Category Archives: Popular Culture

Fifty Shades of Grey, and Eroticism in Film and Literature

by Ann Millett-Gallant

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Over Winter break, I had a lot of free time to read. I decided to try Fifty Shades of Grey (E.L. James, 2012), because I was curious about it, and because the movie version was coming out on Valentine’s Day weekend. I remember the fervor the book caused when it was released. Many television shows and magazine articles discussed what a sensation the book was, particularly for many passionate and eager female fans. It was considered shocking, not just because of its content, but also because it seemed to have the power to release women from any chastity belts they might be forced to wear by their own shame or society’s standards for “appropriate” behavior and desires. While reading the book, I was, shall we say, underwhelmed. I was more than just not excited, I was somewhat repulsed by it, and not because it was graphic or shocking, but because it seemed so cliché. In early January, I posted the following Facebook status update in response:

I just finished reading 50 Shades of Grey, and it was ridiculous. A 22 year old, white bread virgin is attracted to a dashing, powerful billionaire, who was starving and abused as a child and, as an adult, only participates in short term, S&M relationships. She allows him to deflower and dominate her, and he releases his inner demons, falls in love with her, and calls her his girlfriend. It’s such horse shit!

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This was my off the cuff response. I was not turned on by the veiled violence, nor by scenes in which Christian forces his virginal concubine to eat in order to “keep up her strength,” despite what might have turned on many women. Was this the portrayal of a passionate relationship for women? And if so, who are these wanton “women” who love the book?

I was not alone in my reaction. In a “Frank and open discussion” by Laci Green, whose YouTube broadcast series “Naked Nation” is supported in part by Planned Parenthood, Green purports BDSM (a form of S&M, which she says is popular today, in part, because of book, Fifty Shades), as a new, liberating, and pleasurable form of sexual play:

However, in a later broadcast devoted to her analysis of the book Fifty Shades, Green says it does a “poor job of portraying BDSM,” and is indeed not only clichéd, but also abusive. She raises the notions of sexual consent and sexual violence, considering that Christian makes Ana, an inexperienced virgin, sign a contract about their liaison before she evens sees his “Red Room” of bondage equipment:

Green’s accusation that Fifty Shades glorifies sexual abuse places the book, and the film, in a dark context. Even if the book wasn’t exactly sinister, it’s poorly written, and bondage and dominance just don’t turn me on. I began to think about other novels or movies that have created comparable reactions among their audiences, and their points of comparison to Fifty Shades.

the-awakening-smFirst, I picked up The Awakening, an 1899 novel by the trailblazing feminist, Kate Chopin, which was considered quite scandalous in its day. I loved it! The writing style has been compared to Impressionism, and the novel is very visual and sensual in its detail. The title captured my immediate attention. I had the idea that it might be a sexual awakening, and it was, but it was more. The heroine, Edna, escapes her family, domestic life, and responsibilities. She has a few extra-marital affairs, but does not end up in a new relationship. Instead, she begins making art and discovers her own subjectivity and embodied perspective. In the end of the novel, she dramatically dives into the ocean and swims away, a conclusion that has been read as a suicide, but I read it more abstractly. In her dive, as in her adventures in the book, she discovers true freedom. There are a many scenes with water running throughout the book, including themes of swimming. As a child, Edna loved and then feared swimming, because she associated it with an unwantednot to mention criminalsexual advance by one of her father’s peers. In the book, part of her awakening involves her relearning and re-enjoying swimming again, as an adult. Water entails, and in the book symbolizes, diverse acts such as floating, drowning, and swimming. When Edna swims, she also floats, as she experiences a freedom in and an escape from the socialized world; she doesn’t see, hear, or feel the world above the water. She is figuratively and literally immersed in her own senses. Swimming causes a feeling of weightlessness, but when swimming, Edna propels herselfa physical act, a form of exercise, and also a forceful movement. I don’t think she drowns at all, but rather, she escapes. Immersing one’s self in water, wherein one is subsumed in one’s own sensory environment, specifically free from external stimuli, could also be a metaphor for masturbationperhaps the ultimate act for of self stimulation and self gratification.

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Stimulated by my interpretations (pun intended), I then wanted to explore other literary and film examples that were considered shocking for their time periods. I remember, as a young girl, the sensation that arose surrounding the film Nine and a Half Weeks (1986, dir. Adrian Lyne). Watching it as an adult, I was blown away by the beauty of the film. It had striking visual detail and was rich in color, texture, and atmosphere. In one of my favorite scenes, the male lead, John (Mickey Rourke) “feeds” the female protagonist, Elizabeth (Kim Basinger), by blindfolding her and offering samples of foods that vary in texture and flavorcherries, jalapeño pepper, milk. The camera creates a multi-sensual encounter, as Elizabeth experiences the food and the sensuality of the offerings. To commence the scene, John squirts sweet, sticky honey in her mouth (suggestive, perhaps, of semen) and then on her body, as he lays her down, kisses, and embraces her. Light floods the darkened set design, as the viewer experiences their own senses being overwhelmed. Another scene features Elizabeth, who works in an art gallery, masturbating as slides of provocative art works flash on the screen. She moves in harmony to the changing of the slides, which becomes more rapid as she sits on the remote and eventually climaxes. Throughout the film, visual art interacts with erotic life. “Nine and a Half Weeks” was released in 1986, when I was 11 years old. I didn’t see the film at the time, because of my age, and I was happy to rediscover what I now consider a classic.

9-and-a-half-weeks-a-memoir-of-a-love-affairThe film is based on Australian writer Elizabeth McNeill’s Nine and a Half Weeks: A Memoir of a Love Affair (1978). The book is a diary, with first person narration, incomplete sentences, visual and narrative impressions, and a chain of consciousness writing style. This memoir is more graphically violent than its film version. In one entry, McNeill writes: “The nights were palpable and fierce, razors, outlines so clearly as to be luminous. A different country, its landscape and currency plain: heat, fear, cold, pleasure, hunger, glut, pain, desire, overwhelming consciousness” (42). This quote demonstrates the erotic and violent actions in the book, as well as writing style I described above. Upon reading this passage, I felt simultaneous intrigue and revulsion to the brutality. During moments of the violence inflicted upon her, Elizabeth, the real woman, conflictingly feels simultaneous pain and desire. She ultimately writes of feeling disembodied, as if she experiences her sensations virtually. The 1986 film is indeed almost a watered-down version of the explicit diary. The memoir is beautifully, indeed poetically written and much more philosophical and psychological than the film.

I then turned to what was one of my favorite movies of my hormone-infused teenage years, The Unbearable Lightness of Being (1988, dir. Philip Kaufman). Based on the novel by Milan Kundera (1984), the film centers on the relationship between a heterosexual couple, as well as the man’s many sexual conquests, and is set during the 1968 occupation of the Czech Republic (wiki).

