In November, United States Olympian fencer Ibtihaj Muhammad, the first Muslim woman to win an Olympic medal for the U.S., was immortalized as a Barbie. The doll was revealed by Muhammad herself at the Glamour Woman of the Year Summit. The doll is part of Barbie’s ongoing “Shero” collection, which honors women who break through glass ceilings and inspire girls around the world.
The Shero collection already has some heavy hitters in its collection–dolls representing director Ava DuVernay, U.S. Olympic gymnast Gabby Douglas, plus size model Ashley Graham, and Misty Copeland have highlighted Barbie’s renewed focus on uplifting and inspiring girls to reach for their dreams. Muhammad’s doll follows in those footsteps.
“Through playing with Barbie, I was able to imagine and dream about who I could become,” said Ibtihaj Muhammad to Barbie.com. “I love that my relationship with Barbie has come full circle, and now I have my own doll wearing a hijab that the next generation of girls can use to play out their own dreams.”
“Barbie is celebrating Ibtihaj not only for her accolades as an Olympian, but for embracing what makes her stand out,” said Sejal Shah Miller, Vice President of Global Marketing for Barbie. “Ibtihaj is an inspiration to countless girls who never saw themselves represented, and by honoring her story, we hope this doll reminds them that they can be and do anything.”
Glamour Editor-in-Chief Cindi Leive also said how Muhammad has defied stereotypes to become a history-making Olympian.
“Ibtihaj Muhammad has challenged every stereotype—which to me is the definition of a modern American woman,” she said. “Last year, she was the first athlete from the U.S to compete in the Olympics wearing a hijab, and today we are thrilled to celebrate Ibtihaj as the first hijab-wearing Barbie. She will play a tremendous role in ensuring that girls of the future see themselves represented fully and beautifully in our culture.”
That role isn’t lost on host of Al Jazeera English‘s Emmy-nominated news talk show The Stream, Malika M. Bilal, who wrote on The Undefeated what the meaning of Muhammad in Barbie form means to black Muslim women and girls, including herself and her niece.
“Her announcement comes at a time in which the erasure of African-American Muslims seems particularly pronounced. A time in which a major black women’s lifestyle magazine released a list of ‘100 Woke Women’ and yet couldn’t seem to find one woke African-American Muslim woman to include among them,” she wrote, adding that the erasure “reinforces the idea that Muslim equals Arab, South Asian, immigrant, anyone other than an athletic, Olympic medal-winning black woman from New Jersey — one with a modest clothing line, hundreds of thousands of social media followers and now a Barbie in her likeness.”
“The introduction of this doll lends support to the reality that a black Muslim woman can be both authentically American and authentically Muslim,” she wrote. ” A notion driven home by statistics that estimate a significant percentage of the enslaved Africans brought to this country were Muslim.”
“It’s not just young girls who are representation-starved. Grown women like myself, and the many who’ve retweeted, reposted and reblogged the Barbie announcement, are just as excited, not just for the next generation of girls but also for ourselves,” she wrote. “…[W]hen the Ibtihaj Muhammad Shero Barbie goes on sale in 2018, I’ll be ordering one to add to my niece’s collection. But I’m not ashamed to admit that another one just might find a home in my house as well.”
Are you going to order yourself an Ibtihaj Barbie? Talk about it in the comments!
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Francesca Andre has a message for everyone with her short film, Charcoal. The main theme of her film is about colorism and its damaging effects on the black diaspora. Her two main characters go through a journey of self-acceptance and self-awareness, and that journey is something Andre hopes is replicated in her viewers.
I’ve had the chance to speak with Andre recently about her film (which you can learn more about in a previous article and the trailer below) as well as her opinions on how colorism affects us. I also asked about the Dove ad that sparked controversy, and how we can heal as a people from our societal wounds. Andre offers clear insight into her own journey towards healing and how we can continue the process of healing in our own lives. Here are highlights from that conversation.
Charcoal can be seen at the Yonkers Film Festival Nov. 3-8.
The inspiration for Charcoal:
Colorism is something that has impacted my life at a very young age. It’s very common in Haiti—it’s not white people versus black people, it’s really lighter skin versus darker skin. At a very young age, I was made aware of that. When I was probably five years old, I received a dark-skinned doll. When I took it home, people started making fun of the doll, saying the doll is ugly. My mother being brown-skinned, my grandmother being lighter-skinned, and my grandfather and my father being darker skinned men, people just made comparisons to the skintones.
Colorism and the lasting effects of racism in the black diaspora:
We’re still dealing with the consequences [of racism] as a people when it comes to economic empowerment, how we are being perceived and anything else—colorism sits right in there. It’s still affecting us, we’re still dealing with it, it’s not a thing of the past. We’re still healing from it. Those of us who are aware and are making a conscious decision to talk about it. You can’t really talk about racism or the advancement of us as a people and not talk about colorism.
Here in America, [the Dove colorism ad] was a mainstream brand that everyone can see, but you have some smaller brands, when you go to Caribbean markets that are selling [similar] products. You have women making skin-bleaching lotion and selling it to other women. I guess for some people here, it’s not as blatant as it is in other cultures—if you go to CVS, you probably won’t be able to find it, right? But it’s happening. It never went away, at least from my experience; as long as I’ve been alive, I’ve always known about these products.
Even thinking about “good” hair,the hair is not closer to our hair texture. It’s something closer to European hair texture. But when you look at our hair and the versatility of our hair, to me it’s like, really good hair! It took me a long time to reprogram myself, my thoughts, and redefine what “good” hair was for me to access [my hair] and accept it, love it, and embrace it…I don’t have any problems with it now.
On how to heal from colorism:
I do feel like we need to start having conversations, and an important part of that is the healing part of that. I think you will see that you’ll find more women going natural more than ever. Here’s what’s fascinating: how so many black women did not know their hair period because they just haven’t been dealing with their hair…they did not know how to take care of their hair; it’s been processed. When they find out what products work on our hair and what they can do to make their hair do this and that. Again, it’s knowledge and healing and more women are stepping out. It’s not a strange thing now to see a black woman with natural hair in the workplace. There was a time when this wasn’t a thing. Now, more people are going natural, embracing it and being unapologetic about it. I feel like we’re going forward. Even with skintones, too—[online campaigns and phrases like] “My melanin’s poppin’,” #BlackGirlMagic—we are healing collectively. I hope the men are using those terms as well; I hope the men are healing because they are also victims of colorism. I hope that we as a people stop the vicious cycle.
…First of all, I think [the first step to healing is] knowing what colorism is. Many people don’t even know what colorism means. It really starts the conversation. It’s hard to change beliefs, but one way we can do that as a people is to talk—ask [about it] and dialogue. Increase representation [in the media] to make women more confident in who they are and how they look. As an artist and storyteller, the way I [change] people is including it and showing it, talking about it and not pushing it away…Whenever I see a girl with natural hair, I tell them “I love your hair” or “I love your twists”; I make it my job to remind them because all the messages they are receiving are the opposite.
How Charcoal can start viewers’ journeys toward self-acceptance:
I think there’s a universal aspect to it. I hope people feel inspired and hopeful. I hope people find some sort of healing or be the beginning of that journey. We all can relate to pain, and the characters go through that, but we can see how they overcome that.♦
This interview has been edited and condensed.
Melissa Godin, New York University
When Chabelly Pacheco – a Dominican-American who moved to Long Island when she was five years old – walks into her favorite Dominican salon on Brooklyn’s Graham Avenue, it’s more like entering a home than a business.
The salon is filled with smoke, hair spray and women of all ages. Everyone in the room greets her: The hairdressers kiss her on both cheeks, while the other customers say hello. Daughters sit alongside their mothers with curlers in their hair, feet dangling from their chairs.
For first-generation Dominican women like Pacheco, these salons can serve as a place to bond with fellow Dominicans.
“I don’t really feel connected to my culture,” said Yoeli Collado, a friend of Pacheco’s who moved to Long Island from the Dominican Republic when she was three years old. “When I speak Spanish, I feel powerful… But other than that I don’t have much I can connect to. So going to a Dominican salon is part of my culture. For me, it’s one of the only ways I can identify.”
Other diasporas have a wide range of cultural public spaces. There are Chinese community centers and Indian music venues, Russian tea rooms and Ghanaian restaurants.
For Dominicans, the salon plays an outsized cultural role.
Fascinated by these spaces – and as a scholar studying women’s issues – I wanted to see how salons and Dominican beauty regimens influence female Dominican-American identity.
I found that although Dominican-American women I interviewed spoke warmly of the salons they frequent, Dominican hair culture is far from glamorous. In many ways, it’s a pricey, burdensome ritual steeped in a colonial beauty standards – a contradiction that young Dominican women are grappling with today.
