with me because while I'm somewhat interested in the ways we style ourselves, my true interest lies in what draws us to one another—the "animating spirit" as the writer here puts it.


"A new haircut is a butch accessory." —Kelli Dunham

"Why Is the Fat One Always Angry?": If you're new to The Beheld, you may have missed my interview this spring with boi comic Kelli Dunham, who had some fantastic insight into gender roles, butch privilege, and where to find a barber in this damn town. So check it out, and then if you're in New York join me this Saturday, 10/1, at The Stonewall Inn for her new show, "Why Is the Fat One Always Angry?" She's a great performer, and she's also promising cookies, I'm just sayin'.

Compliments, competition, and public living: From Nahida at The Fatal Feminist: "What do I care to impress strangers on the street, who couldn’t know? Who couldn’t possibly know that sometimes–sometimes–I’m still afraid of the dark?"

What's wrong with ugly?: Parisian Feline on being an "ugly girl": "When you’re conditioned to believe that ugliness is bad and prettiness is good, well, most people will do anything to show you how 'good' you really are. But here’s what I’m here to say: being ugly isn’t a death sentence, it doesn’t say anything about your character (any more than being pretty does) and it’s not mutually exclusive from being awesome." It's a point well-taken—as evidenced by me not being able to bring myself to remove the quotes around ugly girl. It's hard to use that word without judgment, for the very reasons Ms. Feline outlines.

The science of shopping: Elissa from Dress With Courage on shopping studies: "What so many studies on shopping seem to discount or even ignore is the intimacy this activity creates." I don't particularly like shopping, but I can't deny the powers it has to bond people—and much like the bonding of beauty, it's often dismissed, and that's a shame.

There's an app for that: Virginia—who, admittedly, is a body image blogger whose work resonates with me, whose work is sometimes categorized as body image blogging—on the iPhone body-image app: "I'm not sure we need any more websites, blogs, and apps about body image!" Hallelujah, someone said it! I'm grateful for the work that's out there but I worry that the intense focus on body image might drive us away from the point, which is to feel liberated from being preoccupied with our bodies.

Beauty Blogosphere 9.9.11

What's going on in beauty this week, from head to toe and everything in between.

From Head...
No product no problem: Awesome roundup of 130+ women with absolutely no hair products from green beauty site No More Dirty Looks. (Bonus points if you can spot me without cheating! I also see a couple of Beheld readers...)

...To Toe...
Pedi for the cause:
Men in Jonesboro, Arkansas, are getting their toenails painted for ovarian cancer awareness. Okay, now, truly I am glad that these men are making it clear that women's health issues are actually people's health issues, and I should probably just shut up. But doesn't the whole idea here hinge upon ha-ha-women's-concerns-are-so-hilarious? Or am I just looking for a self-righteous feminist reason to not endorse slacktivism?


...And Everything In Between:



And the award for the MOST OBVIOUSLY IRONIC headline of the year goes to: Me, with "I Was Bad at Sex!" in this month's American Glamour (the one with Jennifer Aniston, Demi Moore, and Alicia Keys on the cover). My mini-essay about being a lousy lover is on page 250 (but isn't online), and is waiting for you to peruse whilst on line at the grocery store. (In Glamour's defense, they did run the headline by me. And to my relief, they did not fact-check it.)

Isn't he lovely: Super-excited for the upcoming Cristen Conger eight-part series at Bitch about the male beauty myth!

Crystaleyes: Vogue Japan tapes Crystal Renn's eyes to make her look...Japanese. This seemed both racist and ridiculous before I learned it was Vogue Japan (the stylist who did the taping was Italian), and now it just seems absurd.

Where are all the male Asian models?: Forbes asks. (And we answer, well, they certainly aren't working at Vogue Japan.)

Oshkosh B'Gosh: I'm oddly fascinated by the shoplifting of cosmetics, despite not having done it myself for 20+ years, and this story has the brilliant twist of the culprit being the reigning beauty queen of Oshkosh, Wisconsin.
Uncanny!: A Boston federal judged ruled that The Manly Man Cans, a bundle of men's grooming products, must cease distribution under that name, as it comes too close to a competitor, The Man Can.
Not like teen spirit.

When the judge cries: Prince is to pay nearly $4 million to Revelations Perfume and Cosmetics after he backed out of a deal to promote a perfume in conjunction with his new album.

Mercury poisoning from cosmetics: A good reminder of why the Safe Cosmetics Act is important: 18 people in south Texas have reported elevated mercury levels as a result of a Mexican skin cream. And that's just what's being brought across the border--I shudder to think of the mercury levels in the blood of users whose governments might not be as vigilant.

"Why do you walk like you're all that?": Nahida at The Fatal Feminist has a fantastic essay about slut-shaming, modesty, and the male gaze: "Don't lecture me about modesty when you've clearly lost yours, arrogantly believing you have any right to tell me these things or command me to stop or interpret my behavior..."