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The narrative follows an attractive, introverted, and womanizing (not unlike Christian Grey) surgeon named Tomáš (Daniel Day Lewis), and his conflicted relations with the woman who becomes his wife and proves to be his “true love,” Tereza (Juliette Binoche), as well as his many lovers, most prominently, the self-possessed artist, Sabina (Lena Olin). The novel and film are set in an artistic and intellectual class in Prague, which in 1968 was invaded by the Soviet Union. With her rosy cheeks and pageboy haircut, Tereza is childlike in the film, as she is in the novel. She matures through her relationship with Tomas and her discovery of her own perspective, similarly to The Awakening, yet, in this film, it is behind the camera lens. The film includes scenes (shot in black and white) that capture the confusion and violence of the 1986 invasion of Prague on the streets, with dramatic movements and angles.

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Compared with the book, the film is not as detailed about the results of the invasion and following Soviet occupation; for example, on p. 67 of the book, Kundera graphically describes specific murders and deportations. In both the book and the film, Tereza photographs the atrocities on the streets, commencing her photography passion and career with street photography, which is similar to the work we discuss in the Documentary unit of BLS 345: Photography: Contexts and Illusions. Street photography crosses the boundaries or genres of photography as art and as historical document. Tereza’s street photographs get published and lead to work in commercial photography, although she is seduced more by the idea of art photography and explores the genre by photographing Tomas’s lover, Sabina. In a Communist era of Social Realism, Sabina does defiant abstract art, or “drip painting” like Jackson Polluck (63). I do especially appreciate the images of Sabina’s artwork in the film, consisting of erotic photographs and body images cut from mirrors.

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Although the book and the film are both artistic, the book is decidedly more psychological and philosophical, similarly to the book Nine and a Half Weeks. Kundera’s novel is also more political. On pages 213-214, Kundera narrates Tomas’ political acts, such as writing leftist editorials for papers, which leads him to be asked to sign a document protesting the treatment of Czech political prisoners. The novel is not in first person narration like Nine and a Half Weeks, but the narrative point of view is not completely omniscient either. Rather, Kundera’s narrator is poetic and like a storyteller, telling the narrative as if he or she know the characters personally and can see literally into their lives, as well as their consciousnesses. Interestingly, I learned from Wikipedia that Kundera disliked the film so much that he has resolved never again to have one of his novels made into a film. Reading the book encouraged me to check some more of Kundera’s books from the library.

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The final example I was overjoyed to discover was another film with a literally graphic basis, the 2013 French film Blue is the Warmest Color (2013, dir. Abdellatif Kechiche),which is based on a graphic novel by Julie Maroh. In both the film and the book, a somewhat naïve and self-abdicating young woman, Adele (Adèle Exarchopoulos), searches for her sexuality and subjectivity in a world she finds repressive, specifically to young, heterosexual women. One day, she spots and subsequently seeks out a striking, young, somewhat tomboyish and seemingly lesbian woman, Emma, (Léa Seydoux) with dashing blue hair. The graphic novel composes mostly black and white images with striking hints of bluein the forms of Emma’s hair, as well as the protagonists’ diary. Again, a diary communicates the embodied perspective of its narrator. The two women become zealous lovers, and lengthy, strikingly dynamic scenes depict their passion-filled lovemaking, in both the film and the book. The graphic novel was inspired by The Life of Marianne, an eighteenth-century, French, erotic graphic novel.

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In contemplating the symbolic significances of blue, I thought about its association with masculinity, or at least the gender of a male baby, similarly to how pink represents femininity. One of the readings in my course BLS 345: The Art of Life, Rebecca Solnit’s  poetic and philosophical A Field Guide to Getting Lost (2006) came to mind. In this manuscript, every other chapter is titled “The Blue of Distance,” and blue, throughout the text, is the color of desire. Solnit meditates on how blue is more intense in the distance, in art (with the examples of landscape paintings, Yves Klein’s artwork, and many more) and in life (with the examples, among others, of road trips). For Solnit, distance increases desirability, reiterating how unrequited love may be most fervent and how absence makes the heart grow fonder.

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Throughout the book and the film Blue is the Warmest Color, Emma’s hair gets less and less blue. It finally transforms back to its natural color, the pair split up, and Adela must find herself outside her role as Emma’s muse. In the graphic novel, the main character dies. Again, death! In The Awakening, Edna supposedly drowns, and in The Unbearable Lightness of Being, Tomas and Tereza have a suspicious “car accident,” which the book relates to their political leanings. Going back to my analysis of Edna’s “death” as an orgasm, in literary theory, an orgasm is referred to as “the little death.” For a more detailed analysis of this metaphor, see the Wikipedia entry “La petite mort.

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More broadly than in its many literary associations, the notion of an orgasm as a “little death” can refer to a spiritual release, a short period of melancholy or transcendence, and a natural “high” in the anatomical release of the feel good hormone oxytocin that occurs after orgasm. The not so “little” deaths in these films may then be over-signified, or over-stimulating with their multiple meanings and associations.

This blog has itself become overwhelmed with stimulating references! Now, back to Fifty Shades

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On Feb 6, NBC’s The Today Show broadcast live from the New York City premiere of the film at Ziegfeld Theater. As the camera scanned the screaming and cheering crowd, I searched for even one man amidst the group. All I saw were enthusiastic and, indeed, excited women. Newscaster Carson Daly said there were 98 women in attendance; Daly and the star of the film, Jamie Dornin, were the only men. The episode also featured an interview with Dornin and his co-star, Dakota Johnson, by newscasters Matt Lauer and Savannah Guthrie, in which Johnson said she strategically played Anastasia as a woman of strength and self-worth.

On Feb. 12, Ellen Degeneres aired a clever spoof of the interviewa clip that her crew had edited and that featured anchor Matt Lauer bearing a harness and whip:

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Ellen’s spoof was the beginning of the themes of satire that were raised in news sources about the film. The website Rotten Tomatoes says the film is too tame in comparison with the book. In agreement, Time asks “Where’s the whiplash?” Durham’s Independent newspaper expresses disappointment in the film’s “bad erotica.”

In a video posted on the website of the Pulitzer Prize-winning British journal, The Guardian, film critics discuss the absurdity, and even satirical humor of the, what one critic calls “soft core porn,” that he says seems like “the S&M had been directed by Martha Stewart.” These highbrow, somewhat stuffy critics state that the film never had a chance and they “couldn’t take it seriously” because it was based on a poorly written, trashy novel.

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Reading through this summary of diverse reviews on this CNN.com, some of which are positive, made me want to see the film more. Further, similarly to how she discussed her role as Ana in her appearance on the Today show, Johnson has affirmed in numerous interviews that she chose the role specifically because it intimidated her and because she believes that women who own and direct their own self-crafted sexual experiences and sexual identities are definitively empowered. But I wondered, is Ana empowered in book? I would say, no. How will she be different in the film?