‘The hair carries the woman’
As in many cultures, Dominican female beauty standards can be burdensome. Though most Dominicans tend to have curly, textured hair, the culture favors long, straight hair. Curly, frizzy or kinky hair is called “pelo malo,” which translates to “bad hair,” and many women feel pressured to treat it.
“I hear my mom say it all the time,” Pacheco said. “‘The hair carries the woman’ – that’s the mantra in my family. If your hair is fine, you’re fine.”
Despite the lively atmosphere of the salon, it’s not all fun. It can be costly, painful and time-consuming.
Sociologist Ginetta Candelario has found that Dominican women visit salons far more frequently than any other female population in the U.S., spending up to 30 percent of their salaries on beauty regimens.
Many Dominican kids don’t have any say over how to style their hair; their parents force them to get it straightened. This was evident in Pacheco’s salon, where young girls tugged at the tight curlers in their hair, complaining that the dryers were burning their scalps.
“You’re taught from a young age that your hair has to be straight to be pretty, to get a job, to get a boyfriend, to be called pretty by your mother,” Pacheco told me.
It all stems from a strict hair culture in the Dominican Republic, where young women can actually be sent home from school or work if their hair isn’t worn in the “preferred way.” Women with untreated, natural hair can even be barred from some public and private spaces.
Though discrimination against curly hair isn’t as pronounced in New York, many Dominican-American women told me that they nevertheless feel the same sort of pressure.
No such thing as black
The Dominican tradition of straight hair has it roots in colonial rule under Spain; it eventually became a way to imitate the higher classes and to separate themselves from their Haitian neighbors, who once occupied their country and championed the négritude movement, which was started by black writers to defend and celebrate a black cultural identity.
Dominicans believe that Haitians are “black,” while Dominicans – even those who clearly descend from African heritage – fall into other nonblack categories.
The process of differentiation is referred to as “blanqueamiento,” which translates to “whitening,” and hair straightening is simply one of many ways Dominicans try to distinguish themselves from Haitians. In fact, even though the Dominican Republic ranks fifth in countries outside of Africa that have the largest black populations, many black Dominicans don’t consider themselves black.
“[Blackness] is a taboo in the DR,” Stephanie Lorenzo, a 25-year-old Dominican-American from the Bronx, explained. “You don’t want to be black.”
According to Yesilernis Peña, a researcher at the Instituto Tecnologico de Santo Domingo who studies race in the Latin Caribbean, there are six established racial categories in the Dominican Republic, and they tend to correlate with one’s economic class: white, mixed race, olive, Indian, dark and black.
Meanwhile, a light-skinned elite has consolidated most of the political power, while many of the country’s black people – who make up the majority of the population – live in extreme poverty. So straightening one’s hair can be seen as an attempt to climb the social ladder – or at least imitate those with money and power.
“When people relax their hair or bleach it, they do it because they want to be closer to the people who hold the power,” Dominican salon owner Carolina Contreras told the magazine Remezcla in 2015.
‘But I like it straight’
Given the fraught history of hair, it’s clear that Dominican salons, with the beauty regimens they perpetuate, are complex, contradictory places.
Pacheco – who grew up in America and loves spending time at the salon – is aware that she’s also tacitly succumbing to beauty norms steeped in racism.
“Obviously it’s a construct, and it puts pressure on women and sometimes I feel conflicted about getting my hair straightened,” she said. “That deeply rooted colonial oppression is still there. But then I’m like, ‘I like it straight.’”
In sociologist Ginetta Candelario’s study “Hair-Race-ing: Dominican Beauty Culture and Identity Production,” she wonders if beauty can be a source of empowerment, even if it means using time and resources, while suppressing one’s “blackness.”
Through her extensive research in Dominican salons in New York, Candelario did find that women can, in fact, empower themselves through these beauty norms. By physically altering their appearance, they could get better jobs and use their beauty as “symbolic and economic capital.”
But she points out that in order for this beauty regimen to exist in the first place, it requires “ugliness to reside somewhere, and that somewhere is in other women, usually women defined as black.”
Reimagining beauty, reinventing space
In 2014, Carolina Contreras opened up Miss Rizos, a natural hair salon located in the colonial city center of Santo Domingo, the nation’s capital.
The 29-year-old Dominican-American wanted her salon to champion “pajón love” (Afro love), and to reimagine what a Dominican salon and a Dominican beauty regimen might look like. The salon, which caters to Dominican-Americans, encourages women to wear their Afro-textured hair with pride.
It was at Contreras’s salon where Stephanie Lorenzo decided to do “the big chop” in 2015: She cut off her chemically altered hair, leaving her with a small Afro.
“Around the same time, I was becoming more in touch with my African roots as an American woman,” she said. “[Cutting my hair] was part of acknowledging that we are also black.”
Back in Brooklyn, Chabelly Pacheco’s hairdresser said that during her 30 years working in salons in the Dominican Republic, Haiti and New York, she’s noticed more women asking for natural hair treatments. In fact, many older Dominican women are now starting to change the way they see their own hair. Carolina Contreras’ mother told me that she decided to go natural to be closer to the way God imagined her.
Contreras, however, is quick to note that the natural hair movement isn’t meant to shame women who do choose to straighten their hair. Instead, it’s simply about making textured hair accepted, appreciated and celebrated.
Perhaps by embracing all different kinds of hair, salons – which bring Dominican women closer to their culture and to each other – can also bring Dominican women closer to their natural selves.
Melissa Godin, Rhodes Scholar Studying Development, New York University
This article was originally published on The Conversation. Read the original article.
If there’s one picture I’ve been obsessed with lately, it’s this press photo from 1997’s Rodgers and Hammerstein’s Cinderella, starring Brandy, Whitney Houston, Whoopi Goldberg, Bernadette Peters and Paolo Montalban as Prince Christopher (aka “Prince Charming,” the only way we’ve ever identified the character in Disney’s 1950s animated version).
I love how candid it looks (especially since some versions of it online clearly show a Fujifilm border). It could very well be a great candid shot—something about its energy seems highly off-the-cuff, and usually it’s the off-the-cuff pictures that turn out looking the best. The picture captures what could have been a random moment after Cinderella and Christopher’s wedding (even though she didn’t actually get married in the iconic blue dress in the film). The energy of it makes it one of my favorite pictures ever, not to mention one of my favorite pictures from the amount of PR photos I’ve seen.
It knocked this one down to number two, and this one is actually showcasing the actual wedding scene:
But like the picture above it, this one captures the feeling we’re told to expect from a wedding–pure happiness. I’m sure little girls of color all around the country imagined a wedding day that looked as magical as the one Cinderella and Christopher had, and certainly I’m sure many (like me) were hoping they’d be able to find a Prince Christopher of their own. I’m not even big into the showiness of weddings, but even I have found myself wondering what a huge Cinderella-esque wedding would be like. Not to mention, the film just celebrated its 20th anniversary. Thus, this post was born.
This post doesn’t have to be all about weddings—this post could be very useful for other big events in your life in which you need an elaborate ballgown (like prom, a Quinceañera, a huge cosplay event, etc.). But, if you’re a person who wants to go all out for your wedding or a fancy reception party, then maybe my suggestions could help you out. I’ve scoured the interwebs to find the perfect Cinderella dress and Prince Charming/Christopher suit, accessories and decorations, and even invitations.
Keep in mind: I’m no wedding planner, but I am an artist, and that counts for something. Please feel free to alter my suggestions for a Cinderella-themed wedding how you see fit. This is your big day, after all—I’m just offering my two cents.
(Note: This post isn’t intended just for heterosexual couples; whoever’s getting married can use this and have fun.)
Dressing as Cinderella
First of all, if you are a seamstress or know someone with wild tailoring/sewing skills, you could have someone custom-make this dress for you. With some of the options I’m about to show you, it might cost just as much (or maybe a little less) to have someone to make this dress for you. As you can probably already surmise, there’s no completely identical dress like this on the market.
HOWEVER, that doesn’t mean that there aren’t some pretty close dresses online. There are three ways you can go about doing this–get a Quinceañera dress or ballgown of some type, try Etsy, or find a white wedding dress of a similar style and pay extra to have the store dye it ice blue.
Option 1: Quinceañera dress
If you are as lithe in figure as Brandy, you might be able to get away with getting a Quinceañera dress to serve as your fanciful wedding dress. Yes, Quinceañera dresses are usually made for 15-year-old girls. But, because it’s for the day they finally reach womanhood, these dresses are made exactly the same as lavish ballgowns, but are much easier to find and purchase. But, like lavish ballgowns, they cost an extremely pretty penny.
The brand of Quinceañera dress that I’ve found several types of dresses can could work for a Cinderella themed wedding is Vizcaya by Morilee, an imprint of designer Madeline Gardner’s Morilee brand of wedding, evening, and party dresses. These dresses are the most opulent Quinceañera dresses I’ve seen during my search, and they are also the most mature looking. If you didn’t tell anyone this line was actually made for 15-year-olds, people would believe these were regular ballgowns, meaning that no one will be looking at you like you’re wearing a teenager’s dress on your wedding day.
