I May Destroy You

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I May Destroy You

A staggering 6 weeks ago, when lock down restrictions were beginning to ease, our TV screens and minds were illuminated by: ‘I May Destroy you’. I, myself, who fared badly from the pandemic, was starting to recover from a long tail case of Covid-19. This drama series was the primary broadcast I was desperate to watch. Its impact is set to last far beyond the 6 hours of air time which the BBC allotted. 

The main narrative centres around the rape of the Arabella; the feisty, strong-willed, leading lady. Michaela Coel who wrote starred and co-produced the series plays Arabella. The realistic screenplay leads us through flashbacks of her being raped. In reporting the matter to the Police they were able to establish that she had been subject to date-rape drugging. Perhaps not so realistic: the Police are shown to be professional, compassionate and supportive. Inevitably the case had to be shelved until a DNA match presents itself to the investigation. However, what is ground-breaking is we see Arabella: a hard-partying recreational drug user, convincingly being able to differentiate clearly between being secretly drugged, then subject to intercourse and simply, narcotic indulgence followed by consensual sex. At no point is the viewer directed to blame Arabella due to volatile lifestyle choices or to consider her to be unreliable as a consequence.

Arabella’ response to the violation could be considered from varied viewpoints. Promiscuity as a result of a sex attack liberated sex-positive behaviour or further examples of not fully consensual sex as a result of drug and alcohol usage. This leaves her vulnerable to a further sexual assault, interestingly in the form of stealthing: removal of a condom without the consent of the sexual partner. I and many viewers, male and female, were unaware that this was a criminal matter, the show was surprisingly informative.

We are offered some reasoning as to why Arabella’ sexual conduct presents us with a large variety of partners, many of whom are little more than acquaintances. The series takes us back to her infancy, parents who reside separately, but are still in a relationship. A father who indulges in a ‘Fancy Woman’ and to a degree, neglects his parental duties.

Breathtaking to see greater diversity on our screens, the main characters all being from ethnic minorities (Within the UK, not Globally). I found Arabella immediately appealing, the funky jacket and the wilds of pink hair. Terry, the loyal friend that every girl need to have, both are: fun, alluring, party goers. In opposition to this, the only more than minor white female: Theo, is overweight, unattractive and morally warped. A wondrous mid-series episode takes us back to secondary school, only done successfully in Romy and Michele’s High School Union during the late nineties. The retro-fun element of camera phones being new, hilarious in comparison to the multi-faceted smartphones of today. We see the only significant white, female character, falsely accuse a black man of rape. Equally to this, it becomes clear that Arabella’ rapist was white, herself being of colour. Is this a lesson for white supremacy, are matters being transformed in terms of traditional villain, victim roles in terms of race?

As a white female, I found some of the script a little isolating, the dialogue of:

‘I don’t like white people.’

stated by Terry. The scene in which Arabella takes extreme offence from being referred to as being from an ‘Afro-Caribbean background’ as opposed to simply of ‘African background’. This combined with making the medical professional linger while they shoot a podcast. This did not appear to be an act of standing up to racism, more the conduct of adolescents that belonged in a classroom seated next to Catherine Tate’s Vicky Pollard.

The range of taboo subjects brought to the drama was radical, in the extreme. The casual use of sanitary towels, menstruation no longer to be hidden and ignored. However, I found the scene in which she brings home a Man which she has just met in a night club off-putting. They endeavour to have intercourse while she is on her period. This combined with them both playing with her heavy, ‘Squishy’ discharge bordering on vulgar.

We are introduced to group sex on several occasions and internet dating, which pre-Millennial’s didn’t indulge. Significantly, the concept of social media addiction is raised, something we are all beginning to ponder over as a result of lock down and periods of isolation. Primarily, we are embraced by the subject of male rape, a major taboo, the public only being widely aware that this happened since the turn of the Millennium. Although the male rape scene was convincing, I was deterred by the response of the character. Devastation, regret and self-blame were not conveyed convincingly.

Although there were some downsides, this is a monumental step forward in challenging the many failings within our society; primarily rape culture. The ambiguity of the concluding episode adds to the mental turmoil over violation and redemption. The series instigated discussions and debate, a drama which will get us talking about rape.

Set to take the short trip over the pond, let’s hope Arabella & Co, can do the same for the Americans!