News flash: Okay, I am officially over the whole "Did you know women can legally go topless in New York City?" publicity stunts with the arrival of the Outdoor Topless Co-Ed Pulp Fiction Appreciation Society, which in an interview with Jen Doll of the Village Voice claims to want women going topless in public "something of social inconsequence" yet has the tagline "making reading sexy." I mean, seriously, am I missing something here?

Extreme confessions: Interesting read from one of the "extreme plastic surgeons" on Extreme Makeover. Seems that the show was somewhat nonrepresentative of how plastic surgery usually goes. Shocking, I know, I know.

"That's not funny": Speaking up about sexism makes men nicer, according to a recent study. My personal experience correlates with this, and I always thought it was because I'm a bit of a wuss and while I will call out men on their sexist remarks I do so with tons of apologies and nice-making and blushing and stammering. But maybe I'm not giving either myself or the men enough credit?

Self-care Rx: Rosie Molinary's prescription for wellness comes at a handy time for me as I attempt to up my self-care. Being specific and deliberate helps here—and I can attest to the power of actually having a prescriptions. (An old therapist once actually wrote out a prescription for a monthly massage.)

Wearing confidence: Already Pretty on how to broadcast your body confidence. My favorite (and most unexpected) is about giving compliments, which, when spoken from a place of truth, brings rewards to both giver and receiver. (Here, though, I'm reminded of the double-edged sword compliments can become.)

Midge Brasuhn of the Brooklynites

Roller derby and spectacle: Fit and Feminist looks at roller derby—usually played by women in suggestive uniform/costumes who go by oft-racy pseudonyms—as a sport by the way we currently define sports. I'm not the biggest roller derby fan, but after reading this intriguing post I'm ready to declare it not only a sport, but the sport.

Scent strip: Strippers test pheromone perfumes at Tits and Sass to see if they increase their earnings. The grand result: eh. But an amusing "eh"!

There she is, Miss America:
The history of the American beauty pageant. Is it any surprise that one of the first brains behind these events was circus impresario P.T. Barnum?

Un/covered: Photographs of women in public and private life in the Middle East. Most interesting to me are the photos of the fashion designers who are fully covered. It seems like a juxtaposition—and it is, given the flashy designs they're creating—but it makes me wonder about what traits we assign to designers, assuming that their work is an extension of them...and about what traits we assign to women in hijab.

She's my cherry pie?: Jill hits the nail on the head as to why the self-submitted photographs for the plus-size American Apparel modeling contest are disturbing. Intellectually I guess I should be all yay subversion! but my genuine reaction is quite different.

On Athletic Bodies

I never dreamed I'd have an athletic body. I was a gym-class-fearing child, to the point where I would purposefully fall down stairs in the days leading up to the dreaded gymnastics unit; breaking an ankle seemed better than having to attempt to do a cartwheel in front of my classmates. I saw nothing wrong with sitting down on the playing field during T-ball games (to this day my parents swear I asked to join the team, and I can only assume that I was being ironic at an extraordinarily tender age); my favorite day of tennis lessons was our end-of-summer party because I got to stay on the sidelines and eat the racket-shaped cookies my mother had made for the occasion. Running The Mile—which I saw in my head like this:


—felt like torture, and I had to do it every year from grades 6-9, and I played sick every year until I realized I’d just have to do it on a day when the rest of the class was playing touch football or something and therefore able to watch me run The Mile, which was even worse.

I thought that way all my life—a singular aqua aerobics class my final semester of college notwithstanding, in order to "round out my course load"—until 2002. I'd broken up with a boyfriend, and it was one of those breakups that makes you wonder if you will ever be okay again, where being alone feels excruciating because you’ve cried all you can and you don’t know what else to do. Being on the subway felt okay for some reason, and since I wasn’t so despondent as to just ride the rails all day with no purpose, I took the opportunity to travel to gyms in the farthest reaches of all five boroughs to take advantage of their guest passes. (Plus, then I’d get really fit and toned and lithe and show him!)

The first time I entered a gym, it was in the Bronx, which I’d specifically chosen because I didn't know anyone who lived in the Bronx, so nobody I knew could possibly witness my fumbling around with the machines. I sat down at every machine in the place and read the directions so that the next time I went to a gym that would presumably not be in the Bronx, I wouldn’t look like a total fool. I stayed there for four hours.

Guest pass after guest pass, I worked my way through the city, and after a couple of months I realized that it was helping in ways beyond dealing with the breakup. My mood was improved, for one. My body, which hadn’t felt particularly out of shape before, began to feel...better. Like things were just working right. I was gaining confidence by knowing how to use the machines and free weights, and to my surprise I was finding that I was quickly able to up how much weight I was lifting—and, in fact, that I was lifting more weight than most of the other women on the floor.

