If you still haven't watched Hindsight on VH1, it's time to get with the program. Built on the premise that forty-something Becca—about to marry her second husband—suddenly travels back in time to 1995, the show is at once a rolicking journey through 90s nostalgia and and a thoughtful meditation on female friendship. I talked to Hindsight's creator and executive producer, Emily Fox, about developing the show, what it's like to be a woman writer in Hollywood, and the travails of finding Gillette Green Razors.
Dove tells me I am beautiful as I am. Pantene exposes the double standard between men and women. Always reminds me that “like a girl” should never be an insult.
And suddenly I am transported into a golden era of feminism wherein I feel completely comfortable with my appearance, my life goals, and my femininity.
Or maybe not.
I can’t remember the last time I’ve seen a woman with a pimple on the cover of a magazine. I can’t remember the last time I’ve seen a woman with small breasts or a big stomach in an advertisement. The only time I’ve ever seen a woman in an ad with even slightly dry skin is in a “before” image.
I Carry My Mother is not only a tribute to the works of famous poets but, more importantly, to Newman’s mother, who passed away three years ago. The poems show her mother both as Newman wants her to be remembered as well as how Newman saw her as she was dying in her hospital bed.
“The greatest skin care discovery of all time!” boasts the 1957 black and white commercial, showing a still of the New York skyline. The camera then pans up to show a flock of white doves flying away, leaving a giant white Dove soap bar to fill the screen. The crackling voice explains the benefits of using a Dove bar instead of another soap product, demonstrating this by having a beautiful blonde young woman wash each side of her face with a different product.
Frequent readers of novels know to expect certain tropes and themes in any coming of age tale: family, school, work, some combination of love, sex, and marriage. If the protagonist is female, then gender discrimination is sure to follow, and if the protagonist is from an immigrant family in America, then conflict over Americanization is equally inevitable. Anita Diamant’s new novel, The Boston Girl, hits every one of these story beats, yet the book is nonetheless an entertaining read enriched by historical research.
Advertising is advertising is advertising. I will preach this from the mountaintops. When people talk about the cultural ramifications of “feminist” advertising, I have to roll my eyes a little bit. Advertising has one main goal: to sell people things. The methods employed to make people buy these things might change but advertising is not deep, it’s not intellectual, and frankly, I don’t think it’s all that important.
On Sunday February 8, New York City's B’nai Jeshurun will host Meet Me at Sinai, an all-day event to celebrate and discuss the 25th anniversary of the publication of Dr. Judith Plaskow’s Standing Again at Sinai, a book that shook the foundations of Jewish expression with its candid discussion of Jewish feminist theology. The event will include more than thirty Jewish leaders speaking on Judaism and gender, as well as film, music, text study, movement, and prayer.
These advertisements, written roughly forty to fifty years ago, speak for themselves. (I found them in a blog post called “Vintage Politically-Incorrect Advertising”—never have I been more grateful for political correctness.) Interestingly, all of them seemed to be aimed at men. I suspect the reason for that is a simple one: the men, at the least in the eyes of the ad men, were the ones with the money in their pockets.
I have never prioritized shaving my legs. I’ve always found it a nuisance and a burden and have therefore generally avoided it all together. When questioned why, I would always come up with answers such as “bending over in the shower is too much work” or “I was in a rush,” but recently, after seeing a very thought provoking photo in which a women is depicted shaving flowers off her body, I began to further question my reasons for not shaving my legs.
“I can’t die before July 28th,” my mother said as soon as her doctor strolled into her room at Long Island Jewish Hospital. “I have theatre tickets.” Then, exhausted from the effort of uttering those two short sentences, she lay back on the pillow and shut her eyes.
Dr. Nadroo put a calming hand on my mother’s arm and looked at me, her large liquidy eyes filled with concern. Had the cancer that had begun in my mother’s bladder and migrated to her liver and kidneys finally reached the outpost of her brain?
My grandfather starts every Pesach Seder with the same opening lines. He talks about how he can remember being at the Seder table with his grandfather, who was once at a Seder table with his grandfather, and if you follow the generations back only a few more times you are right back at the original Pesach celebration, the escape from Egypt. These few words add so much meaning to my Pesach experience; I feel a direct relation to the Jews who escaped slavery so long ago. But while I love being able to draw this connection to the ancient past, something has always struck me about this tale: how come women are not part of this story of family linkage?