Watch the Series

Stealthing

Mrs Trump

 

Mrs Trump

Although Mrs Trump and other characters in the narrative are real, this is strictly a fiction works and the actions and events are not based on real life.

Mrs Trump gazes over the silver-framed Wedding photo they have positioned on the intricacies of their mantelpiece. The happy day: a falsehood, like herself, a manufactured outer shell. He owns her like his property empire, the White House, the Billionaire who purchased the United States, if not the World. Her vision moves towards the photos from their honeymoon. Modest, but designer suited, backed by the vision of a meadow. A meadow which they never walked in, only fantasies of jumping and throwing things at each other as she gathers wild flowers. A nature she had never submersed herself in, not even in youth. Even when at the beaches of the tropics, she goes no further than the spotlessly cleaned lounge areas of the most luxurious hotels.

Eyes manoeuvre back towards the image of the big day. The bridesmaid from her side, a cousin she hardly new flown over from Slovenia. A girl who would look good in the dress the stylist selected for her which she didn’t question. The bridesmaid figure they were able to call up and slot in again when needed for media stated family occasions, now replaced by their son.

The fallacy of the photograph, as she looks over she feels nothing. Void of emotions or signs of dissatisfaction with the home life she has built up. A fake marriage, a collection of houses in which she didn’t enjoy living. A husband whose affections wonder over those he can afford. Horses they hire people to ride, the land they purchase as simply a pleasant view from the windows. Dead inside, presenting a placid outer shell. Simply stand by his side. Mrs Trump: the ultimate purchase, a representation of beauty, an outer crater containing nothing but stale air.

Reminiscing on the excitement of her youth before she became the third Mrs Trump. The wild all-night parties of her modelling work, Milan, then Paris. A smile takes over her face and her lower lips become moist as she recalls the thrill of jetting into London to bare all for GQ magazine. Fully naked, draped over furs, neck adorned by jewels as she looked directly at the lens. When she had it all ahead of her, desired by all, she could have made any man her partner.

Fingers run over the jewel of her neck piece she selected earlier in the evening. The fulfilment she had felt when she had established her own jewellery business, the company she had been forced to abandon as it was deemed unfitting for the President’s Spouse. The PC role she now plays helping children’s charities. The glamour of the jewels given up for the dust-ridden dorms and desolate units of children’s homes. The special attention she has been directed to give towards the harm opioids can do to the foetus. Not her instigation, could pregnant women on heroin, really, not work out they are harming their unborn children for themselves?

Legs rested on the footstool, she leans back into the comfort on the leathers of the settee. Eyes wandering around one of many living rooms of the White House, gazing through the expanse of the interior. Her memories re-engage with the modest apartment in which she was raised. The entire residence for her parents and there two daughters to live being the same size as the room she is currently seated. As she sips her gin and tonic she contemplates the separate beds her and her husband now sleep. When their relationship had started they indulged in sex multiple time a day, now they rarely even touch one another. The son they had together, the boy they hardly know due to the amount of time he spends away at school. She is ambient to his meagre attempts to hide his latest affair, a brave front made up and ignored. She had acquired all the riches a woman could desire, but right now she recognises she was happier squashed into the apartment block of her childhood surrounded by the love of her family.

There can be no return, no escape, no way of leaving the most powerful man in the World. Again, her vision gazes towards the mantelpiece, this time toward the bottle of pills, her eyes look down towards the ice in her gin and tonic.

No, she will continue to dress for the press, stand by his side and present herself as ‘The Wife’, her envisaged role.

For now anyway……

A Void

womb

A Void

In this, I have agreed to what was termed ‘A life modelling process’ for an artist seeking volunteers for a project he is working on. I stand before him in my dressing gown, nude underneath and wondering what he wants me to do, he tells me:

‘Don’t worry, I have done this lots of times before.’

From this, I am somewhat reassured, but still, air a little caution.

‘I just need you to lie down so I can paint you with latex.’

In this he shows me the latex, it’s white and when he paints a little of my arm it feels cold but pleasant on my form. I agree to the process and he helps me untie my dressing gown belt, although naked I feel comfortable in front of him, he has put me at ease.

I lie down under his direction and move into the position he needs me to be in. He starts painting around my neck area, slowly but surely working his way down. He is careful but professional as he covers my breasts, making sure he only touches my nipples with the horse hair bristles of the paint brush.

Working his way further down my body he comes to the groin area. I become nervous again, worrying about what he is about to do.

‘Relax, I have done this many times before.’