Fifty Shades of Grey opened where I live in Durham the Friday before Valentine’s Day, and I could not see it then because my husband and I had big plans: we had to take our 20 pound orange tabby cat, Sunny (aka “The orange beast”), to the vet and my husband’s new Fiat needed additional computer programming at its dealership in Cary. I thought I had missed the perfect opportunity to see the film and witness its already ardent fans, but after reading reviews, I thought perhaps the optimal time to see it would be on April Fool’s Day. Many others did see it the opening weekend; the film broke records for Valentine’s Day and President’s Day releases.

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I finally saw it two weeks after it opened. In general, it was not a good movie. The sets, costumes, and dialogue were nothing special and even silly. The character of Ana is girlish and mousy; her big blue eyes, which first capture Christian’s attention, are framed by unevenly cut bangs and hair that escapes from a messy ponytail. She does talk back to Christian in a Lolita-like manner, but I would hardly call her an empowered character. In the first meeting with Christian, she wears an old fashioned, flowered blouse and a matching cardigan and skirt set. Throughout the film, she dons dresses and outfits that are too short and too young for her, as if she shops in the junior’s department at the stores. She is somewhat childlike, similar to the immature Tereza in The Unbearable Lightness of Being. Ana’s adolescent body, with a sprinkling of fair pubic hair, is often on display in the film, while Christian’s body is strategically concealed; in one scene, he unbuttons his fly, and the viewer sees a hint of blond pubic hair, but otherwise, only his unclothed backside is shown. In contrast to Ana, Christian wears signature, stone colored suits and one of his fifty ties, all of which, of course, are shades of grey. Christian is good-looking, with a strong face and muscles, but he is hardly suave or debonair. Rather than looking like a millionaire entrepreneur and Casanova, he resembles an attractive college athlete. Christian lives in an austere apartment, similar to his clothing and to the steely residence of John in Nine and a Half Weeks. In one scene, Christian tempts Ana with an ice cube down her naked torso, an act like that of John and Elizabeth, but the former is much less sensual than the latter, for the viewer, and seemingly, for the female subjugate.

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Forty-five minutes into Fifty Shades, Christian and Ana “consummate” their agreement, and Ana is “de-virginized” (or deflowered, as I strategically called it above), in an intimate scene that involves kissing, touching, and, assumedly, at least two orgasms. I am hardly an expert, but I would say that when a woman loses her virginity, the experience is usually more awkward and potentially painful, rather than sexy and pleasurable; however I have never heard of a woman having had her first time with anyone experienced. Let’s just say, the scene is, at best, idealized. Unlike in the book Fifty Shades, the couple in the film are paired intimately quite often, embracing and even bathing together, and Ana has met many members of the Grey family before Christian even introduces the contract and the red room to her (the only room in his apartment that displays any color). The first scene in which the couple performs in the red room is almost one and a half hours into the two hour film and shows Christian “whipping” (or should I say, “tapping”) Ana with a tassel-like “whip.” This action causes a light snapping sound and leaves no wounds on Ana’s skin. It is hardly terrifying. At the end of the film, when Ana challenges Christian to give her the full treatment, or to do the most brutal thing he would ever do to her, he again whips her, this time with a fashionable leather belt. The sounds are more convincing and remind me of the whipping scenes of Twelve Years a Slave, (2013, dir. Steve McQueen), but again, they leave no marks on Ana’s perfectly white, pristine back. The couple parts in the end, and as Ana exits his apartment by elevator, there is an emphasized lack of closure, or a cliffhanger, enticing viewers to seek out the sequel.

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Again, I was amused, but underwhelmed. I don’t think I’ll bother to read either of the other Fifty Shades books in the trilogy, nor will I waste my time following the film series. I am, however, very much looking forward this summer’s release of Magic Mike XXL (the satirically titled Magic Mike 2), which will feature more antics of an ostentatious, performing, and chiseled brigade of leading men, performing for and in service to clowning and lascivious female fans. This film will be much more my speed.

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R.I.P. Joan Rivers

by Ann Millett-Gallant

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There were many tragic celebrity deaths in 2014, and I feel the most personally sad about the death of Joan Rivers. My husband and I loved watching her host the show Fashion Police. In response to her witty and often naughty comments, we would exclaim “Oh, Joan!” On Fashion Police, she critiqued stars’ outfits with bawdy and sometimes dirty humor.

Many considered Joan a nuisance, or a foul-mouthed “bitch,” names Joan would have reveled in. She was an unapologetic trailblazer; similarly to anti-conventional comediennes such as Moms Mabley and Phyllis Diller, she was decidedly not self-deprecating. Because she defied stereotypes and social mores for female comics, female performers of any genre, and women in general, Joan could be called a nonconformist feminist. She relates to many examples we study and critique in my course BLS 348: Representing Women.

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Contrary to other female comics of the past and of today, she didn’t put herself down, but also didn’t quite put others down either. She “made fun” of others, always in the spirit of humor. Her critiques were never harsh, although some of her comments, especially on Fashion Police, quite literally hit below the belt. Following her death, the E! Channel showed a marathon of Joan’s greatest Fashion Police episodes, culminating in a tribute episode of the show in which her co-hosts, Giuliana Rancic, George Kotsiopoulos, and Kelly Osborn as well as the executive producer of the show, Joan’s daughter, Melissa Rivers, shared their memories of Joan and of the show, with laughter and tears. There was a series of clips from over the years of Joan’s characteristically vulgar pussy jokes. Another humorous montage was of clips in which Joan struggles to get her jokes out, as she cracks herself up. She made herself and others laugh. She also laughed at herself, making unashamed jokes about the effects of aging and her many cosmetic surgery procedures.

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Throughout the footage about Joan’s death on TV, countless celebrities have said she not only made them smile, but that she was generous with her time, resources, and advice; many likened her to a mother, grandmother, or confidant. Fashion designers also called Joan a friend and an advocate. She coined the red carpet question “Who are you wearing?,” sharing the attention given to the dolled up celebrity with the designer of their garb.

I had seen the fascinating documentary, Joan Rivers: A Piece of Work (2010), a few years ago and was compelled to watch it again when I heard she had died.

The film underscores that Joan was a pioneer for female comics. In 1983, she became the first comedienne on The Tonight Show. She left in 1986 because she was offered the chance to host her own show, The Late Show with Joan Rivers. The show only lasted for 1 season, due to poor ratings and lack of sponsorship. Her husband, Edgar Rosenburg, served as a producer, and according to the documentary, other executives working on the show blamed him for the problems and told her to get rid of him. She refused, the show was cancelled, and the couple eventually separated. A few months later, Rosenburg committed suicide. The film doesn’t suggest that Joan or her failed show was the direct cause of this, and his Wikipedia page states that he suffered from clinical depression.

