Maxim loves stalking technology too…

Ok, more proof I’m not making this surveillance stuff up: Feministing recently made a great post on the pictured article from Maxim. Like the ads for cell phone surveillance applications I recently posted about, this article is freely promising a technological method for surveillance, imparting the practical know-how to “step up the stalk” without considering or discussing the consequences of this technology (aside from providing the lovely disclaimer that it is “illegal in some states”). Moreover, the “Catch a Two-Timer” blurb explicitly maintains that the object of the mentioned surveillance should/would naturally be a woman. Even better: if you read the fine print, the telltale signs of a cheating woman are apparently 1) detachment in bed because “having multiple partners is emotionally tough for a lot of women” and 2) guarding her cell phone. So, if the woman of your dreams is not automatically satisfied by your bedroom performance or if she, in fact, gets defensive when you want to monitor her telephone activity, then this obviously has nothing to with you, her partner, but her wandering ways… umm, right.

While I buy that the first part of the article is partially ironic, since it advises you to “[g]lance furtively over your shoulder with shifty eyes” and then later to “[u]se what you’ve learned to destroy someone else’s life,” the second part (sub-head “Catch a Two-Timer”) is relatively sober and informative, quoting “experts” and such. It’s not until the very last line that a little irony slips in again, and then I don’t really think it’s enough. Whether or not this is a “joke” to the Maxim editors, the problem is that there really are enough wishful tools out there to take this kind of stuff seriously. And we can’t escape the fact that there are plenty of men out there in the real world who, in fact, DO abuse and/or monitor their partners with the help of this sort of technology. As Ann at Feministing writes, “real-life stalking is, uh, decidedly not hilarious, to put it mildly, and we need to draw a bright line between a common joke of the personal-is-public-online era and the very real threat posed by stalking.” More importantly, we should never let the “how” of technology overshadow the “why.” The argument that “it doesn’t matter because it would never really work” or because the information is inaccurate is missing the point. Offering (or pretending to offer) technological information for this type of surveillance without examining why it is desired and whether it should be used in the first place is irresponsible. It promotes a culture that too often places women’s bodies (and others who do not fit the “ideal”) under surveillance and rarely reflects on why.

super fun surveillance for the ordinary man

It’s bad enough that the government possesses incredible technologies to spy on us and that artists like Justin Timberlake and 50 Cent make videos promoting the surveillance of the female body. It seems, however, that mobile entertainment providers Jamba and Bob Mobile are not content to stick to their annoying cell phone animations (search Jamba on youtube and you’ll see what I mean), nor let surveillance remain in the hands of the rich and powerful, but have decided to package surveillance technology as “fun” cell phone applications. The applications, “Partner Tracker” and “Mobile Spy” respectively, have been getting a lot of ad time on MTV Germany recently. The “Partner Tracker” is marketed with the line “Verarsche deine Freunde!” (”Play a joke on your friends!”), but its “friendliness” is undermined by its title, which clearly implies a different relationship of tracker/trackee, and takes on sinister undertones. “Mobile Spy,” on the other hand, is advertised with the line “Gib Lügnern keine Chance!” (”Give liars no chance!”), which implies that it will help you to check if your friend or significant other is lying about their location.

However harmless these ads would have you believe they are, the practical implications of such applications are certainly disturbing. Every time I see one of these ads, I’m reminded of Anxious Black Woman’s post on “Ayo Technology.” In her comment, she writes that it’s “no accident, for example, that service providers working against domestic violence are creating awareness and survivors’ manuals for how to guard against hi-tech surveillance methods that batterers and stalkers now use to control women’s every move.” I can’t help but think how easy it would be for a would-be stalker/batterer/rapist to acquire the cell number of his target and use this sort of tracker to find her. I am especially dismayed that such technology is marketed to such a large, young audience in such a popular and accessible format.

If you read the fine print, of course, Jamba is quick to contend that “Diese Software dient lediglich zu Unterhaltungszwecken. Es findet keine echte Aufenthaltsortsbestimmung statt,” that is, “This software is only for the use of entertainment. No real location is determined.” This lovely disclaimer is remarkably similar to the one offered by MTV at the end of its surveillance dating show “Exposed,” which uses “lie detection software” to test the honesty of two candidates. And like the disclaimer for “Exposed,” this one is likewise rather ineffective in dispelling the claims of the product. Indeed, the promise of this technology to provide the ability for surveillance to MTV’s (young male) viewers is still there. The coupling of this promise in advertising content and the promotion of surveillance in programming content (like “Ayo Technology” or “Exposed”) may prove to be especially potent.

PCPS: Ayo Pornography and the Technology Fetish, Part 2

So, as discussed in Part 1 of this series, it’s clear that the video for “Ayo Technology” features high-tech surveillance as a method to voyeuristically monitor and manipulate not only the images of women, but their actions and reactions as well. At the click of a button or stroke of an image, the women perform the acts desired by the protagonists (Timbaland, Justin Timberlake, and 50 Cent). Through this process, the technology itself is fetishized. Recording devices, like camera phones, are prominently featured, as are the means of organizing these images (Timbaland’s holographic touch screen, for example). The protagonists are granted their power because of their superior technology, which allows them to see without being seen.