I let my muscles fall low, then with warm air, he blows gently inside myself. From this, like magic, I open right up like a great white shark about to launch an attack.

‘That’s right, good, you’re doing well.’

He directs, then he moves onto his back and slides his head and upper body inside my womb. From this, he begins to paint, carefully and professionally, coating the walls of my womb and ovaries in latex. When he has finished he edges out carefully and puts each hand delicately on the inside of my legs. Then without touching me with his lips he sucks air from the inside of myself. I return to my normal size, at ease with everything going on, amazed at what has been performed by this genius.

From this, he works down my legs in a similar motion. He then turns me over to work on my back and lower body. So relaxed with the brush motion I am almost asleep when he finishes:

‘We just need to wait for it to dry.’

He whispers, in this, he picks up an old fashioned guitar and begins to sing folk songs.

He wakes me up to tell me that it’s time to peel the latex off. I stand up for him and he begins stretching off the suited coating, carefully going over my breasts. After my ribs he stops and places a hand on each side of myself, then he kisses my forehead, gently and childlike in motion. As I smile he gets back to action, working the form off down to my lower body.

After a gentle shake, my womb falls out. Before me, I see its squashed in structure, perfect on the inner coating, but de-revelled on the outer. My ovaries flop out almost deformed and entwined, messy and forlorn. Ahead of me, I see the babies, I will never give birth to and the children I will never raise. The bedtime stories I will never read, the play parks I will never go to, the football matches I will never go to and the school plays I will never attend. In this he finishes the removal process, then he shakes out the body-like creation. He clips it onto a line, in this, it stands tall and strong, an independent being, strong, singular, but of great value.

Alison Little

A Void is a flash Fiction works from Alison Little. This piece was first performed in the Hornby Rooms, Central Library, Liverpool for International Women’s Day in 2018. The subsequent year it read for an event marking the same celebrations held during the 209 Women exhibition marking the centenary of women being able to vote in the UK (Although restricted to those over 30 and with property).

The illustration was also created by Alison Little using a bamboo dip stick pen and Indian ink. It feature a close up of a womb and creates an impression of scarring. She is looking to make a sculptural piece from latex later in 2020 to represent the works.

More about 209 Women exhibition, Open Eye Gallery

Convict Blanket

Blanket 090

Convict blanket is the latest art activism works from concept-based arts practitioner, Alison Little. A sensation to shock and stand against rape, rape culture and the authorities put in place to tackle sex crime within our society.

Convict blanket confronts us with the homage style of using material available, in this case, the humble scratch provoking woollen coverings of the bed. The use of blanket stitch and appliqué reminiscent of techniques used in prison protests where all resources must be reclaimed from the sparse provisions available when incarcerated. The blanket is floor-based, slightly raised to one side. The text and images locate with the nearest edge in which they are placed, allowing the viewer to read the statements as their paths encircle the form. The use of hand-embroidered text reminiscent of the marker pen on corrugated card portrayals commonplace throughout activism. Texts vary in scale, case and font in regards to the emphasis placed on the statement which is being presented. Large bold statements often present definitive assertions, small joined-up style wording is often examples of dialogue and opinions of the minority. The black text looks to address how to reduce the numbers of sex attacks by convicting more rapists. In opposition, the red highlights issues within society and the authorities put in place to tackle sex crime which are failing at every given opportunity. Although male rape is equally as relevant, this identifies with female rape which is statistically committed in greater numbers.

The first of the black text presents a printed abbreviation, ‘HMP‘. This is commonplace within the UK, ‘Her Majesties Prisons’ being the full term and the title for units of incarceration. The larger appliqué fonts present ‘Convict‘ and ‘Rapist‘, indicating an intention for more sex offenders to be serving custodial sentences. This is emphasized in greater detail by a well-defined corner based statement:

We must press for the conviction of more rapists.’

A powerful sentence, stating the motivation behind the activism, the use of the second person to engage the viewer with the protest.

Post Traumatic Stress Disorder (PTSD), which is common among rape survivors is raised within smaller statements. Dressing down as a result of being raped is proposed, backed up by an image of a ‘Hide under’ hoodie. Larger texts draw attention to statistics:

‘1 in 10 rapes are reported to the Police, of these only 1 in 10 lead to a conviction.’