Following the end of her show and the loss of her estranged husband, Joan’s career tanked. She continued to do any stand up she could and eventually made a huge television comeback by winning on the show Celebrity Apprentice. She proved herself a shrewd business woman, who took charge of her career and later created a line of fashion, jewelry, and beauty items for QVC.

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At the time of her death at 81, she lived with her daughter and grandson in New York City, where she filmed a reality show and made appearances on QVC to market her line, traveled all over the country for stand up performances and appearances, and flew to Los Angles each week to film Fashion Police. Giuliana Rancic said Joan got to the set at 3 AM (they filmed at 8 AM) and would routinely have her special beverage during filming – a paper coffee cup with a straw, filled with white wine.

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In September of 2014, Joan had had a routine, outpatient procedure, an endoscopy, which involved the insertion of a tiny camera to look down her throat into her digestive system. During the procedure, she went into cardiac arrest, was taken to the hospital, and was put into a medically-induced coma to allow her brain to repair itself. She never came out of the coma. Considering the high level of activity in her life, it seemed like a tragedy, similar to the recent and untimely deaths of Philip Seymour Hoffman and Robin Williams. She hadn’t been slowing down, and her death was sudden. It made me sad. Then I realized that maybe this was the best way for her to go. She was at the top of her game, and her death was painless, without suffering or the knowledge of her impending demise.

I will miss seeing Joan on Fashion Police and red carpets. In her honor, I just purchased a Fashion Police t-shirt with the name for her team of fans, “Joan Rangers,” on the back. I will wear it proudly.

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Not Exactly World Cup Fever: Why Soccer Isn’t More Popular in the U.S.

by Matt McKinnon

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World Cup action.

I confess: I love soccer, or fútbol, or football, or whatever you want to call it. I have three sons who play it year-round, both indoors (including the house) and out. And we watch it all the time, more so than any other professional sport. Now don’t get me wrong, I love and watch American football and watch a fair amount of baseball, basketball, and hockey. It’s just that soccer has become our main sport—both to play and to watch. So, I admit: I am not an objective observer here.

Ann Coulter

Of course, then again, neither is Ann Coulter, who recently blasted the sport in her own blog post.

Coulter lists nine reasons that “Americans” hate soccer—from the ridiculous (no.5 You can’t use your hands) to the uninformed (no.1 Individual achievement is not a big factor—tell that to the US Team whom Portugal put out with one brilliant pass from perhaps the world’s current best player; no.2 Athletic talent is not a large factor; and no.4 No threat of humiliation or major injury—again, tell that to the Brazilian Neymar who fractured his vertebrae in the match against Columbia).

But despite her overall offensiveness and ignorance about the game, Coulter does manage to raise a couple of possible reasons: it is “foreign” and often ends in a tie (her other reasons basically boiling down to the fact that soccer, or more specifically, watching soccer, just hasn’t caught on). Even here, of course, her ignorance outpaces her insight, since soccer as a sport that people actually play (both youth and adults) is just as popular in the US (if not moreso) than football or baseball, and is arguably more popular as an organized sport than basketball (though the latter is played more informally).

Neymar on field with fractured vertebra.

Neymar on the field with fractured vertebra.

Her point about soccer often ending in a tie has some merit—even though it is also more a reflection of current US interests than historical ones. After all, both American football and hockey could end in ties until rather recently: the NHL instituted a shootout system in 2005 and the NFL only instituted overtime in 1974, though if no one scores, games can still end in ties even now.

I would argue there are five main reasons why watching soccer has been slow to catch on in the US.

1: Some, like Coulter and others, do indeed see it as a “foreign” game, despite its close relation to American football (where the now popular “forward pass” was once illegal). But even this is problematic, since the US watches many “foreign” sports at venues like the Olympics (more on this below).

2: Closely related to the foreign origins of soccer is the fact that soccer is representative of the current changing demographics of the US. To be blunt, soccer tends to be popular among the growing Mexican and Latin American community, as well as various African and Asian populations as well. Now I’m not saying that someone is racist or xenophobic if they don’t like soccer, only that if you are already racist and xenophobic then you are more likely not to like soccer. After all, soccer reminds us that a majority of the world is not white, and neither is the US for much longer.

Mexico beats US, 5-0

Mexico beats US, 5-0.

3: We are just not as good at it as other countries. This one is more substantial, I think, as well as more complicated. Our women’s team, after all, is one of the best—if not the best—in the world. But then again, most countries around the globe do not support female athletics the way we do with women’s soccer. It’s also one of the hardest reasons to admit: but the fact of the matter is that we watch the Olympics, both summer and winter, even though some of the games and most of the people involved are “foreign”—because, well, the US athletes are usually better or just as good as their competition. This is just not the case with the US Men’s Team: not now, and not in the foreseeable future. Sure, the US goalie Tim Howard had an incredible game against Portugal, and he is arguably the best position player the team has. But he features on an English Premier League team (Everton) that perennially finishes in fifth place or lower. He couldn’t cut it at the powerhouse Manchester United (despite flourishes that suggested he might) and would not even feature as one of the top ten goal keepers at the 2014 World Cup, much less in the world today. This fact is disturbing to be sure, but US players are just not anywhere near as technically good as the players at the highest level of world soccer. There are many reasons for this, not the least of which is the fact that player development in US soccer remains very much an upper middle-class pastime, and rules like those imposed by the NCAA actually prevent further development compared to soccer in other countries. (World-class players like Messi, Ronaldo, Rooney, and Ibrahimavich tend to sign professional contracts before they’re fifteen and are not bound by rules maintaining amateur status.) The best soccer players in the world are not US citizens, and neither do they play for teams in the US.

US vs Canada, 2012 Olympics

US women’s team vs Canada, 2012 Olympics.

4: Soccer can seem boring to the uninitiated. Closely related to the above discussion of the tie, however, this reason is complicated. After all, where boring sports are concerned, it’s hard to argue that soccer is any more boring than golf, or car racing without the wrecks, or the majority of time in football games spent in huddles or timeouts, or most baseball games. Of course, to the initiated, none of these are actually boring, though the truth is that most sports that have a sizable market-share on TV have gone through changes over the past few decades to make them more exciting to a US viewer whose attention span seems to be getting shorter and shorter. The problem with soccer is not that it is boring, or that it can and often does end in a tie. The problem is the way that the game is played.

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Super Bowl commercials: Verisimilitude at its finest.

5: Yes, the biggest reason that soccer has not grown more in popularity in the US is the complete absence of the commercial break. Those of us who love watching American football and basketball and baseball and hockey do so with the assurance that there will be breaks in the “action” (even if most of this action is watching players in the huddle, or keeping a runner at first, or standing around the free throw line). The point is that the typical US viewer wants to know when, more or less, the action is going to come—in that rather short moment between huddles, or when the bases are loaded, or at the end of the half when there are only seconds remaining. We like to go to the kitchen for snacks, or to the bathroom to relieve ourselves, or to check out what’s on the other channels. But with soccer, you have to watch the game continuously, for 45 minutes at a time, with only the occasional injury or goal celebration to break up the ebb and flow of the game. A score can come at almost any time during the total 90 minutes of the game, making soccer, for many in the US, more akin to waiting for the cable guy than watching a sporting event.