The ostensible meaning of the lyrics, however, is quite different. It is curious, for instance, that the chorus actually maintains that Justin (with the others) is actually tired of using technology, and wishes the addressed, female “you” to be “right in front” of him. At first glance, it could be that Justin is pining away for some “good old-fashioned stalking”- that is, it’s not enough to view from a distance through an image- he wants the up close and personal visual contact that only is possible without a piece of technology mediating between him and the desired object.

An added dimension is revealed, though, when one considers that the song was originally supposed to be called “Ayo Pornography,” then changed to avoid controversy and increases the chances of radio/television play (apparently, as long as misogyny and objectification is thinly veiled, it’s ok). So the protagonists are actually tired of using pornography; although the ready-and-willing pornographic woman is described and idealized by 50 Cent in the verses, she is rejected in favor of real sexual encounter in the choruses. On some level, there seems to be an acknowledgment that that woman, the one you find in most pornography, is just imaginary, that is, she is just an image. And the image itself is not stable; the women tremble Matrix-like, as if they are about to blink out of existence entirely. The technology is simultaneously fetishized and rejected as the ideal means of sexual contact.

What we also shouldn’t forget in all this discussion is the viewer/listener of this video. The viewer of the video is also made privy to the sexualized images of the women in the video and witnesses the use of technology to control and manipulate them. However, the viewer also observes the observers- the concept of the video, which would have you believe that the men can see without being seen, is undermined by the images of 50 Cent and his cohorts, which are placed in the same package as the others and distributed widely through technology as well. The images of 50 Cent, Justin Timberlake, and Timbaland are created, reproduced, and distributed far more often than any images of the women they hired for the video (a google search for any of these artists, for example, is bound to be much more successful than one for a bunch of mostly anonymous, not famous video girls). And these images of the artists are made available to practically anyone through mass media, to viewers who may of any gender or sexual orientation. Practically speaking, if anyone is sitting on someone’s lap, it’s most likely an image of Justin Timberlake on your laptop. So, despite the contradictory and/or violent messages about surveillance of female bodies being sent out by the video (which are definitely, blatantly there), the viewer (be it he, she, or it) is granted power through the very act of viewing the video.

It is up to the viewer whether or not to continue to consume the product by watching the video. And even for the woman who gets “tired of using technology” and hearing about men talking once again about their sexual fantasies and exploits (count me in), there’s always the possibility of closing the curtains and curling up with a good book.

well well

Ayo Pornography & the Technology Fetish Parts 2 and 3 are coming soon, I promise. In the meantime, amuse yourselves with this:

I got the link to the test from $3.60, who in turn got it from brownfemipower (where there is also a good discussion in comments about the scale).

I have to admit, I’m surprised and maybe even perhaps disappointed that the level is supposedly so high, since that might translate to “obscure,” “overly complicated,” etc. As Kay commented at brownfemipower, “I got genius level. Is that good? I suspect it knows I am queen of the run-on sentence and user of obnoxiously big words where smaller ones will do, that I sometimes don’t know when to shut up and I also like to use long quotes by smart people.” I share the sentiment, because, although I’ve never quite had the ambition to create a “blog for the masses,” it is important to me that my blog is clear and accessible to a vast majority of my potential readers.

Then again, I probably shouldn’t put too much weight on a test that does not (and cannot) take into account other factors, like depth of content, stylistic elements, and what’s especially important to my blog, that is, the images. If they interest and inspire people to come to this site (which the incoming stats from google searches seem to indicate), then maybe I’m doing something right after all.

PCPS: Ayo Pornography & the Technology Fetish, Part 1

I can’t get away from “Ayo Technology.” The song, a collaboration of top pop powers-that-be 50 Cent, Justin Timberlake, and Timbaland, has been playing on popular radio and MTV Germany for months. The track seems to be even more popular here than in the United States; the highest spot on any of the Billboard charts was number 5, while the song reached Number 1 on the “Deutsche Black Charts” and Number 3 on the “German Top 100.” I’ve been inspired to blog about it, however, not just because it’s so readily available. The first time I saw the video, I knew I would end up writing about it sometime. In short, this product contains and, indeed, combines many of the things that have occupied me throughout my encounters with pop culture: surveillance, the “male gaze,” technology, sexuality, consumption, etc.

The video has been picked up by a number of blogs (over at Feministing and Diary of An Anxious Black Woman, for instance) and, rightly, been criticized for its all-too-easy, profoundly unnuanced portrayal of male sexual fantasy enacted through invasive, possibly violent surveillance. Chris Schonberger at Popwatch describes the video concept as such: “After defrosting from their cryogenic chambers, mega-billionaires 50 Cent, Justin Timberlake, and Timbaland have established an advanced Big Brother state to help them spy on lovely ladies in futuristic lingerie.” We see 50 Cent standing on top of a building, looking down through a weapon’s scope at the object of his desire, then later inside being served by multiple women (harem fantasy, anyone?). Justin spies on a half-naked woman through his binoculars. Timbaland acts as the mastermind, orchestrating and manipulating

Field Trip!

