Tag Archives: male privilege

“Booth Babe” Controversy

I posted the following to the class forums for my two sections of SOCI203 “Introduction to Society”.
This might be a useful context to discuss journalism, gender issues, feminism as equality between genders, and feminist sociology.
Some context…
As Wikipedia says, Violet Blue (her real name) is an author and sex educator.
(Blue’s main site is somewhat NSFW (“Not Safe For Work”, meaning containing some potentially-offensive material), so I won’t link to it in this context, since the point isn’t about risqué blogging.)
Blue has a column about technology and, as far as I can tell from mentions of her name in the “geek scene”, her reputation is quite positive overall.
Like many others, Blue has issues with what she has called “booth babes”. As stated in HollyHen’s aforelinked blog comment, Blue’s description of said “booth babes” specifically paints them as women whose sexuality, sexiness, or sexual attributes are exploited for marketing purposes during trade shows.
The controversy erupted (!) from a picture labeled “The Saddest Booth Babe In The World” which Blue posted in relation to a blogpost she wrote about a Mac-centric trade show. Reactions to that picture came quickly, especially from people who were questioning Blue’s labeling of someone in that picture as a “Booth Babe”. As, again, HollyHen said, it’s hard to interpret anyone in that picture as a “Booth Babe” and there’s even something strange about using such a label in this context.
Where it gets perhaps more interesting (or, at least, sadder) is that the woman labeled as a “Booth Babe” in the picture is likely to be a software developer and Blue has refrained from apologizing for calling her a “sad Booth Babe”. Maybe the label isn’t slanderous or even insulting, in Blue’s mind. But the overall feeling from many readers is that there’s a missed opportunity, here, especially since Blue didn’t dare talk to the subject of her picture.
Instead, Blue has taken a very defensive stance.
I eventually became aware of the controversy through Mac-centric blogs, firstvia John Gruber then via Shawn King. Both King and Gruber have posted followup comments about the controversy. (King’s followup is clearly sarcastic and includes some comments people may easily find offensive.) In my experience, Mac-centric bloggers and several of their readers tend to go through a fairly unique dynamic by which key figures in that scene are frequently defended vigorously in something of a counterattack. In many contexts, it can indeed feel like a “pile on” effect. But I haven’t noticed any occasion where claiming that one is a victim of a Mac-centric pile-on has had an overall positive effect on the conversation or on the person’s overall reputation.
(By the way, what I call “Mac-centric” blogging includes some work by people who have been labeled “Apple fanboys”, but my labeling isn’t meant to carry any specific connotation, whether positive or negative. I just mean people who write about diverse issues using the Mac and other Apple products as a basis for a number of their comments. In journalistic terms, you could say that these are people who have Apple as their “beat”.)
So… Where does that leave us? I already gave something of my opinion about this. I do think the “sad booth babe” label was negative, that it could easily be taken as an insult, and that it seems ill-suited as a description of a software developer who holds a booth at a trade show in order to show off her work. Even if it turns out that the woman in the picture isn’t the Hungarian developer people surmise she might be, I do find it strange that Violet Blue would use her image as a representation of a “sad booth babe”. While the label isn’t as negative as, say, “bimbo” or “ditzy blonde”, I have to agree with HollyHen and others that using it in the legend of that picture has little positive impact on discussion of the issues at hand (exploitation of women to sell computer-related products and services).
But you may disagree.
So, let me know.

Jazz and Identity: Comment on Lydon's Iyer Interview

Radio Open Source » Blog Archive » Vijay Iyer’s Life in Music: “Striving is the Back Story…”.

Sounds like it will be a while before the United States becomes a truly post-racial society.

Iyer can define himself as American and he can even one-up other US citizens in Americanness, but he’s still defined by his having “a Brahmin Indian name and heritage, and a Yale degree in physics.”

Something by which I was taken aback, at IU Bloomington ten years ago, is the fact that those who were considered to be “of color” (as if colour were the factor!) were expected to mostly talk about their “race” whereas those who were considered “white” were expected to remain silent when notions of “race” and ethnicity came up for discussion. Granted, ethnicity and “race” were frequently discussed, so it was possible to hear the voices of those “of color” on a semi-regular basis. Still, part of my culture shock while living in the MidWest was the conspicuous silence of students with brilliant ideas who happened to be considered African-American.