This one is by far the closest I’ve seen to Brandy’s actual blue dress:
There are some extra straps, but it’s got everything you could ask for if you’re looking for a dress similar to Brandy’s blue dress. If you’re handy with tailoring, you might even be able to snip those straps away or hide them within the off-the-shoulder straps.
Some other good choices from Morilee:
I didn’t check the sizes for any of the Quinceañera dresses, so I’m only assuming you have to be skinny teenage-size to be able to wear these. There could be plus sizes for these, but you’ll have to check.
Option 2: Actual wedding dresses
In the event there aren’t, I found some real wedding dresses that are good for both smaller and plus size women. You can certainly dye these dresses ice blue (or pay someone to if you’re not into DIY with such an expensive dress), or you could just wear it as-is, which would be just like Cinderella on her wedding day in the film.
These designs are by Oleg Cassini, and they capture everything you want in both Cinderella’s ball gown and wedding dress.
Links: 1, 2, 3, 4, 5 (some links are for sale prices)
These two are by Morilee, the same designer as the Vizcaya Quinceañera dresses.
With the ready-made items out of the way, let’s talk about Etsy. One shop, ieie bridal, makes gorgeous, made-to-order dresses. All you have to do is offer your measurements. These three in particular are great for Cinderellas-at-heart, especially the first one, which is a copy of the dress found in the recent Cinderella live action movie starring Lily James.
Option 3: Etsy
If you’re down with Etsy, I think it’d be worth inquiring if the middle dress could be made in an ice-blue fabric. I don’t know what the designer/seller’s rules are for specifications like that, but since it’s a custom dress anyway, it wouldn’t hurt to ask.
The glass slippers are paramount to a great Cinderella wedding, and while no one can actually wear glass and expect not to end up with cut-up feet, here are some (expensive) shoe choices.
(It should be apparent by now that everything in this post is expensive. If you want a Cinderella wedding, you’ve got to pay the price.)
What I’ve found are two shoes from Jimmy Choo–from the Cinderella collection, no less–and a shoe by Betsey Johnson.
The shoe search was by far the easiest part of this post. I only took about 15-20 minutes to find these shoes. You don’t even want to know how long it took to find the right wedding dress options. You especially don’t want to know how long it took to find something suitable and similar enough to work as Prince Christopher/Charming’s clothes.
I do like makeup, but I’m not someone you should turn to for makeup advice, since I tend to stick to the same five products/brands that either work or simply get the job done. (Shoutout to Fenty Beauty for getting into my makeup rotation–I finally have my perfect foundation shade!)
So instead, turn to makeup guru PatrickStarrr, who released a video celebrating Cinderella’s 20th anniversary.
Dressing as the Prince
This picture, while gorgeous, is misleading. In this shot, the prince’s jacket looks like a pearlized white. However in the shot below, it’s the same ice blue color as Cinderella’s dress.
I’m going with the latter, since it makes the most sense–I’d think the groom might want to be coordinated with the bride in this instance. However, the choice is yours.
If you decide to go with blue, then…you’re up a creek without a paddle if you’re looking for a traditional tuxedo or even an 18th century cosplay jacket, because I’ve scoured the internet looking for an ice blue ornate tuxedo only to come up with nothing. As with Cinderella’s dress, if you want something exact, then find a costume maker who can make this to form. However, if you don’t feel like hiring someone or if you just want some options that could be quicker in the long run, here’s what I’ve got.
Option 1: Sherwani
I had to do some out-of-the-box thinking to come up with some of these options. For instance, the below options are Indian wedding clothes. These sherwani weren’t easy to find–even with sherwani, which come in all the colors of the rainbow, it was still hard to find ice blue–but I think if you wear them unbuttoned with a vest and some black slacks, you’ll come out looking great.
Note that some of these are the Indowestern style of sherwani, meaning they’ve got elements of both traditional Indian and Westernized clothes. Some sherwani are made like ornate tunics, and since these are button down, that makes it easier to imagine them operating like Western-style jackets. These three are from G3 Fashion.
I should note that some of these, if not all of these, come with pants. If that’s the case, I’d suggest swapping out the original pants with tuxedo pants or slacks, as I mention above. Not because the pants aren’t cool (they are), but because the prince actually wears black pants with his blue vest-jacket combo. However, it’s your wedding–do what you want to do.
Option 2: Baroque couture
As you’ve seen in the picture near the top of this article, the prince wears gold on his wedding day. If you want to go that route, then there are actually Western-style tuxedos you can wear.
These three are made by Italian designer Ottavio Nuccio for his Baroque collection. And man, are they baroque.
The only prices that are listed on his site are in Euros; I don’t know if there is international shipping. But I think there is a button you can click to inquire about pricing, so maybe more information will be there.
There you have it–some creative ways to get your Cinderella wedding right and tight. I’d be excited to know if anyone uses these suggestions for their wedding, Quinceniera, prom, or any other event that requires a huge, frilly ballgown. At any rate, if you’re having a wedding, make sure to outfit your bridesmaids in appropriately ornate dresses. The dresses don’t have to outshine you, but just don’t make them look like your ugly stepsisters.
If you do that, expect the fairy godmother to turn you into a pumpkin.
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Hugh Hefner, the founder of the long-running Playboy Magazine empire, has died at age 91. I haz a sad.
First of all, before anyone decides to come for me for saying I’m a little bummed, YES, I know that Playboy is based on a sexist and, frankly, racially-biased interpretation of feminine beauty–regardless of Hefner wanting to appeal to the James Bond “lascivious gentleman” aesthetic of the 1950s and 1960s, Playboy, and the aesthetic it played upon, showcased women from the male gaze, and that’s putting it mildly. Also, despite Hefner being a supporter of civil rights and providing a platform for Malcolm X (who was interviewed for the magazine by none other than future Roots author Alex Haley), the track record for notable black Playboy models is bleak. The first black Playmate of the Month, Jennifer Jackson, made her debut in 1965, 12 years after Playboy was founded and first published. The first black Playboy cover model was Darine Stern in 1971, and according to Wikipedia, there are only 29 black Playboy Playmates of the Month (not counting Playboy‘s regular pinup shots), and the first black Playmate of the Year was Renee Tenison in 1990. (Complex has a good article on 25 of those Playmates.) In case you need more proof that Playboy has been behind the eight-ball in the area of representation, the magazine has only just had its first Mexican-American Playboy Playmate of the Year in 2013 with Raquel Pomplun.
I understand all of the issues surrounding Playboy and Hefner. And yet, I am a little downtrodden. As horrific as it might sound, generations have grown up with the presence of Hefner in his Playboy Mansion. For better or worse, he was a huge part of our pop culture fabric. And, despite all of the facts I laid down about Playboy‘s racial issues (and some I didn’t, like the fact that the majority of the black Playmates of the Month range from light beige to toffee-colored, further pushing a colorism narrative), there’s one Playboy fact involving the black image that goes routinely unnoticed–the iconic look of the Playboy Bunny comes from the mind of a black woman.
Zelda Wynn Valdes is who you have to thank for the classic Playboy Bunny costume, a costume so ingrained in our psyche that the silhouette alone tells you what you need to know.
Valdes, who died in 2001, opened the first African-American owned boutique, Chez Zelda, in Manhattan in 1948 (the shop later moved to Midtown in 1950). She dressed some of the biggest names of the ’40s, ’50s, and ’60s, including Dorothy Dandridge, Mae West, Ruby Dee, Marian Anderson, Josephine Baker, Eartha Kitt, Jessye Norman, Gladys Knight, the entire 1948 bridal party of Nat King Cole and Marie Ellington, and “the black Marilyn Monroe,” Joyce Bryant. She also served as the President of the New York chapter of the National Association of Fashion and Accessory Designers (NAFAD), an organization founded by Mary McLeod Bethune. Later in life, she also designed costumes for the Dance Theater of Harlem. She started working with the company in 1970 and continued there until she died at the age of 96.
Valdes’ flattering, sexy, body-hugging designs garnered Hefner’s attention, particularly because, I’m sure, he was opening his Playboy Clubs and needed costumes for his waitresses. The original idea for the bunny costume might have been conceived by the Playboy’s director of operations Victor Lownes, but it took Valdes’ flair and artistic eye to bring that idea to fruition. Also, Valdes’ Playboy Bunny costume became the first service uniform registered with the U.S. Patent and Trademark Office, furthering Valdes’ legendary status.
Or, rather, it should be a legendary status. Valdes’ contributions to Playboy, and to fashion in general, seem to go unnoticed by society at large, and that’s a shame. Valdes helped shape the idea of a glamorous woman through her high profile clients, and for better or worse, she helped shape the ideal image of the the Playboy Bunny and the conversation we have about beauty and body image.