So, in my humble opinion, unless and until the marketing masterminds come up with a way to institute commercial breaks and tv timeouts into a game that lacks timeouts altogether, soccer is doomed to be less popular than its rivals—at least in the US.

Until, of course, the sheer force of our demographic shift ultimately has its way.

After all, what interests the “Average Joe” of today may not necessarily interest the “Average José” of tomorrow.

Mexico fan

This man just might be rooting for Mexico.

Editor’s note: Matt’s post was a little more timely when he submitted it, but I got busy and sat on it for too long. Bad editor! -JP

Brand Loyalty and Personal Identity

by Chris Metivier

This is not Christopher's haircut.

This is not Chris’ head.

I’m a traitor, a turncoat, a fence-jumper, and possibly having an identity crisis. Some of my friends feel betrayed, others feel like they’ve gained an ally, still others feel like they don’t know me anymore. I have mixed feelings of guilt, pride, defensiveness, and confusion. I don’t know if many of the people in my life will ever look at me the same way again. Certainly they won’t if they are looking at me in a recent selfie, since one of the advantages of my new life is that the front-facing camera on my new Android phone is much better than the one on my old iPhone.

I am a brand-betrayer. I’ve been “that Apple guy” for most of the last decade, an Apple evangelist even. I was an early adopter of the iPhone, and an apologist for it ever since. But no more. Now I’m an “Android phone guy”. Sure, I still use Apple computers (as well as a Windows computers, because they both have their advantages), but everyone knows that when you get a text message and pull out your handset that is simultaneously your connection to the rest of the world and a distraction from it, it’s either going to be an iPhone, or something else. People can tell a lot about you from your phone. They know how you operate, what’s important to you, what kind of person you are. They can tell whether you are a sophisticated, modern aficionado of contemporary industrial design, or a utilitarian, no-nonsense, all-business power-user.

Battle of the Brands.

Battle of the Brands.

People judge you on what kind of phone you use. I had no idea how much until I made the switch. As a member of team iPhone, I never noticed how much people believed in their iPhones. It seemed normal to me. Obviously iPhone is the superior device. I’m no fool, why would I have ever bought an inferior product? As one of these people, I had never been on the receiving end of the nose-wrinkling, smug disgust toward anything non-iPhone. Since becoming an iPhone outsider, I have been forced to wonder, have I been behaving that way all these years?

trusted-brandOf course I know, academically, that all this talk about judgment and character evaluation is superficial and not to be taken seriously. I even teach my business ethics students this very lesson. I use “consumerism” to indicate this kind of social behavior. I know “consumerism” is used lots of different ways in different contexts, but this is how I use it in that course. I’m covering that unit now, and just last week established the term. It works like this. Advertising comes in two flavors: transactional and branding. Transactional ads are ones that give you some information about some product or service. Branding ads don’t give you any information, but instead aim to change the way you feel about a brand. The danger of branding is that it asks you to identify with the values that a brand (ostensibly) represents. When lots of people internalize these brand values, they begin to understand themselves, their personal identity, through the brands that they buy. Their self-identity depends on their consumption. Hence, consumerism.

Here is an example that is both particularly easy to analyze and particularly relevant to my case.

PC -vs- Mac.

P.C. vs. Mac.

I’m sure you’ve seen one of the ads from this campaign, perhaps even a parody of it. It was, in terms of recognition, very successful. I often use it as an example in business ethics class. In it we see two characters who figuratively represent not just products, but brands. It’s important to notice that the two characters don’t represent specific products. The two options are Mac and PC. Not Mac and Windows, Mac and Dell, or something else. Apple has set up a dichotomy here between Mac and everything else. So you, the consumer, have exactly two options. Do you want to be like the hip, young, creative, relaxed, attractive Mac guy, or the stiff, nerdy, uptight, boring PC guy? The ad implies that there are “Mac people” and “PC people” and that they have personalities that can be identified by the products they use (or more importantly, buy).

apple-tat-girl-edWhen our culture becomes one (and it has) where people make purchasing decisions based not on the qualities of the products but on the whether or not they believe those products reflect the identity that they want to project, then it becomes a consumerist culture.

Let’s face it, all computers (and all smartphones) do pretty much the same stuff. When we decide which one to buy, it’s rarely based on the properties of the device itself. They just aren’t very different. Sure, you might be used to doing things one way or another, and it would be inconvenient to have to learn new methods for getting things done (another strategy companies use to create an artificial barrier to switching once you’re in), but certainly you don’t think so little of yourself that you believe you couldn’t learn. When you decide to buy a Mac instead of a PC, Apple hopes that it’s at least in part because you think of yourself as the kind of person who uses a Mac. That’s where brand loyalty comes from.

Coke or Pepsi?

Coke or Pepsi?

Sure you might come to believe that the product you chose is objectively superior, or that it will provide tangible benefits to you over the alternative. But those are ad hoc justifications for a decision you made based on how you felt about the product and what kind of person you want to be. Cognitive psychologists call it “confirmation bias” when we cherry-pick evidence to support the position that we’ve already adopted. As consumers, we don’t want to feel foolish for having bought an inferior product (I’m going to stick with the example of computers or smartphones), so we insist that our choice was the best in the face of criticism from those who happen to have bought a competing product for the same feelingsy reasons. And because none of us want to admit (or are maybe not even aware of) our underlying motivations, we get into esoteric fights about megapixels and gigahertz, or when these measurements are not on our side, we can use more abstract metrics like “user experience” or “software ecosystems.”

…which is a croc.

…which is a croc.

I’ve taught this lesson for years, and it never occurred to me until now that I was as guilty as anyone else. So I decided to put my money where my mouth is and turn in my iPhone, to abandon the comfortable hegemony of Apple’s walled garden for the untamed, shifting Otherness of Google’s Android platform. I admit, I had a period of homesickness when I discovered that some of the conveniences I had enjoyed would take some work to reestablish.

"I've made a huge mistake."

“I’ve made a huge mistake.”

But on the whole, as I should have expected, my life has continued largely unchanged. I don’t regret my decision. And as I write this, it occurs to me that this shouldn’t even be a big deal. It wouldn’t be if consumerism wasn’t such a strong force, both internally and externally, in my life.

So I guess that’s the lesson, which I’m still learning. Consumerism is ubiquitous, insidious, and powerful. I’ve resisted the desire to detail the arguments I’ve heard in just the last few days for why my decision to change camps was either foolish or inspired, and to analyze all the ways in which these arguments are misguided, selfishly motivated, or just mean. I know my decision was neither a blunder nor an epiphany. It was an experiment. And it’s value in self-reflection alone was worth the price.