I do not break rules. I color inside the lines, a textbook example of a goody two-shoes. This is mainly because I am afraid of what will happen if I am caught breaking the rules. More specifically, I am afraid of the question of “why.” I like to have reasons for everything that I do, and so a question like, “Why did you hop that fence?” or “Why did you eat ice cream for breakfast?” leave me feeling like a complete deer in the headlights.
In November, 2009, New York Times columnist Roger Cohen titled his column “A Jew in England.” It describes his time as a student during the late 1960’s at Westminster, a leading British private school. Cohen related being “occasionally taunted as a ‘Yid’—not a bad way to forge a proud Jewish identity as a nonreligious Jew.” Five years later, he devoted an essay to his mother’s treatment for depression in an English sanatorium: “My mother was a woman hollowed out like a tree struck by lightning. I wanted to know why.”
If you had asked me two years ago if I thought of myself as a rebel, I would have been completely taken aback. I also would have said “no!” in a shocked tone, and ask you what on earth had led to that conclusion. I’ve always thought of rebels as people who resist authority or control and honestly, I don’t resist.
Can someone please tell me when taking advantage of women became an acceptable thing to do? Stories of assault on college campuses and towards so many people—as well as the overwhelming lack of prevention—give quite the impression that violence is an untouchable part of society. I’ve learned recently, though, that it doesn’t have to be.
I cried six times during the movie Selma. Each time for a different reason, and with varying durations/intensities. Within the first few minutes I had tears of mourning and shock running down my face. At one point I broke into sobs of sorrow.
I am not your classic rebel. I have never been overcome by the desire to dye my hair a shocking color or pierce a part of my body that would make strangers gag, nor is there any sort of intrinsic teenage longing to break mailboxes, have sex, and drive drunk hidden within my unstable and developing adolescent brain. It’s hard to believe that the majority of my peers could be particularly rebellious either.
It is telling that the when you Google “anarchy”, two definitions come up: one that calls it a “state of disorder” and the other, “a political ideal.” But in my mind, to paraphrase Ellen Willis, anarchy is not a violent rebellion but an overhaul of societal consciousness. I find it more compelling now to be a critic, of everything, because to live critically is to live truthfully.
Chances are, no two people reading this post have the same favorite book. From month to month, I don’t even have the same favorite book—my tastes range from nonfiction crime thrillers to mid-century poetry, and hit quite a few unusual notes in between. I seek out novels I can get lost in. I like all kinds of mythology and the occasional graphic novel. Choosing what to read next can be overwhelming and generally, I need a little guidance.
I love Hanukkah. Always have. Eight crazy nights of games, presents, impromptu dance parties to the songs of Jewish musical maestro Paul Zim, and examinations of a stack of illustrated children’s books about the holiday, among them one very special giant-sized coloring book. (When I tell you giant-sized, I mean the length and width of an average toddler.)
I’ve already expressed my feelings on the whole “year of the Jewish woman” thing, but that’s not to say we shouldn’t celebrate the many great moments for Jewish women in 2014. Here, in no particular order, are a few of our favorites at JWA.
To many other girls, I am “basic.” I shop at J. Crew and I love Starbucks. I Instagram pictures of food and take selfies on Snapchat. Sometimes, I say things like “OMG I cant even,” and I eat at Chipotle. Despite this, whenever someone calls me “basic” and I ask why, they always point to the clothes I wear.
I set the water on my stove to boil and flicked on the kitchen radio, which was, as usual, set to NPR. The announcer was giving an update on the ebola crisis, now listing fatalities from a recent accident, now discussing the stock market—I changed the channel. I’d had a long enough day already and had no desire to sit and listen to the ongoing string of bad news. I flipped through channels until I hit a pop station that wasn’t in the middle of a commercial break. As I pulled out plates and pasta sauce, a new song played in the background.
How to cite this page
Jewish Women's Archive. "Blog." (Viewed on June 24, 2016) <http://jwa.org/blog>.