Due to current changes within the Crown Prosecution Service (CPS) this figure is currently much lower. The statistic highlights how rape is one of the most under-reported crimes. The statement is reinforced by the pie chart indicating that only 1% of rapes committed lead to a conviction.

Patriarchy is addressed, male supremacy being a factor in why rape is not being tackled effectively. Police apathy over sexual assault cases is presented. Demands towards the recruitment of ‘Strong, capable women,’ are made, requesting women who will prioritise rape over trivia to be brought into the Police Force. Drawing attention to the vulnerability of the rape survivor, showing how there needs should be prioritized. The black statements concluding with the most vital statement of them all, the rapist being ‘100%‘ to blame for rape.

The red text looks to highlight why our society is failing to reduce numbers in terms of sexual assault and punishing more sex offenders through the penal system. The large appliqué terms read ‘Rape Culture’ and ‘Victim Blaming’. Across the blanket, we have statements which highlight examples of victim-blaming, itself a factor within rape culture. Projections of low morals, promiscuous clothing, the rape survivor being presented as ‘The Whore’ and extreme example of ‘Slut-shaming’ are identified. Misconceptions around PTSD are given, many are still not aware that this condition is commonplace with rape survivors. The second delusion of rape being unusual is also stated. Narcotic and alcohol use are presented, suggestions that mild cannabis inhalation could result in hallucinations an example of ignorance. Again, blaming the victim through alcohol consumption, the concept of consenting to sex being overlooked.

Patriarchy being stated, showing the focus of the law to be on protecting men from being falsely accused of rape. How the Police Force is male-dominated, the notion of many of these ‘Men’ having little intentions of acting against rape, in this, recruiting weak, feeble women to actively fail rape survivors. This is developed by drawing attention to the actions of many Police Women, their sole contribution to a rape enquiry to be establishing what happens when they get dressed up, thus providing the opportunity for them to reflect on their superior beauty. The trivial nature of operatives, examples of attire being copied being prioritised as opposed to communicating the nature of the sex attack. This is matched by their counterparts, Policemen, many are only interested in their prowess, continually falsifying reports on how the rape survivor is attracted to themselves. Looking at the attitudes of Police personnel, those who feel that they are not expected to do anything in a rape case, the extremities being the role of the rape victim to protect and shelter vulnerable officers.

Ultimately, the saddest statement of all:

‘It was my fault I was rapped.’

The victims who blame themselves, a factor in why so many crimes are not reported to the authorities.

‘Convict Blanket’, innovative works, at the helm within the spectrum of art activism. Artwork which can challenge misconceptions around rape, concepts which can address issues in society and confront the authorities put in place to act against rape. Ultimately, ‘Convict Blanket’ will lead to the conviction of more rapists, reducing rape crime and proposes a safer society.

Convict Blanket will be exhibited from spring 2020.

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Quotes from Catherine MacKinnon

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Catherine MacKinnon, a mother of second-wave feminism, led the US movement alongside greats such as Andrea Dworkin and Gloria Steinem. Primarily, a legal scholar, lecturing at institutions such as Harvard. Specialising in sexual harassment, pornography and prostitution. We take a look at some quotes from her acclaimed 1980’s publication, Feminism Unmodified: Discourses on life and law.

”One of the advantages of male supremacy, along with money and speech and education and respectability, is sexual access to women, of which pornography is one form.”

”Marriage is women’s destiny, she defends and seeks to extend. Now, three out of five marriages end in divorce after about five years, leaving the woman with approximately one child, approximately no income, and a standard of living drastically below that of her former husband.”

”A recent study shows that the only difference between hookers and other women with similar class backgrounds is that prostitutes earn twice as much.”

”We resent being blamed for what men do to us, being told we provoked it when we are raped or sexually harassed, living in constant fear.”

”Men see rape ass intercourse: feminists say much intercourse is rape.”

”Sex blindness”

”The rule said that if Native American women married outside the tribe, the children of that union were not full tribe members: if Native American men married out, there were no such consequences.”

”Neo-Victorian prudery’

”What is not considered to be a hierarchy is women and men – men on top and women on the bottom.”

”Reproductive freedom”

”The problem is, the State has never in fact protected women’s dignity or bodily integrity.’

”Most rapes are intra-racial and committed by men the women know.”

”The purported plot of Deep Throat (Linda Lovelace) is premised upon rearranging the woman by putting a clitoris in her throat, so she gets sexual pleasure out of giving oral sex to men.”