Brand-logo alphabet. How many do you recognize?

Brand-logo alphabet. How many do you recognize?

Pornography For—and As—Education?

by Ann Millett-Gallant

"Belle Knox."

“Belle Knox.”

As a college professor and a resident of Durham, NC, I have been following the stories in the local, national, and even international press about the Duke University student known as “Belle Knox” (or “Lauren” in some articles) who has been performing in pornography to pay her tuition. If you’re interested in reading along, you can check out these articles from The Duke Chronicle, WNCN, The News and Observer, The Washington Post blog, The Huffington Post, Gawker.com, and UK’s Independent.

I am fascinated by the articles written about and by this, shall I say “candid,” young woman, who declares her rights to own and display her sexuality. She is repeatedly quoted as saying she does the work to make money to pay for her $60,000+ per year tuition to Duke.

She wrote this blog about her experiences for XOJane, and as a follow-up article, she addresses the responses she received from the first article. In these pieces, Belle Knox asserts her rights to participate in pornography and to own her sexuality. She also responds to the criticism and harassment she has received in response to her story, saying that no one has the right to judge or vilify her.

The issues raised by this case relate directly to two of my BLS classes, Photography: Contexts and Illusions (BLS 345) and Representing Women (BLS 348).

Cindy Sherman, Untitled Film Still #6, 1977.

Cindy Sherman, Untitled Film Still #6, 1977.

In Photography, we study the work of Cindy Sherman, who photographs herself in the guises of stereotypical film characters (the housewife, the femme fatale, and the victimized girl of horror movies, for examples), women in art historical portraiture, and mythological, monstrous female forms to critique and parody the representation of a “Woman” across visual culture, specifically as a fantasy persona constructed through the male gaze. Sherman’s strategic role playing in the images articulates the artificiality of her staging and asserts ideas that identity is a performance.

Sherman also makes works that critique the pornography industry specifically. She photographs herself in excessive compositions or uses prosthetic or mannequin bodies to recreate explicit porn-like poses. Her images attempt to frame how these images are staged and strategically non-lifelike.

Cindy Sherman, Untitled #255, 1992.

Cindy Sherman, Untitled #255, 1992.

(Follow this link to see more of Sherman’s work at MOMA).

Lyle Aston Harris and Renee Cox, Venus Hottentot 2000, 1995.

Lyle Aston Harris and Renee Cox, Venus Hottentot 2000, 1995.

In Representing Women, we analyze the work of Renee Cox, who also photographs herself in the poses and costumes of various dubious roles for woman. These works satirize and critique the ways women, particularly black women, have been objectified in visual culture historically.

(See more of Renee Cox’s work at her website here).

Renee Cox, Olympia's Boyz, 2001.

Renee Cox, Olympia’s Boyz, 2001.

These classes debate how effective Sherman and Cox are in their postmodern parodies. Many students feel these artists are simply contributing to the profusion of visual culture that objectifies women’s bodies. I wondered about the Duke student’s actions and whether they could be thought of as performative acts. Maybe she is working within the system of pornography to expose its problematic history. Perhaps she is acting in the traditions of Feminist icon Gloria Steinem, who was employed as a Playboy Bunny in New York’s Playboy Club in 1963. Steinem then wrote a two part article for Show Magazine exposing how women were treated in the clubs. Here are links to a scanned PDF copy of her essay on the subject and an article about her acts in the New York Times from 1985.

Gloria Steinem as a Playboy bunny.

Gloria Steinem as a Playboy bunny.

Is Belle Knox doing research for an exposé? Is she gaining experience for the future career goals that she claimed on ABC’s The View, where she stated that she plans to pursue a law degree to advocate for Civil Rights, and particularly women’s rights? Is she a Feminist?

I still have these questions, and found this provocative article, written by Duke professor Robin Kirk, which raises more issues.

In the article, Kirk underscores the role pornography has played in the objectification and abuse of women, historically and specifically on the Duke campus. Pointing to more distinctly Feminist forms of pornography, she questions what is Feminist or even avant-garde about the student’s performance in this media.

My questions mount! I was particularly moved by seeing Belle Knox speak on ABC’s The View on Monday March 17, as she was interviewed by Whoopi Goldberg, Sherry Shepherd, Jenny McCarthy, and Barbara Walters. I was disappointed that no one on the show spoke of Barbara Walters’ own experiences with pornography, or the display of women’s bodies. In 1962, in an act similar to Gloria Steinem’s, Walters was a Playboy Bunny for a day and reported for NBC’s Today Show. Here is an article about the event with a clip of the story.

On The View, the 18 year old student reported that she has made 25-30 films, for which she was paid $1000-$1500 each, and that her parents supported her positions. She also spoke about the hostile reactions of others when her story was exposed: People have declared she should be expelled from Duke, or even raped; she has received thrash thrown at her and numerous death threats. I found her to be very intelligent and eloquent in speaking about her beliefs and defending her actions, as well as every woman’s right to ownership of her sexuality.

Belle Knox on The View.

Belle Knox on The View.

The co-hosts were varied in their reactions. Whoopi Goldberg said she understood why the student has said she felt “empowered” by doing the films. Sherry Shepherd, who tends to be the most morally conservative of the group, was almost in tears as she said that her heart broke for the girl and expressed how she would feel if any of her female family members “sold” their sexuality. And although I respect and support many of the Duke student’s positions, I shared Shepherd’s sadness, not from personal or familial experiences of my own, but from thinking about the woman (as well as men, AND children) who have been and continue to be exploited, degraded, and abused in venues of pornography. I would advocate the rights of the Duke student’s and other artists’ and Feminists’ participation in these venues, most especially when their projects intervene on and critique the traditions within they work. And as an educator, I see these acts as stimulating material for conversations and debates about key contemporary issues.

———

* Update: Condé Nast’s The Scene has produced a 25-minute web documentary about Miriam Weeks and her alter-ego Belle Knox that may be worth a watch:

BecomingBelleKnox

¿Habla American?: Why English as an Official Language is Blatantly Un-American

by Matt McKinnon

We the People...

Nosotros, el Pueblo…

I’m no fan of corporations.  In fact, I am often critical of them and the too-big-to-fail capitalism that has come to dominate global economics. But I am willing to congratulate them on the off-chance that they do something good or get something right.

Like the Cheerios commercials featuring a multi-ethnic girl with her family that prompted racist hate-speech from trolls everywhere. Or the recent revelation that multinational corporations are taking climate change seriously, since it poses a real economic threat to them.

Or when Coca-Cola broadcast this advertisement during the Super Bowl:

(Coke doubled-down amidst much criticism to play it again for the Winter Olympics.)