This is where the history of the costume gets into the weeds, since, ironically, the image of the standard Playboy Bunny is this:
Despite the fact that the design was brought to life by a black woman.
There’s also a ton that can be said about the rigorous dieting the Bunnies must have had to be on to be able to successfully make it through pre-shift weigh-ins (wherein they could only gain or lose a pound), not to mention dealing with blatant objectification. Activist Gloria Steinem famously wrote about her time as a Playboy Bunny in an article called “A Bunny’s Tale,” which was published in Show Magazine in 1963. In the article, she outlines how degrading and sexually exploitative it was to work as a Bunny. Some of those awful working conditions seemed to be alluded to in the 2011 failed NBC Mad Men-esque drama The Playboy Club. Despite the fact that the show never quite got off the ground in terms of storytelling, it did, however, provide our best modern look at the Playboy Bunny costume in action, giving us an idea of what it must have looked like to see the costume at work in its heyday. Despite the awfulness surrounding the clubs themselves, you can’t deny that these costumes don’t have a touch of glamour, and even mystery, to them.
The instantly iconic look of the costume is why you always see it every year at Halloween or any type of costume party. Heck, if you’re an anime fan, you’ve probably seen this costume on several anime characters, the most notable character possibly being Bulma from Dragonball.
The Playboy Bunny suit has not only domestic, but international appeal. To me personally, it just looks cool. Somehow, Valdes was able to imbue playfulness, sexiness, allure, and a coquettish sensibility all in a corseted teddy, black sheer stockings, and bunny ears.
Playboy, the Playboy Clubs, and all the other trappings of Playboy Enterprises all revolve around the salability of the woman as a product, it’s true. There are tons of articles that can be (and have been) written about Hefner and his sordid, yet weirdly marketable empire of T and A. While the news of Hefner’s death is fresh, you should be able to find tons of articles out there that can supplement this one with all of the hot takes you need. Twitter alone will provide you with multiple angles on Hefner’s life and the complicated legacy he leaves behind.
At the end of the day, though, if there’s anything that can be said about Hefner, it’s that he didn’t build his empire alone. He, like most American “self-made” men, built it with the help of a talented black woman. One of these days, I’m going to don the Playboy Bunny costume to a Halloween party in Valdes’ honor. If only I could get over showing my upper thighs. ?
As I’ve stated in my SlashFilm review, I’ve always been a Star Trek fan ever since I watched Star Trek: The Next Generation with my dad about 20 years ago. But while Jean-Luc Picard will always be my favorite Star Trek captain ever (who can say no to Patrick Stewart and the way he commanded with calm authority?), Picard has to battle Spock for the title of favorite Star Trek character ever.
The reason? Because as a half human, half Vulcan, Spock has had to battle his reason with his human emotions, emotions that had the potential to get (and, in the reboot films, has gotten) the best of him. The battle between raging emotions and cold reason is a battle I face constantly. Never did I think Star Trek would continue to crystallize this struggle in such a poignant way, but the franchise succeeded again with Star Trek: Discovery‘s Michael Burnham and her relationship to her father figure (and Spock’s future father) Sarek.
I’ve stated many times on this site and in other publications about how much of my love for Star Trek stems from its ability to showcase varying struggles that exist under the umbrella of “diversity.” Thankfully, the franchise also includes psychological diversity as well, as is the case with the Vulcan race. The Vulcans have stood for many things to many viewers. Some see the Vulcans and their occasional misunderstandings as a way to thoughtfully approach the autism spectrum. Others see the Vulcans as simply uppity living cardboard figures. Speaking personally, the Vulcans have always shown a light on two of my big personal struggles–perfectionism and the highly sensitive (or even empathic) mind.
The running joke my sister and I have is that I’m a Vulcan. In fact, when I said it as self-deprication a few years ago, my sister replied thoughtfully, “You know what? I agree with that.”
I’ve always been a deep thinker, and too many times, that thinking has either gotten me in some type of mental trouble or made me appear as unable to connect with the “normal” outside world. Sometimes, I feel like I can’t connect with the outside world, because I’m so wrapped up in how other people feel, how I feel, and how to best convey those feelings to people who might not have emotions that run as deeply as mine do. As psychiatrist and Emotional Freedom author Judith Orloff accurately described, “It’s like feeling something with 50 fingers as opposed to 10. You have more receptors to feel things.”
Believe it or not, it’s not easy being a feeler, and our Western society makes sure it’s tougher than it has to be. As a society,we value loudness over softness, action over reflection, and doing over being. The stereotypes of a highly sensitive person make us out to be gooey bundles of mush that can’t defend ourselves because we’re supposedly so much weaker than the “average” person. That’s not the case–we aren’t weak. We’re actually quite strong. But you wouldn’t know it from how much emphasis people put on having an extroverted outlook and put down those of us who are reserved within ourselves.
All this leads to is, aside from a smattering of depression, a bad case of perfectionism. I call myself a “recovering perfectionist” now, but for a long time, I’ve been investigating where my perfectionism came from. I’d have to say that there are a lot of reasons for it, but one of them is because I’ve used perfectionism as a bad coping mechanism for the harsh world who can’t handle tears. I grew up comparing myself to others who I thought were better than me simply because they could they naturally handled emotions in a different way than I did. I didn’t realize that the way I handled my emotions was simply my nature–it’s as much an integral part of me as my black skin is. After growing into adulthood I’ve realized that there’s no reason to try to change myself, since my emotions work just like how they’re supposed to work. They are part of the inner strength that help make me a better version of myself each day.
Michael Burnham seems tailor made for this type of exploration of inner strength. I see in her what I’ve seen in me all the time. I see her struggle to adapt to her Vulcan upbringing and tamp down her human (i.e. emotional) self. I see her struggle to fit in with her Vulcan peers, possibly feeling a lack of self-esteem at not being like the others. I see the shadow of perfectionism that showed itself as cockiness when she first enters the U.S.S. Shenzhou–you can tell she thinks she knows everything about everything because she’s been the first human to graduate from the Vulcan academies and excel amid intense pressure and a stacked deck. I also see her struggle to understand that her humanness–her emotions–is what makes her great.
Her struggle against emotions is also apparent in Sarek and other Vulcans. Big fans of Star Trek know that Vulcans do, in fact, feel. As Memory-Alpha states:
“Contrary to stereotype, Vulcans did possess emotions; indeed, Vulcan emotions were far more intense, violent, and passionate than those of many other species, including even Humans. It was this passionate, explosive emotionality that Vulcans blamed for the vicious cycle of wars which nearly devastated their planet. As such, they focused their mental energies on mastering them.”
Vulcans, including human-born/Vulcan-raised members like Michael and Vulcan-human hybrids like Spock, always suffered with deep-running emotions. Here on planet Earth, there are tons of folks like me who always seem to be drowning in their own emotions, even as we attempt to tamp them down. The actual suffering doesn’t come from the emotions themselves, but from the attempt to control them. But if you unleash those emotions, then what? The fear of being out of control in any fashion is what, sadly, keeps the suffering going. It’s the Vulcans’ own fear of a lack of self-control that keeps them perpetuating what is essentially a culture of emotional abuse and intense perfectionism over and over. The aspiration to be the ultimate Vulcan, as it were, is what causes Vulcans to stay at war with themselves.
The Vulcan brain can also be a scary place to be due to their intense emotions. Again, to quote Memory-Alpha:
“The Vulcan brain was described as ‘a puzzle, wrapped inside an enigma, house inside a cranium.’ This had some basis in fact, as the Vulcan brain was composed of many layers…Unlike most humanoid species, traumatic memories were not only psychologically disturbing to Vulcans, but had physical consequences as well. The Vulcan brain, in reordering neural pathways, could literally lobotomize itself.”
The human brain can’t lobotomize itself (although it can block highly traumatic memories from ever reaching the surface), but his description of the Vulcan brain, especially the part about how much of a puzzle it is, fits the highly emotional mind as well. A mind that is constantly drenched in deep emotion is a mind that is mystery even to itself. The fact that there’s science spearheaded by the leading HSP expert, Dr. Elaine Aron, that show that the highly sensitive person has a hypersensitive wired nervous system and empathy-targeted brain is evidence that the highly sensitive mind is an overactive (and sometimes over-reactive) place. Also, like Vulcans, those who consider themselves highly sensitive or even empathic have extremely strong reactions to events as well as the mundane, due to the fact that–like Vulcans–we can usually sense the emotions of others.
