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The lie pictures tell: an ex-model on the truth behind her perfect photos | Fashion | The Guardian
Finally, one night, watching him pace, listing all the ways I’ve failed to please him, it dawns on me: I’ve encircled myself with danger because it feels familiar.

In a flash, everything coalesces. The haze lifts, revealing my tale, the seemingly disparate fragments now connecting in pristine clarity. I became this woman by swallowing my voice through wound after wound. I’ve taken the world’s whippings for being born a girl as reason to believe I deserve only punishment and degradation, inflicted on myself, accepted towards myself.
harassment  sexism  gender 
yesterday by craniac
A new manual for writers and journalists experiencing harassment online - Columbia Journalism Review
Many writers today, like Stephanie, rely on social media to promote their work and make connections in the industry. Presence on social media has become a professional imperative. Book publishers pressure their authors to maintain an active social media presence ahead of book releases. Freelance journalists, in a constant hustle to secure work, are often forced to rest on the laurels of their Googleability. But online abuse can force writers to disappear from online communities or refrain from publishing altogether, with serious personal and professional consequences. A new study from PEN America finds evidence of a chilling effect taking hold in our online communities.
feminism  harassment  writing 
3 days ago by kadymae
Twitter
My first story about , 23 yrs ago this month: Three Women vs. a Broker; Olde Is Accused of Blata…
sexual  harassment  from twitter_favs
5 days ago by ampressman
The cost of reporting while female
Anne Helen Petersen/Columbia Journalism Review, February 2018.
gender  harassment 
6 days ago by markcoddington
What I Learned From the Fall of Ellen Pao | Dame Magazine
Pao’s regrets are many. That she doesn’t call out the issues early enough. That she advises her colleague not to lodge an official sexual harassment claim at work. That she is labeled ferociously by KPCB’s PR group as a ‘poor performer’. But losing the lawsuit isn’t one. Pao adds, “Losing my suit hurt…I could have received millions from Kleiner if I would just have signed a non-disparagement contract; I turned it down so I could finally share my story.”

sexism  womenintech  gendergap  harassment  a:madhushree_ghosh  science  stem  career 
8 days ago by cglinka
Twitter
Finally, my full thesis on in is now on Bogazici University's Text Analytics and Bioinformati…
Harassment  SocialVR  from twitter_favs
14 days ago by qdot
Antonio Banderas: ‘I don’t want to live my life like I’m already dead’ | Film | The Guardian
“Think about it,” says Banderas. “She was 21 and got involved with a guy who was 64, who had a ring on his finger and was married and had a history. Then she published a book with a lot of confidences made not only about their relationship, but the things that he said about Dora Maar, and the things he said about Marie-Thérèse Walter. To me, that is a little bit suspicious. So who do you believe? Who do we believe now?”
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Many would say we should believe the women who were there. Gilot, who is now 96, is not the only person to write about Picasso’s belligerence towards women. His former lover Fernande Olivier revealed a controlling, jealous man in her memoir and his granddaughter Marina Picasso went further, writing: “He submitted [women] to his animal sexuality, tamed them, bewitched them, ingested them and crushed them on to his canvas. After he had spent many nights extracting their essence, once they were bled dry, he would dispose of them.”
metoo  harassment  art 
16 days ago by craniac
Molly Ringwald Revisits “The Breakfast Club” in the Age of #MeToo | The New Yorker
"John’s movies convey the anger and fear of isolation that adolescents feel, and seeing that others might feel the same way is a balm for the trauma that teen-agers experience. Whether that’s enough to make up for the impropriety of the films is hard to say—even criticizing them makes me feel like I’m divesting a generation of some of its fondest memories, or being ungrateful since they helped to establish my career. And yet embracing them entirely feels hypocritical. And yet, and yet. . . . 

How are we meant to feel about art that we both love and oppose? What if we are in the unusual position of having helped create it? Erasing history is a dangerous road when it comes to art—change is essential, but so, too, is remembering the past, in all of its transgression and barbarism, so that we may properly gauge how far we have come, and also how far we still need to go.

While researching this piece, I came across an article that was published in Seventeen magazine, in 1986, for which I interviewed John. (It was the only time I did so.) He talked about the artists who inspired him when he was younger—Bob Dylan, John Lennon—and how, as soon as they “got comfortable” in their art, they moved on. I pointed out that he had already done a lot of movies about suburbia, and asked him whether he felt that he should move on as his idols had. “I think it’s wise for people to concern themselves with the things they know about,” he said. He added, “I’d feel extremely self-conscious writing about something I don’t know.”

I’m not sure that John was ever really comfortable or satisfied. He often told me that he didn’t think he was a good enough writer for prose, and although he loved to write, he notoriously hated to revise. I was set to make one more Hughes film, when I was twenty, but felt that it needed rewriting. Hughes refused, and the film was never made, though there could have been other circumstances I was not aware of.

In the interview, I asked him if he thought teen-agers were looked at differently than when he was that age. “Definitely,” he said. “My generation had to be taken seriously because we were stopping things and burning things. We were able to initiate change, because we had such vast numbers. We were part of the Baby Boom, and when we moved, everything moved with us. But now, there are fewer teens, and they aren’t taken as seriously as we were. You make a teen-age movie, and critics say, ‘How dare you?’ There’s just a general lack of respect for young people now.”

John wanted people to take teens seriously, and people did. The films are still taught in schools because good teachers want their students to know that what they feel and say is important; that if they talk, adults and peers will listen. I think that it’s ultimately the greatest value of the films, and why I hope they will endure. The conversations about them will change, and they should. It’s up to the following generations to figure out how to continue those conversations and make them their own—to keep talking, in schools, in activism and art—and trust that we care."
mollyringwald  thebreakfastclub  #MeToo  2018  film  1980s  teens  youth  identity  sexism  harassment  johnhughes  chauvinism  nationallampoon  writing  homophobia  tedmann  sexuality  sixteencandles  prettyinpink  change  harveyweinstein  adolescence  havilandmorris  insecurity  sexualharassment  misogyny  racism  stereotypes  outsiders  invisibility 
17 days ago by robertogreco

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