Now, I’m no dummy, and I’m certainly not naïve. I realize that the folks at Coca-Cola are first and foremost interested in their bottom line, and that means selling more Coke. And as we are all aware by now, the United States is undergoing a considerable demographic shift, so much so that white people will no longer be the majority by 2043. And more to the point: white kids will no longer make up a majority of youth in five or six years. Yes, five or six years! Which is why companies like Coca-Cola are so interested in multicultural approaches to advertising.

So yes, I know all this, and yet still find it laudable (1) that Coca-Cola produced the commercial, and (2) that they stood by it despite heavy criticism.

But enough about Coke. My real interest is the criticism that was generated by having non-white U.S. citizens sing a patriotic song in a language other than English. And the next logical step that many critics make: viz., that English should be the official language of the United States.

This impulse is nothing new. Nor is the fear and prejudice behind it.

Benjamin Franklin.

Benjamin Franklin.

Our brilliant and esteemed Founding Father Benjamin Franklin railed against the unwanted influence of what he called “swarthy German” immigrants with surprisingly racist overtones:

“Why should Pennsylvania, founded by the English, become a Colony of Aliens, who will shortly be so numerous as to Germanize us instead of our Anglifying them, and will never adopt our Language or Customs, any more than they can acquire our Complexion. “

(Indeed: Who knew that only the English were truly white?)

Of course, Franklin was wrong then, as those who criticize the Coke ad and call for English as our official language are wrong now. They are wrong for a practical reason based in historical fact: the new German immigrants did not “Germanize” the English, despite the fact that more Americans now claim German ancestry than any other ethnic or national group. No, they learned English because it was practical to do so, though some retained the use of their native tongue well into the 20th century.

Likewise, studies show that recent immigrants are assimilating in similar fashion, just as immigrants have been doing since, well, the original English came over and ironically did not assimilate into existing native cultures.

And this means that they are learning English.

Loosing my Espanish, by H.G. Carrillo (2004).

Loosing my Espanish, by H.G. Carrillo (2004).

A Pew study found that 91% of second-generation children from Hispanic families speak English “very well or pretty well” and that the number rises to 97% of third-generation children. Indeed, other studies show that not only are second and third generations learning English, they are more likely than not to learn only English—and not the language of their parents’ or grandparents’ homeland.

But there is another—deeper and more essential—reason why English is not and should not be the official language of our land. And while this argument could be made from the liberal and progressive “love-for-all-things-multicultural” perspective worthy of this “liberal studies” blog, the stronger argument is actually one more conservative in nature, rooted as it is in the very fabric of our democracy, in what it means to be American.

The argument is simple: making English, or any language, the Official Language of the United States is blatantly Un-American at its core.

In fact, the late conservative writer Joseph Sobran made a similar argument some thirty years or so ago, to the chagrin of some whose conservative principles only went as deep as their nationalism. (This was the same Joe Sobran whom Pat Buchanan called “perhaps the finest columnist of our generation” and Ann Coulter named “the world’s greatest writer” and the “G.K. Chesterton of our time.”)

Joseph Sobran.

Joseph Sobran.

The point is twofold: First, from a conservative perspective, government should be limited and should only be about the business of governing—not social engineering. Mandating that Americans learn and use English is as absurd from a conservative viewpoint as mandating that they learn and use French, or that they eat their vegetables and lay off the Supersized fries and soda. This, argues conservatism, is simply not the purview of government, and it doesn’t matter whether learning English or eating broccoli are good ideas or not (as I think they both are). What matters is that this is not the government’s responsibility to decide or dictate.

And second, a government “of the people, by the people, and for the people” should, as much as is possible, reflect the majority of the people, while safeguarding the rights of the minority. But such a reflection, like the people it reflects, is in a constant state of change.

So in this case, what could be more basic than the right to express oneself in the language of one’s choice? And what could be more democratic than a government committed to accommodating that language—those languages—and to understanding and communicating with its own citizens?

For what right is more basic than the choice of language? Freedom of speech? Freedom of the press? Freedom of religion? All of these are secondary, at least temporally, to the choice of language whereby one speaks, or publishes, or prays aloud to their God.

Indeed, the only act synchronous to that of speaking is the forming of one’s very thoughts. And yet, even here, do we really decide what language we use to form our thoughts? Or does our language shape our thoughts and even ourselves?

If so, what would it mean that for some U.S. citizens, their very thoughts are formed in an unofficial language?

Government should not be in the business of constraining either the free thought or the free expression of its citizens.

"We speak English."

“We speak English.”

Furthermore, the fact of English as our common language is an accident of history. Not only are we the largest English-speaking nation in the world, we are also the second largest Spanish-speaking nation (second only to Mexico). And what is more democratic than a common language that actually resonates with the voice of the people? If Spanish, or French, or Chinese should one day become the preferred language of a majority of U.S. citizens, how undemocratic would it be that their free and common expression would be constrained by the short-sightedness of having made English the Official Language?

To extrapolate from James Madison’s argument against the state establishment of Christianity in his Memorial and Remonstrance: any government that can today make English the official language can tomorrow replace it with Spanish or Arabic.

***

This is what it means to be American: to have the right to choose whatever language one wishes to express oneself, be it for business, or entertainment, or religion, or school—ever mindful of the need to balance this with the necessity of being understood.

As Americans, we lack an ethnic identity. And we lack an established religion. And we lack an official language.

But we are united as a people precisely because we lack these. Since our ethnic identities and religions and languages are plural. As are we.

But in this plurality there is strength.

And from this plurality there is unity.

Or, as our Founding Fathers put it,

Dean Bryant Johnson, "E Pluribus Unum" (2012), detail.

Dean Bryant Johnson, “E Pluribus Unum” (2012), detail.

E pluribus unum.

(And that ain’t English.)

Homophobia and Gay Advocacy in the NFL

By Marc Williams

Chris Kluwe (left).

Chris Kluwe (left).

I’m a football fan. I never played the game in any organized leagues but when I was young, my father took me to college games at his alma mater. Many of my friends played football and followed their favorite teams on television. After college I became more interested in the professional game—the National Football League—and studying the game became a hobby. Football is a surprisingly complex game and the NFL has many fascinating layers beyond the game itself—player safety and head trauma is a major topic of the day. The league’s salary cap, the college draft, free agency, coaching personnel and schemes, and many other subjects provide intrigue throughout the year—not only during the seventeen-week season. One story I’ve followed over the past two years is the off-field advocacy work conducted by Chris Kluwe and Brendon Ayanbadejo.