However, with all of this going on, it’s fascinating that Sarek still saw the value in human emotions, so much so that he entrusted his ward to Capt. Georgiou in an attempt to give her the human experiences she never had. It’s also poignant to note that he only shows his true emotions to those closest to him, like when he does his best to hold back a proud smile as he introduces Michael to Georgiou for the first time. Or when he reveals to Michael through their mental connection his regret at not showing her the emotional support she needed throughout her life. His statements are made simply, but you can see the depth of feeling there. You can tell how much he loves Michael and does truly believe in her, like any good father would. Like any parent, he’s made mistakes in raising his child, and he’s emotionally intelligent enough to be able to admit that–and his emotional state surrounding this fact–to Michael. As we already know from Star Trek, Sarek sees a lot of admirable qualities in humans, so much so that he married one and had a child. Perhaps it was raising Michael that helped him open his eyes to the importance of having a balance between emotion and reason.
Showing Sarek reveal his emotional side to Michael, and Michael revealing her emotions to Georgiou, brings up another point about highly sensitive people, or at least, someone like me–it’s difficult showing your full self to the public. It’s much easier–and much more intimate–to show the full extent of your emotions to those closest to you, to those who understand you. Not everyone realizes that emotions aren’t there to be played with or used against the person; we highly sensitive people only feel safest revealing ourselves to those who mean the most to us in our lives. Those people have earned the right to know us as we are, and that is a coveted position to hold. In Star Trek terms, it is a coveted position to have a Vulcan as a friend, because they will probably be extremely loyal to you because of the position you hold in their life.
The scene between Sarek and Michael in the mind meld was extremely special for me. It hit home in a way I didn’t expect that scene to do. It made me feel like I finally have someone who understands my personal struggle on television, and she’s also a black woman. It showcases a different side to blackness that is rarely seen on television (so much so that tons of Star Trek fanbros are up in arms over Michael leading the series). She’s not loud or brash. She’s not sexually promiscuous. She’s not even funny, really. She’s a no-nonsense, yet naive woman who is still trying to find herself amid her place between two cultures. She’s ‘a puzzle, wrapped inside an enigma, house inside a cranium,’ and it’s good to see someone like her exist in our pop culture. She lets other black women like me, women with Vulcan brains, know that not only are they just fine, but they can–yes, I’m saying it–live long and prosper. ??
Riverdale Season 1 | Episode 8 | “The Outsiders” | Aired March 30, 2017
Yes, this is how I feel right now about Riverdale, and all of that got bottled up and compacted into this particular episode. Yes, Polly had her baby shower, she’s moved in with the Blossoms, Archie and Betty found out that Jughead’s dad is a Serpent, Kevin’s Serpent boyfriend Joaquin is having second thoughts about deceiving him, etc., etc. Now, let’s get to what really needs to be discussed: JUST WHERE IS THIS SHOW HEADING?!
I feel like this show is treating us like how Lisle Von Rhuman treated Madeline Ashton in Death Becomes Her. Riverdale is teasing us with a show beyond our wildest imaginations–inclusion, diversity, a fresh take on Archie and the gang, etc.–and it gives us what we think we want. But then, it comes back to us and says, “Now, a warning.” To which we say, like Madeline, “NOW a warning?!” For us, that warning would have been that the show would begin to lose its way and forget what made its characters great and, indeed, avatars for those who didn’t feel included in their everyday lives.
First of all, I feel like, and have always felt like, Riverdale has the potential to be amazing. There’s so much raw stuff inherent in the Archie Comics canon and it’s so frustrating to see how little the show is using what it could use. Instead, it’s pulling from every kind of pop culture reference from the past 30 years to show it’s “smart” and “edgy” and “hip.” And yet, it still comes off as dated and try-hard.
I think Emily Nussbaum hit the nail on the head in her review of the show for The New Yorker, “Archie’s and Veronica’s Misconceived Return to Riverdale,” in which she eviscerates the show for the reasons presented above. To quote her:
“…[S]even episodes in, it’s devolved into dull cosplay bracketed by bogus profundity. Betty and Veronica don kink-wear and roofie Chuck Clayton, a slut-shaming football player. The girls’ tart-tongued gay bestie, Kevin (a character from the new version of the comic strip), seduces a bi-curious Moose. Archie, when not working out shirtless, pursues a songwriting career. “Your songs,” a critical music professor sneers at him. “They’re juvenile. They’re repetitive.” That’s true of ‘Riverdale,’ too, but the show clearly knows it and doesn’t care. Every time a plot feels corny or prurient or preachy, there’s an acknowledgment in the dialogue. It gets exhausting, like hanging out with someone who keeps saying, ‘God, I’m such a nightmare!'”
It’s like the show desperately wants to prove that it’s new and fresh. “This isn’t your mom’s Archie!” is what it wants to say. But it’s consistently showing that it’s a a show that doesn’t realize that teenagers, in general, don’t talk in decades-old references, which makes it seem like this is a show actually for older Archie fans who recognize all of these references from their own childhoods. As Nussbaum said, the show brings up Lolita, Rebel without a Cause, Wild Things, Gossip Girl, Beverly Hills 90210, Pretty in Pink, Faster, Pussycat! Kill! Kill, and plenty of others they off-handedly mention in snarky asides. Like, what do you actually want to be, show! Are you for the young kids or are you for 30-year-olds? Make up your mind!
I have been growing frustrated by the plot becoming a spinning-of-the-wheels type situation. Jason’s killer is no closer to being found, and clues seem to keep simultaneously popping up and disappearing at the same doggone time. At this point, I’m not sure if I’ll even be shocked when I find out who the killer is because I’m just so bored with the whole procedural element. Again with the references, with the murder mystery itself, the show is trying to be Twin Peaks, another reference for someone much older than the target audience. But, if the show is trying to pull a Twin Peaks-ian surrealist-fest, then when are we actually going to get into the surrealism? Again, Archie Comics has tons of surrealist moments, and that’s not even counting the amount of side-universes they have. Surrealism could come in the form of simply introducing Sabrina, a teen witch who often wants to use her powers for good, but usually ends up messing things up and has to right everything back to how it was. Sabrina could come into town, learn about the murder mystery and, after becoming friends with Cheryl and learning of her sadness, reverse time so that Jason is still alive. That could also be a good opportunity to introduce Afterlife with Archie at this moment, since Jason would be, in a way, undead. There’s your second season.
Or, the show could become a true deconstruction of the idea of classic Americana, something it was billed as being but hasn’t truly delivered on yet. Instead of having Jughead tell us that’s what the show is every week in his voice overs, we could actually see some depth of character and real explorations of race, class, gender, sexuality, and anything else that could use a thorough prodding. I’d say that if Riverdale wanted to take notes from a show doing that right now, it’d be Atlanta. This show, like Riverdale, uses the backdrop of a well-known city to explore the underpinnings of American society and culture, and it does so in a specific, tailored way. It doesn’t have to prove to the audience that it’s “edgy”–it shows its edginess in each episode by delivering on its synopsis each week.
If any place needed a deconstruction, it would be a fictional town like Riverdale, which has stood as a the center for clean-cut “American” life, which usually means white life. With much of the cast race-bent, this would have been a great opportunity to see just how destructive and soul-wrenching it can be to live in a town in which you’re the minority (which, in turn, provides context for the larger conversation about living in a country which still harbors racism against you). We could see how some folks in the football stands might be surprised to see Reggie as the captain of the team. Or, there could be some townspeople who resent that Mayor McCoy won over the white candidate (something the character actually brings up in an episode). Or, we could get more insight into the life of Moose, who doesn’t yet have the courage to live his life as an out gay young man due to fear, pressure to be “manly” or what have you. We definitely could have used Chuck, Josie, and Trev to explore life for black kids in a majority-white town.
I write about this in my piece for Ebony, “Riverdale’s Woke Report Card: Does the Drama Get Its Black Characters Right?”. I give the show a passing grade, ultimately, but I still write about how the show really needs to do better by its black characters.
“Out of the Pussycats, Josie is the one who has been given the most screen time; Valerie has only just now started coming up the ranks, but only because of her relationship with Archie. Meanwhile, Melody still hasn’t spoken more than two words during the run of the series and Pop Tate and Mr. Weatherbee may have been racebent, but they also don’t say much either—and in the case of Pop Tate specifically, nothing at all. Pop Tate is a conundrum; even though it’s great to see more representation on screen, it’s also puzzling as to why he has to be characterized as a silent, kindly butler of sorts, even though he’s the owner of the teen hangout, The Chocklit Shoppe. Basically, Riverdale’s Pop Tate reminds me too much of Uncle Ben, and I don’t like it.”
The show proved my point once again by making Valerie merely a sounding board for Archie this episode. She had three lines, and not one of them was about her point of view or her opinion on the matter of Archie’s dad being driven to near bankruptcy. Instead, her lines were there just so Archie could say he was going to go after the Serpents, as well as to give the appearance that they’re in a loving, stable relationship (which we see in the previews for next week that that might not be the case after all). The next time we see Valerie, she and Melody are at Polly’s baby shower, saying nothing.