”A critique of pornography is to feminism what defence  is to male supremacy.”


”This is what it means when feminists say that maleness is a form of power and femaleness is a form of powerlessness.”

”Women’s desire to be fucked by men is equal to men’s desire to fuck women.”

 

Quite simply, a great feminist icon here to inspire and move humanity forward.

 

 

Catherine MacKinnon

Feminist Unmodified

1950’s Girls Annuals: the Homemaker

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Seventy years on from when the girls annual of the 1950’s were being read in the  pink bedrooms of the post-second world war generation we look back at there content. Where they looking to inspire the girls who would grow up to lead second-wave feminism through the seventies, or were they looking to indoctrinate the next generation of Housewives?

Girls literature of the 1950’s painted a world of domestic bliss. The role of sewing, the adoration of flowers and the wearing of impractical clothing prevailed across the pages of mid-century girls annuals. Poems encourage the practice of cleaning, baking, being house-proud, having the most perfect hair and awaiting the kiss of a man. The role of the party planner is put forward, a caregiver role projected. However, not to be forgotten in Britain, the concept of making tea in a crisis is ever-present.

Pressures on young girls to be lady-like

The continual pressures on young girls to be lady-like. Any matters of rebellion from this notion are lame and akin to stories of naughty schoolgirls. Images of impractical sports clothing, skirts worn for tennis and golf. Dancing is in full costume and skiing is shown to be gentle and relaxing. With sports like rowing, women simple sit back as men take the oars. Similar scenes are shown with motor vehicles, males are strong and take the wheel, steering away from danger and girls watch on. Generally, the women are beautiful, appear to be sunning themselves as the men do all the work. They are gorgeous, pale-skinned, flushed cheeks with bouncy blond hair adorning their slim bodies. Looks of women pleading with men as they carry all the heavy items. Delicate women prevail as they receive kisses on the hand from admiring men. Many of the tales inscribed simply escalate to men saving the day as the women look on in awe.

Boys literature of the period was in starch contrast to that of girls. They masqueraded daring adventures, escapades and the dangers of warfare so prevalent on the minds of those growing up in the years which were the aftermath of World War Two. Presenting depictions of action sports, space exploration and tackling monsters. Many of the tales bore similarities to the ever-popular Westerns of the time, cowboys, Indians and hunting. Cops and Robbers was an ever-present theme. We were also introduced to the world of large, expensive motorcars, Bentley’s of the era. Top athletes, racing and highly competitive sports dominated the pages of the 1950’s annuals. Men were shown to be strong and capable, getting into fights and adventures took place across the globe. Incidentally, many of the representations of black people were tribal in origin. Images of women seem simply to depict a gorgeous girl who sits there as the man wins her with his actions. Cigars are also present, as a male indulgence, not something to be discouraged. Work and logic puzzles were headlined around ‘Shoot’ and ‘Hit’, evoking a strong sense of competition. Practical skills were encouraged through narrative’ around tools and making exercises were played out.

Contemporary girls literature has modified immensely from the 1950’s. Positive, empowering statements ‘I can’ and ‘You can do anything’ embrace our pages. Girls are now dressed as action figures and take on space exploration. Females from ethnic minorities are now included and girls vary greatly in their appearance. We are presented with different faith groups and the idea of unconventional family groups are put forward. Those with disabilities are shown and take on powerful roles.

Becoming a ‘Leader’ is suggested, women are no longer here simply to do as men instruct them.

Inspirational positions and occupations are presented as life choices. Becoming a ‘Leader’ is suggested, women are no longer here simply to do as men instruct them. Positive real-life role models are presented through photography and text. Girls are shown to be practical, using tools and building projects. The former male domains of math’s and science are promoted, the aesthetics of wearing goggles for experiments put in a positive light. Environmentalism is a new agenda, current affairs and politics are embarrassed. Tea parties are now of the fair trade variety and healthy pursuits of foraging for food are encouraged, taking from the male hunter, gatherer role. Making projects develop skills in science, numeracy levels and encouraging activism.

The nostalgia of the fifties is enjoyable to re-collect, the role of the mother and the home-maker not to be discredited, contemporary girls literature id clearly more inspirational. Modern-day girls Annuals promote positive female aspirations, leadership and activism, not being lady-like and waiting for a man to save the day. Female literal sources which will create a more positive power balance for women of the future.