Kluwe recently wrote an article for Deadspin.com detailing his account of how his employment with the Minnesota Vikings came to an end in 2013. As a member of the Vikings in 2012, Kluwe campaigned actively against Minnesota’s proposed constitutional amendment banning same-sex marriage, which voters in the state defeated at the polls in November of that year. While Kluwe’s activism was widely praised in the media, he claims he was treated with hostility by his coaches. Head coach Leslie Frazier, Kluwe claims, twice urged Kluwe to stop speaking on the subject. Kluwe also claims the Vikings’ public relations department received requests to interview Kluwe but the team failed to relay these requests to the player in an apparent effort to silence him. Most shocking is Kluwe’s claim that special teams coordinator Mike Priefer—Kluwe’s immediate supervisor—once voiced his opposition to Kluwe’s activities by stating, “We should round up all the gays, send them to an island, and then nuke it until it glows.” Kluwe claims the Vikings organization terminated his contract following the 2012 season not because of his on-field performance but rather because of his marriage equality advocacy. Interestingly, Kluwe, who was an above-average punter in his last season with the Vikings, was unable to find a job with any team in the NFL in 2013.

emmett-burns

Emmett Burns.

Ayanbadejo’s team in 2012, the Baltimore Ravens, is also located in a state that voted on marriage equality that November. In Maryland, voters supported a constitutional amendment to allow same-sex marriage and in the months leading up to the vote, Ayanbadejo became a folk hero for amendment supporters after a state legislator urged Ravens owner Steve Bisciotti to silence the outspoken player. Delegate Emmett Burns’ letter read, in part:

Many of your fans are opposed to such a view [on same sex marriage] and feel it has no place in a sport that is strictly for pride, entertainment and excitement. I believe Mr. Ayanbadejo should concentrate on football and steer clear of dividing the fan base.

I am requesting that you take the necessary action, as a National Football League Owner, to inhibit such expressions from your employees and that he be ordered to cease and desist such injurious actions. I know of no other NFL player who has done what Mr. Ayanbadejo is doing.

Brendon Ayanbadejo.

Brendon Ayanbadejo.

Burns’ attempt to silence Ayanbadejo met stiff criticism from free speech and marriage equality advocates alike. One particularly memorable criticism came from none other than Chris Kluwe in an open letter to Burns posted on Deadspin.com. Following the 2012-2013 legislative session, Burns opted not to run for re-election in 2014.

During the 2012 NFL season, when Kluwe and Ayanbadejo spoke on marriage equality, they were often asked if the NFL is ready for an openly gay player. At the time, there had never been an active gay player in the NFL. For that matter, there had never been an openly gay player in any of the major professional American sports leagues—Major League Baseball, the National Basketball Association, or the National Hockey League. Kluwe hinted that he had spoken to gay players in the NFL and that one or more of those players was planning to come out to his teammates and the media. These players have not yet made their identities known—but the NFL will likely soon have its first openly gay player in 2014.

Michael Sam (#52).

Michael Sam (#52).

University of Missouri All-American defensive lineman Michael Sam, in an interview with the New York Times published last Sunday, February 9, announced that he is gay. Sam, a senior at Missouri, is preparing for the upcoming NFL draft, where a team might select him. While there will be much written between now and May about how Sam’s announcement will affect his career, many draft experts believe that Sam will indeed be drafted by an NFL team. If true, the hypothetical question that Chris Kluwe and Brendon Ayanbadejo were asked so often in 2012: “would teammates accept a gay player in the locker room?” will be answered this summer as Sam reports to NFL training camp.

One should note that Sam is not guaranteed to be selected in the NFL draft. While many draft experts project him as a mid-to-late round draft pick, some anonymous team officials and scouts suggest that Sam is an “overrated” player and may not be drafted at all. Or, if he is invited to a training camp, he may not have the physical skills to succeed in the NFL. If Sam fails to make an NFL roster, some critics may assume that Sam’s sexuality is the cause. However, Sam is no superstar and his professional potential is very much in question. If he wants to be an NFL player, he will first have to prove that he can play the game on a professional level.

Jonathan Martin

Jonathan Martin

There is good reason to believe Sam will face other difficulties as well. Just as Kluwe discovered that same-sex advocacy was viewed as a distraction (or worse) by his coaches, Sam’s future coaches may find the young player a magnet for media attention. His teammates will be asked for their thoughts on the locker room’s acceptance of Sam. And while Sam will no doubt have some supportive teammates, a number of NFL players have spoken out against the possibility of a gay teammate. Shortly before the 2013 Super Bowl, San Francisco 49ers defensive back Chris Culliver was asked if he would welcome a gay teammate. He responded, “Ain’t got no gay people on the team. They gotta get up outta here if they do. Can’t be with that sweet stuff…Can’t be…in the locker room, nah.” And just last Friday, special investigator Ted Wells released his report on bullying allegations made by Miami Dolphins player Jonathan Martin, specifically against his teammates Richie Incognito, John Jerry, and Mike Pouncey. Wells’ findings not only demonstrate a vicious culture of bullying amongst Miami players and coaches but also pervasive homophobia. Regarding an unnamed player, called “Player A” in the report, Wells states that:

Martin and other witnesses informed us that Player A was repeatedly called a “faggot” and subjected to other homophobic invective […].

Incognito and others acknowledged that Player A was routinely touched by Incognito, Jerry and Pouncey in a mockingly suggestive manner, including on his rear end, while being taunted about his supposed homosexuality. Incognito specifically admitted that he would grab Player A and ask for a hug as part of this “joke.”

Martin said that on one occasion, Pouncey physically restrained Player A and, in full view of other players, jokingly told Jerry to “come get some pussy,” and that Jerry responded by touching Player A’s buttocks in a way that simulated anal penetration. Pouncey and Jerry both denied this allegation […].

The evidence shows that [Offensive Line Coach Jim Turner] overheard and participated in this behavior toward Player A. During the 2012 Christmas season, Coach Turner gave all of the offensive linemen gift bags that included a variety of stocking stuffers. In each gift bag except for Player A’s, Turner included a female “blow-up” doll; Player A’s bag included a male doll.

Chris Culliver at The Trevor Project.

Chris Culliver at The Trevor Project.

The culture that evolved in Miami seems to be extreme, even by NFL standards, and a positive outcome for Michael Sam and other gay players is certainly possible. In the New York Times interview, Sam notes that he came out to his University of Missouri teammates during the summer of 2013, while the team was preparing for its season. The Missouri team and Sam individually received many accolades and much media attention—yet Sam’s teammates kept his secret the entire year. And his teammates clearly respect him—they voted him Most Valuable Player at the season’s end. The Missouri football team proved that a football locker room can indeed welcome and support a gay player. And in the NFL, many players who have publicly made homophobic remarks are responding to outreach groups hoping to educate those players. In fact, after Chris Culliver’s remarks sparked controversy in 2013, he not only apologized for his comments but also agreed to attend counseling with the Trevor Project so he could better understand why his comments were so widely criticized. Culliver not only followed through on that promise, but later spent a day volunteering at the Trevor Project. While a single day of volunteerism is a small step to be sure, if Culliver can make that step, who says the rest of the NFL isn’t ready? We may find out, if Michael Sam indeed begins his NFL career in May.