If the show wants to be actually inclusive, the least it could do is not make its brown and black characters set dressing or talking props. The most it could do is not create a problematic plotpoint of a black boy in handcuffs at the mercy of a white girl who is acting out a revenge fantasy.
Also for diversity, the show could do well to actually eliminate Bughead and reinstate Jughead as an aromatic, asexual boy, since that’s what he actually is.
Comics Alliance’s Andrew Wheeler wrote “Jughead, Bughead, and the Need for Asexual & Aromantic Heroes in Comics” to point out just how demoralizing Riverdale‘s asexual erasure is (and how it flies in the face of their “inclusion” standpoint).
Wheeler interviewed colorist Sigi Ironmonger (a grey-asexual nonbinary trans-man); webcomic creator Sarah “Neila” Elkins, (romantic asexual), webcomic creator Jayelle Anderson (demisexual) and literature student LuciAce (aroace) about their opinions on Jughead in the comics and in Riverdale. They mentioned how important it is to have asexual representation in the media, especially for young kids still figuring out who they are. As Elkins said:
“To me it’s important because, growing up, I didn’t know it was a possibility to be asexual. I thought there was something wrong with me that I wasn’t interested in the idea of having sex like other girls my age. Friends called me a ‘prude.’ These were good friends of mine, friends who were also queer, that didn’t know that asexuality is a queer identity. Even among the ‘weird kids’ I was the odd one out.
I think if there was more representation (or any) of asexual and aromantic characters in comics as well as other books aimed at young readers, and other media, that my friends, and myself, would have known I wasn’t broken or weird. I didn’t learn about asexuality as an orientation until I was out of college. I stumbled across it online and thought, “Oh, wow! That’s what I am! This makes so much sense!” I don’t want anyone else to have to go through that, so I write asexual characters in my stuff. I hope to write something in the future, be it a comic or a novel, that’s aimed at younger readers.”
They also discussed how disheartening it was to see Jughead and Betty actually become an item, erasing the canonical asexuality the character had before (and, as far as I’m concerned, has always had). To quote Ironmonger, Elkins, Anderson and LuciAce:
Ironmonger: “Honestly, as soon as I heard about the erasure, I’ve steered clear of the show, so I can’t speak of the storyline at all. I don’t watch a lot of TV as it is and I don’t feel like prioritizing something like that, you know? I don’t really understand a decision like that and I can’t stand shoe-horned relationships of any kind but especially at the expense of LGBTQ+ ones.”
Elkins: “I really had my hopes up about that show before it came out. I was so hopeful I know I dismissed friends who said “you know they’re just gonna screw it up, right?” My friends were right. They announced online that Jughead in Riverdale “wouldn’t be asexual” and that he’d “totally want sex” or something like that. It deflated the big hope balloon I had clung onto that we’d finally have some representation on TV in a show aimed at younger viewers. It was crushing. I can’t even bring myself to look at the commercials for the show. Each time I hear the music for them I mute the TV or change the channel.”
Anderson: “Getting rid of this trait in Jughead for the television show just perpetuates the cycle of normalizing often hypersexual behavior that doesn’t fit everyone’s life. Sometimes young people’s only role model are the characters they see on television, so it is important to show that asexuality is a thing, too.”
LuciAce: “I’m really angry about the way they’re handling things. Having aroace representation on TV would have been huge, and instead, they… made him straight? Because apparently there aren’t enough allo straight characters on TV yet. I’ve never seen a character like myself on TV, and I would have been a die-hard fan of the show if they’d kept Jughead aroace and touch-averse like he is in the comics. As it is, the show just makes me furious and sad.”
The show seems to have an understanding of just how offensive Betty and Jughead as an item are, which seems evident in how they are doubling-down on shoving it down our throats (or so it seems, since the episodes have been filmed months before now). Having Jughead and Betty kiss in almost every scene seems and feels unnatural, just like how it felt unnatural when writers would try to give Jughead an interest in girls in certain comic book issues. Jughead’s characterization just isn’t one in which he’s a guy who is interested in the opposite or same sex like that, and that’s perfectly fine and normal. However, the show’s insistence on making him straight and sexual feels like a very 20th century thing to do. If we’re in an age where Kevin Keller can be proudly out as a gay teen, then we should also be in the age where Jughead can be proudly out an asexual aromantic teen. Teens in general, regardless of sexuality, shouldn’t be made to feel like they have to be in a relationship to be normal.
The last grievance I have is about that twist of a plotpoint with Hal Cooper, who apparently forced Alice Cooper to have an abortion. ¿¿Qué??
Why, what when and where did this plotpoint have to come up? Why have we had such little to show for Hal’s characterization until now? I know we had that part where he told Betty that Polly was with the Sisters for whatever dire reason they have, but I wish we had gotten the sense that Hal was a total abusive husband way before now. If that had been built up from the very beginning, that would have been really interesting and it would have given us more reason to try to understand Alice until this very episode. We would already know why she acted like someone driven to desperation–it’s because she’s been brainwashed by her husband’s fruitless demand for perfection from his family.
I guess what I’m getting at ultimately with this point is that for this to be a dramatic show about a murder, there are literally no dramatic stakes coming out of these characters. Yeah, we get it every once and a while, like with Jughead confronting his father and still trying to find some hope in his heart for him, and Cheryl coming to grips with her brother’s death. But the show is quickly losing the plot of both what it wants to say and who these characters are. The reason we have connected with these characters for 50+ years is because of their relatable cores. We all know some hapless goof like Archie, who is a great friend, but is endearingly clumsy (and sometimes emotionally tacky) all other areas of his life. We know someone like Jughead, who is so cool and interesting, yet they’re so enigmatic, you feel you know nothing about them. Veronica is definitely that person that many of us wish we could be–cool, rich, and a boy magnet–while Betty is who we feel we are at the present moment–the girl or boy next door, nice, loyal, but just “regular.” Their strengths and flaws are what make them so much fun, and either you see yourself or you see your best version of yourself in these characters. Right now, I’m not seeing anyone I relate to anymore. I was seeing it at the beginning of Riverdale, but now, as Nussbaum points out, all we’re getting is some great cosplay without the real commitment.
I’ll say that the only person in the main cast who feels like they are with their character in spirit is Cole Sprouse. Not too many of the main cast have read the comic books back to front, but Sprouse has said in many interviews how he studied his source material and, in so many words, came in with a gameplan as to how to approach Jughead from a position that would remain true to the character. However, the show itself is limiting him from actually playing Jughead the way he truly wants to play Jughead, I feel. While the powers that be want Jughead to be a sexual being, Sprouse has been advocating for Jughead to be canonically asexual, as he is in the comics. However, the powers that be aren’t hearing him, and it’s a shame, since not listening to the actor who knows the character is what could actually make this show a whole lot better and definitely a whole lot more interesting.
In short, I hope the show quits trying to prove that “It Goes There” like Degrassi and actually goes there. If this is going to be a teen murder mystery, then by all means, up the murder, up the mystery, and definitely up the characterizations, plots, and respect for the differences in others.
‘This wouldn’t have happened if they had country and western night.’
Richard Wortham, White Sox pitcher
It was a muggy summer night in South Side, Chicago in 1979. In and around Comiskey Park, home to the long-struggling White Sox baseball team, the scene was one of total chaos. Thousands of working- and middle-class young men, predominately white, predominately angry, went riot. Seats were ripped out of the stadium, urinals were kicked from the walls, and the opposing baseball teams were shut in the locker rooms for their own protection. Through it all, the rioters shouted a mantra. It wasn’t about inequality, lingering recession woes or the high-paying industrial jobs slowly seeping out of the Midwest. The slogan they chanted over and over, until their voices were raw, was: ‘Disco sucks!’
That summer, disco music was everywhere, saturating pop culture at the expense of almost all other genres of music. With its pulsing ‘four-on-the-floor’ beat, big vocals and affirming lyrics, disco was a shiny, upbeat escape for Americans living through the smoggy, cynical late-1970s. By the end of the decade, it had become as common as good old American apple pie – there were discotheques in most decently sized towns. Midwestern teenagers skated to Stayin’ Alive in roller discos, and many mainstream radio stations changed their programing to all-disco, all the time.
Disco hadn’t always been so mainstream. It evolved in the clubs and bars of communities that were historically marginalised by the straight, white majority. ‘Disco music was black music, basically,’ John-Manuel Andriote, author of Hot Stuff: A Brief History of Disco/Dance Music (2001), told me. ‘It was mostly recorded by black artists until the mid- to late-1970s, when white artists realised how popular the music had become. Back then, people heard new dance music in the clubs – not on the radio (at first) – so club DJs played a big role in introducing these black and Latino sounds to a bigger public.’
The gay community, its nightlife flourishing after the liberating Stonewall riots in 1969, embraced disco music and its pioneering DJs. ‘The group most responsible for keeping discos alive was the homosexual community,’ the sound engineer Alex Rosner told Newsweek in 1976. ‘The pioneering done in the disco field has been done by gays, with blacks and Puerto Ricans following … The common denominator there is oppression.’