So I’ve been away for quite a while, but I’m back and full of ideas. My excuses for being away so long: traveling, living out of a suitcase for three months, enjoying only sporadic internet access, moving across an ocean to Germany and into my first apartment (shared by my love, whom I affectionately call “der böse Deutscher” ["the bad German," for those who care to know]). And oh, my computer broke . . .

Anyway, the important thing is that I’ve got a lot on my mind these days and a number of posts planned out, including an imminent one on some things that I’ve been noticing about my new home (and not just the recent neonazi attacks and threats of terrorism, either). I’m sure my change of location will have an impact on my blogging topics- naturally, I’ll be able to grasp more of German pop culture than US pop culture. However, since I have the benefits of the WWW and a great deal of German pop culture comes out of “die Staaten” anyhow (thanks to the Marshall Plan), I anticipate that I will still be approaching and analyzing many products of the US media, if from a different angle. Indeed, I look forward to observing the ways in which US media does or does not translate into a German context.

First, however, I’ve got some old business to take care of. Back in July I was in the US visiting friends in Massachusetts and I decided to utilize some time before a group showing of Transformers to wander around the mall. I ended up in a fairly average dollar store, the sort of place I always love

Pop Culture Post Secret: Cameron Dianazi & Her New Handbag

A few weeks ago it was reported by numerous sources that Cameron Diaz had made a serious political fashion faux pas in Peru. Diaz was photographed carrying a bag which sported the Maoist slogan “Serve the People” in Chinese while visiting Machu Picchu; this happened to be offensive to a number of Peruvians, who remembered the Maoist Shining Path insurgency which killed approximately 70,000 people in the 80s and 90s (see photos here). While Diaz has publicly apologized for her poor choice and most people are willing to write it off as simply another “dumb actress” demonstrating her good-natured idiocy, there’s actually a lot to unpack here.

First, there’s the confluence of fashion and politics. While we don’t usually ascribe political statements to our clothing, there are certain cases when fashion causes considerable controversy; the scandal caused by the dress of this year’s Mexican Miss Universe contestant is a great example. While one side defended the choice for the sake of fashion and a certain image of Mexico, others found it to contain incredibly offensive messages. The fact is, everything we buy and wear signifies something about us and contributes to our performance of class, race, gender, or

(Warning: Atrocious Pun) some stats BOUND to be surprising

Every day a number of people come to this blog after searching for “bound.”

In the past 7 days, I have received 79 hits from people searching for terms including the word “bound.”

The vast majority of these entries are simply the word itself (variously capitalized), but others include “girls full tied” or “bound hilton” or “bound women.”

In the past 30 days, my post on Bound (Correspondence, Surveillance, and the “Riddle of Bisexuality” in Bound) has been read 9 times.

Something fishy is going on.

Just a thought

Ok, so I actually have several “serious” posts planned but, before I could get to an available scanner, I happened to find myself in a Starbucks, staring at a rack of CDs- Paul McCartney’s new album, “Memory Almost Full.” Looking at the display, I was reminded of two things- 1) my hard drive- it’s probably also about to send me the same message and 2) Hugh Grant’s has-been pop star character “Alex Fletcher” in the film Music and Lyrics (which, for the record, I watched on a plane, the first half without headphones). Now, I’m not calling McCartney a has-been (that post would have to be a lot longer), but his pose and puckered lips easily evoked that “star of 80s synthfest trying to be cool” thing that “Alex Fletcher” has going on, or any other Hugh Grant character for that matter, since he is always either “the charming, quirky British man who enters to sweep some unsuspecting basket-case off her feet, spouting lines in his delightful accent and shaking his cute butt when he thinks no one is looking, OR he’s the charming British man who is initially masquerading as an asshole but eventually shows his softer side.” (source). I’m not sure Sir Paul is the guy to pull off the “I’m so quirky and neurotic, I must be charming, right?” but he’s welcome to try. Unfortunately, I can’t find a bona fide pic of his puckered lips on the web, but you can see it in miniature on the Starbucks homepage. In the meantime, enjoy “POP! Goes My Heart” below.

Oh, and as penance for inadvertently promoting anything coming from Starbucks, I’ll post this link.
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Black People Love Hillary . . . or something

Thanks to $3.60 for bringing my attention to a new endorsement of Hillary Clinton by Maya Angelou. Although I don’t usually post on (explicitly) political themes, Marisa’s post got me thinking about the correspondence between gender & race being employed in the video. So, first, here’s the video:

As Marisa notes, the advertisement uses Angelou’s blackness as a verification of Clinton’s femininity. As if African-American women (by extension, all “women of color”) somehow have a greater