And then there were the muscles. I had enough fat on me that it wasn’t visible for a while, but I could feel my arms getting more and more solid every week. Shaving my legs suddenly invited hazard because there was now a sharp little tennis ball where a soft calf had previously been. I distinctly remember looking at myself in the mirror while washing my hands and freaking out because there were these things moving in my chest, these ripply creepy-crawly things underneath my skin—and realizing that was my upper pectoral muscles, which I’d never actually seen before. I mean, I was no Colette Nelson, and you probably wouldn’t even have looked at me and called me “buff.” But I was distinctly more muscular than I’d ever been, and I’d even say I looked more muscular than the average woman of my age.

It turns out that my body actually is rather athletic. I still can’t catch, throw, or hit a flying object (gym-class phobia sets in even if a coworker tosses me a pen), and I would hesitate to say that I’m even in particularly good shape. But I’m reasonably fit; I can run a few miles without stopping; I lift weights. I even did some somersaults a few years ago when I went through a krav maga phase. Compared to the kid hurling herself down the stairs in 1983, I’m Mary Lou Fucking Retton. And when this fact hits me—when I am energized instead of exhausted after a run, or when a fellow gymgoer asks me to spot him, or when my doctor tells me that my heart rate is in the zone of conditioned athletes—I feel the type of gratitude and relief you can only feel when you realize that something negative about yourself that you’d accepted as truth is, in fact, not.

So the first time I saw “athletic body” in the “dress your figure” pages of a women’s magazine, I got excited. Finally, someone was acknowledging that not all women who work out are doing so to lose weight—and, hey, maybe I’d finally, once and for all, learn what kind of figure I actually had. But when the advice focused on “creating curves,” I was confused: I'm not particularly busty, but lacking curves has never been my problem. In fact, since muscles generally are not shaped like squares but instead are gently sloping, I probably have more curves than I did before I started lifting weights.

All the arguments I've made before about "dressing for your figure" apply to "athletic." For starters, it’s meaningless: Some magazines use it to mean “broad-shouldered and thick-waisted,” others use it to mean “big thighs, little hips,” others use it to mean “naturally slender and small-breasted.” The one thing they always say is to “create curves”—something I don’t think, say, Jennie Finch or Gabrielle Reece ever worried about. (Webster’s does lists mesomorphic as one of the definitions of athletic, and while I’m appropriately skeptical of constitutional psychology, the ectomorph/mesomorph/endomorph typing comes in handy when discussing basic body types. But that’s not usually what’s being discussed on these pages, and within those classic types there’s enough cosmetic variation that it doesn’t really belong on a “dress your body”-type of page anyway.)

But the “athletic body” deserves a bit of special treatment. For unlike being an apple or an hourglass or whatever, being athletic is something you choose. You might not be able to choose how your activities shape your body, but you choose to be athletic. And while I understand that you might not always want to be showcasing your body, I also don’t know of any female athletes—professional or just gymgoing ladies—who seem to try to conceal what their activities have brought them. You don’t see swimmer Natalie Coughlin covering up her developed shoulders as Rent the Runway would say she should (“detract from wider-built shoulders” with a one-shouldered dress, they advise); you don’t see Lisa Leslie trying to cover her rippling muscles when she’s on the red carpet.

From Athlete by Howard Schatz and Beverly Ornstein

More important, though, the idea of the “athletic body” ignores the enormous range of sports and the athletes who play them. Different sports work better with different bodies, as beautifully photographed by Howard Schatz in Athlete, a collaboration with Beverly Ornstein that depicts the enormous range in athletes’ bodies, from high jumper Amy Acuff to gymnast Olga Karmansky to weightlifter Cheryl Haworth. And even if we make room for the prototypical body of each sport, as Ragen at Dances With Fat—whose blog roots are in showing the world that a 284-pound dancer is, in fact, a dancer (she's won three National Dance Championships)—asked us last week, “When did being an athlete become more about how a body looks and less about what it can do?”

And, at its heart, that’s what ails me about the “athletic” body type as shown in women’s magazines. I don’t lay claims to be an athlete. But learning that I could develop muscle and look “athletic” was enormously empowering to me. I have worked hard to be able to do 40 push-ups (okay, I haven’t done 40 push-ups for a while, but I could at one point, I swear!), and the muscles that come with it are emblematic of that growth. Yeah, yeah, I struggle with body image like everyone—but my “athletic” build isn’t among those struggles. (In fact, when I look at my hard-won muscles and have a negative thought about them, that’s evidence that something else is going on that I need to examine.) My body does not do anything extraordinary; in fact, it just does what it’s supposed to do. But my athletic body is a triumph over so many painful memories: defiantly munching cookies during my final tennis lesson because I was afraid I’d look foolish on the court, pretending to twist my ankle during the 50-yard dash on field day so I didn’t have to suffer the indignity of coming in last, teachers asking if I was okay when my face would still be beet-red 30 minutes after gym class.

Listen, I can’t say I “love my body,” all right? But I love what athleticism has brought to me, and I treasure the ways it’s visible on my body. My athletic body doesn’t need anyone’s fashion advice. It doesn’t need anyone’s categorization. It does not need to be dressed around, typed, or even acknowledged. It just needs to move.