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A Respectable Woman

Wedding

A Respectable Woman is the latest poem penned by Alison Little around the theme of Truth for National Poetry Day 2019. It was performed by Alison at the Life Rooms in Walton and for Sefton Slams at Crosby Library.

 

A Respectable Woman

Respectable, woman I am
Married, my working man
Toddler hand, baby in pram
Nightly, I cook up scran

Cleaned daily, house gleams
Sparkle, blinds align
Domesticity, I beam
Other tasks benign

Respectable, woman I am

Indulging, drink I never
Curse those who do
Frolics, not me, ever
Bars, the fallen go

Narcotics blamed for all
Because of drugs!
The route of all downfall
‘She’s off it’ I shrug

Respectable, fat through childbirth

Gateaux, farm food supply
In fat pants, I squeeze
For dinner I deep fat fry
Weight gain ease

Obesity: giving birth
Fat blamed, motherhood
Woman’ purpose on Earth
Hefty means good

Children, reflect parenting
Ensure they behave
I scream, shout, demanding
Blamed, early grave

Mortgage renders responsible
Better than those amid
Marriage equals respectable
Only role, provide kid’

Respectable: I got Married

Every bride is beautiful
Fat pant’ looks, dismay
Nightly groom uses tool
Every dog has its day!

Alison Little

More about National Poetry Day

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Gloria Steinem

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The iconic feminist, the writer, the political activist and the author of her later biography, ‘My Life on the Road’.

As a girl, she traveled across the US between Ohio and Florida for most of her informative years. The trailor upbringing came to an end when her parents divorced, she went to live and care for her depression troubled mother, now attending school regularly from
the first time at the age of eleven.

After college she was awarded a fellowship and spent two years in India. During her travels she opted for a termination of pregnancy in London ten years before they were legal.

From this she became a journalism, a groundbreaking article being ‘A Bunny’s Tale’, where she went undercover as a playboy bunny to get the dirt on Hugh Hefner and the Playboy empire. Co-founding New York Magazine and Ms Magazine, which she later became an editor for several decades later. From the late sixties she rubbed shoulders with greats like Betty Friedan as they marched for the liberation of women.

Now, at the age of eighty-five, she is technically in retirement. However, social activism work is not something you retire from, she is still penning the writings which inspire women Globally.

Her latest biography, ‘My Life on the Road’ contains so many awe-inspiring quotes, we give only a few to lay a foundation for Steinemism and the future:

Dick and Jane limitations that school put on girls.’

From her travels in India:

High caste women were sexually restricted and women at the bottom were sexually exploited.’

‘Most of us, I love graduations. They are individual and communal, an end and a beginning, more permanent than weddings, more inclusive than religions, and possibly the most moving ceremonies on earth.’

‘Needing approval is a female cultural disease, and often a sign of doing the wrong thing.’

‘I was angry about the human talent that was lost just because it was born into a female body, and the mediocrity that was awarded because it was born into a male one.’

‘A journey -whether it’s to the corner grocery or through life-is supposed to have a beginning, middle and end, right? Well the road is not like that at all. It’s the very illogical and the juxtaposed differences of the road-combined with our search for meaning-that make travel so addictive.

‘My Life on the Road’ is available from Amazon

More about Gloria Steinem

 

 

Hand-Held Destinies

Me

Wednesday evening saw the opening of; John Moores Painting Prize, the Rise of the Sixties in Liverpool, at the Exhibition Research Lab of John Moores University. The fresh white interior of the John Lennon Art and Design Building provided the exhibition venue, brought to life by an evening of the performance. Stimulating music, spoken word and monologues were accompanied by illuminating visual arts responses.

Hand Held Destinies is a spoken word piece written and performed by Alison Little on the evening. Created as a response to a photo exhibit from 1968 of two girls playing in the sea shores of New Brighton:

 

Hand Held Destinies

Girls hold hands in friendship.
Gleeful
Elegant in play

Eight years old
Born in 1960
The decade which changed Liverpool, Britain and the World

1960 saw the introduction of the pill
We had effective contraception
Birth Control
The Sexual Revolution
Smaller Families
We got richer

As they play in the swath they are attractive in their childhood. Swimsuits made for play, hair it’s natural colour, tresses they are not afraid to get wet. Sand grit, Sea and the salt of the shores adorn their sun-soaked bodies.