Something similar happened with gender, on occasion, in that women were strongly encouraged to speak out…when a gender angle was needed. Thankfully, some of these women (at least, among those whose “racial” identity was perceived as neutral) did speak up, regardless of topic. But there was still an expectation that when they did, their perspective was intimately gendered.

Of course, some gender lines were blurred: the gender ratio among faculty members was relatively balanced (probably more women than men), the chair of the department was a woman for a time, and one department secretary was a man. But women’s behaviours were frequently interpreted in a gender-specific way, while men were often treated as almost genderless. Male privilege manifested itself in the fact that it was apparently difficult for women not to be gender-conscious.

Those of us who were “international students” had the possibility to decide when our identities were germane to the discussion. At least, I was able to push my «différence» when I so pleased, often by becoming the token Francophone in discussions about Francophone scholars, yet being able not to play the “Frenchie card” when I didn’t find it necessary. At the same time, my behaviour may have been deemed brash and a fellow student teased me by calling me “Mr. Snottyhead.” As an instructor later told me, “it’s just that, since you’re Canadian, we didn’t expect you to be so different.” (My response: “I know some Canadians who would despise that comment. But since I’m Québécois, it doesn’t matter.”) This was in reference to a seminar with twenty students, including seven “internationals”: one Zimbabwean, one Swiss-German, two Koreans, one Japanese, one Kenyan, and one “Québécois of Swiss heritage.” In this same graduate seminar, the instructor expected everyone to know of Johnny Appleseed and of John Denver.

Again, a culture shock. Especially for someone coming from a context in which the ethnic identity of the majority is frequently discussed and in which cultural identity is often “achieved” instead of being ascribed. This isn’t to say that Quebec society is devoid of similar issues. Everybody knows, Quebec has more than its fair share of identity-based problems. The fact of the matter is, Quebec society is entangled in all sorts of complex identity issues, and for many of those, Quebec may appear underprepared. The point is precisely that, in Quebec, identity politics is a matter for everyone. Nobody has the luxury to treat their identity as “neutral.”

Going back to Iyer… It’s remarkable that his thoughtful comments on Jazz end up associated more with his background than with his overall approach. As if what he had to say were of a different kind than those from Roy Hayes or Robin Kelley. As if Iyer had more in common with Koo Nimo than with, say, Sonny Rollins. Given Lydon’s journalistic background, it’s probably significant that the Iyer conversation carried the “Life in Music” name of  the show’s music biography series yet got “filed under” the show’s “Year of India” series. I kid you not.

And this is what we hear at the end of each episode’s intro:

This is Open Source, from the Watson Institute at Brown University. An American conversation with Global attitude, we call it.

Guess the “American” part was taken by Jazz itself, so Iyer was assigned the “Global” one. Kind of wishing the roles were reversed, though Iyer had rehearsed his part.

But enough symbolic interactionism. For now.

During Lydon’s interview with Iyer, I kept being reminded of a conversation (in Brookline)  with fellow Canadian-ethnomusicologist-and-Jazz-musician Tanya Kalmanovitch. Kalmanovitch had fantastic insight to share on identity politics at play through the international (yet not post-national) Jazz scene. In fact, methinks she’d make a great Open Source guest. She lives in Brooklyn but works as assistant chair of contemporary improv at NEC, in B-Town, so Lydon could probably meet her locally.


In some ways, Jazz is more racialized and ethnicized now than it was when Howie Becker published Outsiders. (hey, I did hint symbolic interactionism’d be back!). It’s also very national, gendered, compartmentalized… In a word: modern. Of course, Jazz (or something like it) shall play a role in postmodernity. But only if it sheds itself of its modernist trappings. We should hear out Kevin Mahogany’s (swung) comments about a popular misconception:

Some cats work from nine to five
Change their life for line of jive
Never had foresight to see
Where the changes had to be
Thought that they had heard the word
Thought it all died after Bird
But we’re still swingin’

The following anecdote seems à propos.

Branford Marsalis quartet on stage outside at the Indy Jazz Fest 1999. Some dude in the audience starts heckling the band: “Play something we know!” Marsalis, not losing his cool, engaged the heckler in a conversation on Jazz history, pushing the envelope, playing the way you want to play, and expected behaviour during shows. Though the audience sounded divided when Marsalis advised the heckler to go to Chaka Khan‘s show on the next stage over, if that was more to the heckler’s liking, there wasn’t a major shift in the crowd and, hopefully, most people understood how respectful Marsalis’s comments really were. What was especially precious is when Marsalis asked the heckler: “We’re cool, man?”

It’s nothing personal.