By the mid-1970s, disco was catching on, and creating its own mainstream stars, such as Gloria Gaynor and Donna Summer. But it was Saturday Night Fever (1977), the movie featuring a glamorous, dancing, ladies’ man played by John Travolta – and its accompanying disco soundtrack by the high-pitched Bee Gees – that made disco a nationwide phenomenon. ‘The Bee Gees put a white face on what was basically black and Latin music, and it exploded in popularity,’ Andriote says.
One of the victims of the disco explosion was Steve Dahl, then a 24-year-old Chicago radio DJ who pioneered the ‘shock-jock’ persona most identified with Howard Stern. In December 1978, he was fired from WDAI, ‘Chicago’s best rock’ station, when it switched to an all-disco format. Dahl soon found a home at the rock station the Loop 97.9, but he carried a grudge.
Built like the proverbial Pillsbury doughboy, Dahl brought with him a legion of young, alienated male listeners he named ‘The Insane Coho Lips’. Dahl and his posse greeted each other on-air with the salutation: ‘Disco sucks!’
‘If anything, the pushback from disco saturation was an act of self-preservation,’ Dahl would later write in Disco Demolition: The Night Disco Died (2016). ‘No kid, just figuring out who he was and where he was going, would be prepared to have his assimilated rock-and-roll identity stripped from him. If the resistance was furious, it was because they were not prepared to shuck the rock and roll, which had sheltered them in their transition from kid to adult.’
Dahl saw disco as slick and inauthentic, and he took to playing popular disco tunes, only to ‘blow ’em up real good’ with sound-effects live on-air. These targeted antics were not isolated to the radio booth. At promotions, Dahl took to performing in a helmet and military jacket, destroying albums on stage. For this complicated, insecure performer, the adulation he received made him feel that he was building a movement – and advancing his career. ‘[My fans] were passionate about their music and their lifestyles,’ Dahl wrote in Disco Demolition. ‘I tapped into it, both as a response to being canned to make room for the disco format, and to build a community so I could keep my job.’
Dahl’s wife Janet took a more nuanced view of her husband’s motivations. ‘He looked goofy and chubby, his hair was bad, and he was breaking records on his head,’ she remembered. ‘But to be embraced was validating for someone like him.’ His fans, often from struggling, working-class Chicago families, lost in a new culture of women’s liberation, black rights, sexual liberation and Studio 54-inspired androgyny and materialism, felt validated right back. ‘I was a chubby kid,’ Kevin Hickey, a fan, recalled. ‘I remember Steve saying the reason he hated disco so much was because he couldn’t buy a three-piece white suit off the rack. That stuck with me because I couldn’t either.’
On 12 July 1979, Dahl would come face-to-face with the community he had created, on a night that became known as ‘Disco Demolition Night’.
That night, the White Sox were scheduled to play a doubleheader against the equally middling Detroit Tigers. As part of a ‘teen night’ promotion with the Loop radio station, fans were told that if they donated one of their disco records, they would be admitted into Comiskey Park for only 98 cents. Between games, Dahl and his cohorts promised to put the records in a giant dumpster at centre field and blow it up, the physical realisation of the audio stunts that Dahl had been pulling for weeks.
Fans flooded the stadium, as ushers struggled to keep up with the number of disco albums being shoved in their faces. One young African-American usher, Vincent Lawrence (who later became a pioneer of house music, disco’s direct descendant), noticed a disturbing trend as he took the albums. ‘A lot of the records were not disco records but BLACK records – Marvin Gaye, Stevie Wonder.’
The first game passed relatively uneventfully, the Tigers winning 4-1. Comiskey Park, often half-empty on game days, was filled past capacity. More than 47,000 people packed into a stadium whose capacity was 44,492. So far, the promotion had been a startling success.
But as soon as Dahl, clad in military fatigues, emerged in a convertible Jeep, the night took a sinister turn. Fans began throwing beers at the Jeep. Even Dahl was momentarily stunned. ‘When the door opened and I saw all those people,’ he remembered, ‘it was: “What the fuck? They are throwing beers and cherry bombs at us. And they’re the people who like us!”’
To chants of ‘Disco sucks!’, Dahl stepped out of the Jeep into centre field and led the crowd in a countdown to the demolition of the albums. But too much dynamite caused album fragments to shoot into the sky, and a crater was formed from the explosion’s impact. The crowd roared, as players continued warming up on the field.
‘The place went bonkers … People started jumping out of the stands,’ D J Michaels, a witness, remembered. ‘It was like the rats leaving a ship. A few, then more, then total chaos.’
Dahl and his team were whisked to safety. Bonfires were started. The White Sox player Steve Trout remembered the scene:
I walked out to look at centre field, and I heard something go by me. It was an album from the upper deck and landed next to my right foot. It was stuck in the ground. I said: ‘Holy shit, I could have been killed by the Village People.’
The White Sox player Ed Farmer got in a fist fight in the parking lot. The Chicago Police Department, including mounted policemen, appeared at the scene. A little more than an hour after it was scheduled to begin, the second game was postponed due to unsafe conditions.
By the time the riot had dissipated, 39 people had been arrested, and the field was smouldering and gutted. For many of the participants, it was an exhilarating experience. ‘We didn’t take over the dean’s office but we took over our ballpark,’ Bob Chicoine, a vendor, remembered.
Almost immediately, the local media latched on to the story and ran with it. Joe Shanahan, a bar owner and native Chicagoan, recalled watching reports of the scene:
I could see the South Side kids I grew up with on the television running over their field. Those were the douchebags I ran away from in high school. And they were burning records. I thought: ‘Didn’t you all read Bradbury? Burning books? Burning records? This has the feeling of a really bad cloud. And why is it coming out of Chicago? And why is music of any kind, whether I like it or not, being destroyed for some radio promotion or some baseball promotion? It gave licence for people to not be in the modern world.
The story soon became nationwide news. Disco was again labelled ‘other’ – foreign and not tough enough for real, heartland American males. Dahl and his cohorts strongly denied (and continue to deny) that the ‘Disco Sucks!’ movement had anything to do with racism or homophobia. ‘I’m worn out from defending myself as a racist homophobe for fronting Disco Demolition at Comiskey Park,’ he wrote in his book. ‘This event was just a moment in time. Not racist, not anti-gay … It is important to me to have this viewed in the 1979 lens … That evening was a declaration of independence from the tyranny of sophistication.’
Disco did not worship at the altar of the rock god. It was the Village People versus Pink Floyd. Andriote agrees: ‘My take on what happened [at Comiskey Park] was that it was a boiling-over of testosterone from white straight men who saw disco – and the whole club scene – as threatening to their masculinity.’
By the early 1980s, disco was beyond passé, and so were all the fanciful accoutrements that went with it – glitter balls, dance lessons and belting divas. Some people point to the events at Comiskey Park as ‘the night disco died’, although over-saturation and mediocre products also helped lead to its rapid downfall. Yet, despite the best efforts of men such as Dahl, disco’s influence lives on. The marginalised groups who loved the music – blacks, women, Hispanics, Latinos and gays – have increasingly claimed their rightful place in society. Disco informs the work of many of today’s superstars, from Bruno Mars to Lady Gaga, and popular music from house to EDM. As the Village People sang: ‘You can’t stop the music, nobody can stop the music.’
This article was originally published at Aeon and has been republished under Creative Commons.
Riverdale Episode 3| “Body Double”| Aired Feb. 9, 2017
Chuck Clayton has gone down as the first character Riverdale‘s penchant for reinvention has revamped in the worst way possible. This is not the way for the show to enter its first Black History Month.
Before I get deep into why this is, I hate that the first article I’m writing for Riverdale is something that’s about a disappointing plot point. Up until this particular intro of Chuck, I was with the show. Technically, I’m still with the show, since Jughead is coming through for me. (Seems like Jughead is going to turn out to be one of the standouts from this show, like I’d hoped he would be.)
Also, I’ll have a bit of a refresher on the past three episodes in the foreseeable future. Work has kept me away from having time to write.
Thirdly, I’d like to apologize to actor Jordan Calloway, who is a fine actor and played the role he was given expertly well. Jordan, if you happen to read this, I commend you for the role you played and I agree with your tweet about this episode; it highlighted a big issue concerning women’s rights that should be addressed more often in the media. If you happen to find this post, I hope you’ll be able to see where my complex feelings about the character you portrayed are coming from and I hope you don’t begrudge me for it (because if I’m still in the entertainment journalism business, I’m sure I’ll be interviewing you at some point and I want us to start off on the right foot. I’m one of the most agreeable and nicest people ever, if may toot my own horn). This is not personal and I sincerely hope you’ll get more high profile roles in the future. (You’d be great as a leading man in a romantic comedy, for sure!)