Today we have the modern day falsehood of youth. Primark churning out padded bras for pre-teens. Claire’s accessories piercing collections of hoops and studs to the lobes of innocence. Youthful visions of success; to appear on celebrity love island, becoming a WAG or to acquire a cosmetically enhanced bosom larger than Jordan’s.

An era when British beach holidays ruled the waves. Stripped deckchairs, the bucket and spade, splendour of Punch and Judy. Taken over by the package holiday: routes to the warmer destinations of Southern Europe. Made redundant for a second time by the cheap flights of the digital buyers market.

Background, we have sea vessels and the Albert Dock, it’s function then for shipping. Today, as the girls head to retirement we have shipping in its last days of decline. We have a dock surplus of its intended purpose.

Sea Faring industrialism replaced
A cultural haven
The Waterfront
The Tate
Museum of Liverpool
The Maritime
A new Future
A future of tourists
Culture Vultures
City Breakers
A cheap flight destination
The ‘Must take in’ city of Liverpool
A city revived
An end of mass unemployment
The striking city no more
The legacy of the Capital of Culture Year

Their playscape is now a Metropolis challenging globally.
But to the padded bras, the stud lined ears and fixations with celebrity culture we have the bucket.

A return to the beauty of innocence bathing in the optimism of the future.

Alison Little

 

Exhibition continues throughout April.

More about Research Exhibition Lab

Main photograph credited the Graham Smillie.

More about Graham Smillie photography

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Do we need a Miss Liverpool?

Miss Liverpool copy

The ritualistic process of crowning a Miss Liverpool is an annual event in the city of Liverpool. Initially, relating to the ancient custom of Marriage, the ball-like gown paraded by the contestants often being the traditional white. The notion of a maiden passing of age is also conjured up by the generation of the contestants, the latest winner; Elli Wilson, being a tender seventeen, most entrants are in there later teenage or early twenties in terms of age. A tall slender figure with a bikini perfect body relating to the process of fertility selection. Often a ‘Barbie-esque’ girl, a typical Arian with pure long straight blond hair. Images of Snow White and the Sleeping Beauty are conjured up by this fairy tale heroine, types of girls. Equally, does the pageant relate to the Debutante Balls so common with the Aristocracy and the Jane Austen novels we treasure as a society? Is the crowning of Miss Liverpool so different from the most recent Royal Wedding of Megan and Harry?

Should a contest be based simply on looks, it this merely an act of male objectification and is this wrong? Do modelling agencies like ‘Impact’ who often sign contestants degrading to women in the way in which they present the model’s ‘Vital Statistics,’ measures in terms of the figure and cup size of her bust?

Lucy Whittaker, former winner, Impact modelling

Does the beauty pageant relate to sovereignty and are the winners so different from Kate Middleton and Megan Markle? Is the process similar to a traditional Debutante ‘Coming Out’ ball and do we need this in contemporary society?

Does the Miss Liverpool contest promote child pageanting, is this the sexualization of children and is this being encouraged?

Are we happy with Nightclub culture, the final awards ceremony for the contest being held at the Olympia in West Derby Road? Does the winner simply go onto make nightclub appearances worthy of a role model figure? There have been long term associations between the Olympia and the Grafton Rooms which has long been known for prostitution within the city. Is the contest helping to create a rape culture which we should be aiming to suppress?

Is the Pageant simple a tool for creating minor celebrities leading to appearances on hyper-reality shows. Was the former winner, Daniel Lloyds appearance on Celebrity Big Brother a positive or negative matter? Many of the winners seem to become minor celebrities, fund cosmetically enhancing boob jobs and is this a process we want to be part of?

Is the contest simply a symbol of White able bodies hierarchy? Winners are seldom from minority groups, in term of ethnicity Miss England has only ever been won by a singular Muslim girl. Are those with disabilities, same-gender sexual orientation or trans women ever present as winners or participants?

Previous winners

Does the concept of beauty contests, celebrity culture and the vanity which surround our advertising agencies lower self-esteem and put pressure on women to be more beautiful and ultimately younger. Is the contest ageist in term of participants and winners?

Answer the ultimate question: Do we need a Miss Liverpool?

A) Yes, she is the ultimate female idol.
B) Yes, it’s just intended as a bit of fun, she can be seen as someone to aspire to in addition to leading women from other industries.
C) I would prefer for the Miss Liverpool contest to be changed to eliminate objectification and to promote skill and intelligence of women and to include women from BME communities.
D) Miss Liverpool must go….

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