Post for 10/5/10-- Hanna Longwell

Patricia Hill Collins begins her article by examining in reverse chronological order the treatment of and reaction to female entertainers by the media and society. She first mentions the hype surrounding J-lo (Puerto Rican) and her "large bottom" in 2001, then moves on to discuss Destiney's Child (African American) and their sexually independent marketing strategy in 2000. Next on Collin's list is Josephine Barker (African American), an American who moved to Paris to entertain with a rump-shaking banana dance, then Sarah Bartmann, also known as the "Hottentot Venus". Bartmann was "displayed caged, rocking back and forth to emphasize her supposedly wild and dangerous nature" (Collins 26). She was forced to parade her large buttocks in front of an audience, being poked and prodded by curious bystanders. After Bartmann's death, her body was claimed by George Cuvier to dissect it in the interests of science. This specific incident served as a blueprint for degrading and humiliating a black woman on a worldwide scale. Because of actions like these being supported and perpetuated, "African descent has been associated with an almost animalistic, wild sexuality" (Collins 27) and heightened racial difference. Collins then goes on to talk about the "hypersexuality of black women, and the similar iconic view of the black man. In contrast to black women, black men were viewed as dangerous and in need of control. The entrance of these somewhat tabboo stereotypes occured when these images were brought into private viewing areas through television, video, DVD, and the Internet. Not only are black people objectified in society, but they are disadvantaged in the global economy. Although in the US people may vote, not everyone is at a fair advantage due to the fact that "corporations and other propertied entities wield tremendous influence in deciding the outcome of elections because they fund campaigns" (Collins 34). Collins continues to illustrate the main differences that black people must deal with in their daily lives, and the way that they are treated by those around them and in the media.

In "Sex 'R' Us", Douglas mainly confronts the idea of how girls and women have been sexualized. This chapter begins with addressing the provocative Calvin Klein ads in the 1960's, where the commercials apparently "looked like 'runaway kids' coaxed from bus stations by exploitative adults" (Douglas 154). She examines the mainstreaming of pornography and how it affects females, and looks at the concept of the "sexpert". A sexpert is typically "white, young, heterosexual, slim, busty, beautiful, and a middle- or middle-upper-class female" (Douglas 156), and are active sexual agents who have the power to get what they want through sex and sexual display. The 90's began an era of corporations profiting from the sale of sex, influencing many young girls and how they thought they should act. The murder of Jon Benet Ramseyin started a media frenzy for the sole reason that she was a hypersexualized toddler. In general Douglas speaks of how the sexualization of women is different from the sexualization of men, and how this might influence the female social status. She also examines the question of whether enlightened sexism is truly beneficial for women.

Rebecca Walker's chapter on "Lusting for Freedom" is an example of third-wave feminism.

Walker uses her own experiences with sex to emphasize that sex can be more than what is typically understood. She explores the notion that sex can lead to self-actualization, and that it is a place where a woman is able to learn on her own how the world relates to her. Walker believes that in society today, there is a need to build a bridge between sex and sexuality. She believes that, "The way we experience, speak about, and envision sex and sexuality can either kill us or help us to know and protect ourselves better" (Walker 19).

In Sonia Shah's chapter on "Tight Jeans and Chania Chorris", she investigates how western culture and sexuality, along with feminism, are interchangable and can be viewed in different contexts. Shah struggled as a feminist in her family with her hypersexualized sister, and experience inner turmoil until she realized that not all feminist situations are the same, and that many don't recognize cultural duality. She comes to the conclusion that white feminist ideas could not be grafted onto her indian family's ideas of how to lead life.