In any event, though, we’ve got to talk about Chuck. Or at least, I have to talk about Chuck.
I have several points that need to be addressed during this particular episode, “Body Double.” In fact, I think the writers’ interpretation of Chuck might have done Calloway a disservice. Not because his character was a bad guy, but because the writers saddled his character with unnecessary layers of racial stereotyping, despite the fact that this version of Chuck truly deserves no favors nor sympathy. However, he could have been a cad without that hot tub + handcuffs + “Good boy” scene. Let’s get into it.
Chuck has always been one of my favorite characters from the Archie Comics series. In the comicsverse, Chuck is an artist, a sensitive soul, and an all-around good kid. And he’s the loyal boyfriend to Nancy, who seems to support his artistic dreams, but also seems mildly annoyed by her boyfriend’s flights of comic book fancy. In short, Chuck is Riverdale’s Favorite Black Guy. We can get into how his being one of the only black characters in Archie Comics reflects the inherent tokenism black people in white spaces feel all the time in another post, since Chuck and Nancy both resonate to me on that level, too, having been one of the few black kids at my arts high school. It’s tough having to be the only black person in a white space. #SeatAtTheTable.
Now, I get that Riverdale is all about reinventing these characters—I mean, Dilton is now a hardcore survivalist who shoots guns underage—so I get that Chuck was going to be a little different than what we’ve read before. However, did he have to be that different? And so problematically different?
Why is Chuck problematic now? Because it seems like low hanging fruit (strange fruit, perhaps) that Chuck, the first black teen boy we’ve seen thus far, is introduced as a sex-crazed maniac with no remorse for the girls he’s hurt. To be honest, the appearance of Chuck as a black man who only thinks with his dick and kept a book of how many girls’ lives he ruined smacked of stereotypes of the past, of the black “Mandingo” who lusted after so-called “saintly” white women. Not a good look for what is supposed to be a progressive show.
With all of the inventive portrayals we’ve seen of the main characters thus far, portrayals that still retain the core of the characters from the comic books, it seems like there could have been a lot more done with Chuck than just give him a complete 180 with now seeming justification for it. If Veronica is still a rich girl (despite turning over a new leaf) and Betty is still The Girl Next Door (despite having some clear mental instability) and Archie is still America’s Favorite Teenager (despite being jailbait for “Ms. Grundy,”who we’ve learned from next week’s promos isn’t Ms. Grundy at all), how come Chuck still couldn’t be a comic book artist? Even Dilton, who is probably the most altered of the core group, is still a dweeb; now, he’s just a dweeb who wants to prove his masculinity to the world.
Maybe in the Riverdaleverse, Chuck could have been a comic book artist who has angst over his career choices (something both comicverse Chuck and many artists, including the artists who drew Chuck and artists in other fields like me have all the time). Maybe Chuck could have channeled his depression about his future (or any home issues the writers could have come up with) into his art. His dad’s Coach Clayton—maybe, like Archie and his father, Chuck and his dad don’t see eye to eye when it comes to the arts; his father might want him to go into football as a career, while all Chuck wants to do is draw on his drafting table in the garage and buy oil pastels from the art store. (This could have also made for great friendship drama between Archie and Jughead; Chuck is one of Archie’s supposed “best friends” in the comic book; in the Riverdaleverse, Chuck could have been friendship competition for Jughead, who might want his “Best Friend” spot back after he knows there’s competition.) For the ultimate in dramatic effect, maybe Chuck’s dad could have even found Chuck’s artistic pursuits too “fey” to handle (this gets into more stereotypical territory when it comes to the black community’s overly-generalized view on LGBT individuals, of course, but at least it would have been something to work with that would make Chuck a human being instead of a caricature). What I’m getting is that a number of things could have been done with Chuck, a character ripe with severely untapped potential. But instead, Chuck is one step from being a rapist. Okay.
The show seems to know that they were doing something dangerous with Chuck, because in this episode, we also met another black guy, the foil to Chuck’s badness, Trev. Trev’s character is angelic to a fault almost. He’s shy, meek, and wants to bring Chuck to justice. In many ways, he’s what Chuck was in the comic books. It’s interesting that the show decided that this was the time to introduce more than one black guy on the series, and it’s a calculated move; they want to give the sense to the audience that 1) they know Chuck would appear even worse if he were the only black guy we saw and 2) we know they’re in on “the joke,” as it were. They want us to be like, “Oh, they’re aware of the stereotypes, so they’re actively combating them. This is cool.” It’s not that cool, actually.
I know one argument against disliking Chuck’s reinvention is that making Chuck a “good guy” character could also be seen as a “One Size Fits All” black guy stereotype. Too often, we as black people are portrayed as either being absolutely bad or the Most Perfect, Inoffensive, Special Black Person (as shown in this exact episode with Chuck and Trev). It’s like we as a race deal with the saint/whore dynamic on a daily basis, especially in the media. It is great when a show portrays black characters (and characters of color in general) as complex human beings, capable of both bad and good. There will be some bad guys who are black, just like there will be some good guys who are black, and all of that is welcome. However, there’s a line that can be easily crossed, the line that separates “complex bad guy” from “bad black guy stereotype”. Seems like Riverdale crossed that line.
However, the show also put Betty in a bad light as well. I’m not sure how aware the writers were of what they were making Betty do, but putting a black male youth in chains (in order to punish him and taunt him sexually), having a her, a white girl and therefore in racial power over Chuck, say “Good boy” and then abusing him is not a good look either. Someone should have reread that scene, particularly the part with the handcuffs, and said, “Hey guys, I don’t know about this part. Can he at least not be chained up and can she just say ‘good,’ not ‘good boy’?”
Look, I know Riverdale was exercising its campiness in that scene; I mean, saying “Good boy” to a dude while wearing a wig and some cliché lingerie is, in any other situation, one of the heights of sexual camp. It’s also supposed to be the juicy, soap-operatic version of “I am woman, hear me roar.” But, the optics of this particular scene were just wrong. Did Chuck deserve some comeuppance? Sure. No one’s disputing that. Did we really have to invoke some slave/master’s wife stuff though, however indirectly? In the words of Randy Jackson, “That’s a no from me, dawg.”
The final question I’m sure your asking is this: Do I think Riverdale is racist? Surprise (maybe), but no, I don’t think it’s actively trying to be racist, however that particular episode had an f-ed up scenario with Chuck and the entire Chuck concept.
The show still did some interesting things with race this episode, such as have Josie give Archie the white privilege primer we as POC wish we didn’t have to recite or think about most days of our lives. The writers are at least aware of some of the aspects of being black in America. (In some ways, that particular scene of Josie telling Archie how he can waltz into a room and get the respect and breaks she and her Pussycats can’t get is also meta commentary on K.J. Apa himself, who has Samoan heritage, but can easily pass for white.)
But there seems to be a hyper-awareness of how white privilege affects black women on this show, whereas the plight of black men still seems to escape the show’s themes, which was made apparent by this episode in particular. Do not misunderstand me—it is great that this entire episode was about women’s rights. The plot of this show was timely, seeing how we have a President who has said that he grabs women “by the pussy.” We need our television to keep reminding those who either don’t know or somehow forget that yes, a woman has a right to choose everything that goes with her body and she should never be objectified and psychologically abused by male chauvinist pigs. But the decision to cast Chuck, the very first black teen boy we see on this show, as that dude we all hate seemed to be too easy of a decision to make. Yes, there are black men who need to be schooled on male privilege, but the first black male kid we’ve seen on this show has to be the one that has to learn that lesson?
The only other images of black manhood we’ve seen on Riverdale are men who are tertiary characters at best, like Chuck’s dad Coach Clayton and race-bent Mr. Weatherbee and Pop. These guys as characters are sparse, to be kind; they don’t really say much, and, like some of the other adults in the show, are only there as set dressing. The most vocal has been Weatherbee, and even then, he’s saying stuff a stock principal character would say. With so little of black male diversity on the show, it would have behooved the writers to at least make Trev the first black male teen we saw in this episode, or make Chuck more complex as a character. Or, even better, they could have made sure we saw black male teens from the beginning, as well as more black girls other than the Pussycats. They can’t be the only black girls in town, right? Where’s Nancy??
In short, I think the show’s writers had an inkling that what they were doing was “pushing boundaries,” and while it is problematic, I don’t think the show, at its core, meant true harm. However, that doesn’t mean a lesson can’t be learned here. In the future, I hope the writers think about how black men—and black people as a whole—are portrayed. That same sensitivity shown in the scene in which Josie is giving Archie a white privilege primer should be used on all black characters, as well as characters of color in general. It is time that stereotypes such as the black Mandingo be put to rest once and for all.
Make sure check out my #Riverdale livetweets at The Choklit Shoppe (@ChoklitShoppe), the unofficial Riverdale aftershow and podcast! We’re also on Tumblr!