Girl Power’s Last Chance? Tavi Gevinson, Feminism, and ... · This paper focuses on Tavi...
Transcript of Girl Power’s Last Chance? Tavi Gevinson, Feminism, and ... · This paper focuses on Tavi...
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GirlPower’sLastChance?TaviGevinson,Feminism,andPopularMediaCulture
Abstract:ThispaperfocusesonTaviGevinson,theteenagefashionblogger‐turned‐editorinchiefoftheonlinemagazineRookie,asacasestudywithwhichtointerrogatetheproductionandcirculationoffeministpoliticswithina“postgirlpower”era.Drawingontheoriesofperformativity,IemployadiscursiveandideologicaltextualanalysisofGevinson’sself‐producedmediaandmediacoveragetomaphowGevinsonusestheopportunitiesaffordedbydigitalmediatorearticulatenarrativesof“girlpower”andperformafeministgirlhoodsubjectivitythatmakesfeminismaccessibletohermanyreaders.WhileIarguethatGevinson’sabilitytodosoispositiveanddemonstratestheporousnatureofpostfeministmediaculture,IalsosuggestthatwemustbecriticalofthewaysinwhichGevinson’sfeminismfunctionsaspartofherselfbrandthatreproducesfeminismaswhite,middle‐class,and“hip.”Thus,Iconcludebyquestioningalargerculturaltrendtowardsthebrandingoffeminismandadvocatingtheneedforanintersectionalapproachtounderstandingtheresurgenceoffeminismwithincontemporarypopularmediaculture.AuthorBio:JessalynnKellerisaLecturerinNewMediaatMiddlesexUniversityLondon,havingcompletedherPh.D.attheUniversityofTexasatAustinin2013.Herbook,Girls’FeministBlogginginaPostfeministAgeisanethnographicstudyofU.S.‐basedfeministgirlbloggersandisforthcomingfromRoutledgeinlate2015.JessalynnhasalsopublishedworkinFeministMediaStudies;Information,Communication,andSociety;Women’sStudiesInternationalForum,andinseveraleditedcollections.HernewestprojectfundedbytheArtsandHumanitiesResearchCouncil(UK),examineshowdigitalfeministactivismischallengingrapecultureacrossonlineandofflinespaces.AuthorContact:Dr.JessalynnKellerDepartmentofMediaMiddlesexUniversityLondonJessalynn.keller@gmail.com
InaSeptember2012articleintheCanadiannewspaperTheGlobeandMail,
columnistKatrinaOnstadprovocativelyraisedthequestion:“IsTaviGevinsongirl
power’slastchance?”OnstadsuggeststhatGevinson,theChicago‐basedteenage
founderandeditor‐in‐chiefoftheonlinegirls’magazineRookie(rookiemag.com)is
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revivingafeministgirlcultureoriginallycultivatedintheearly1990sthroughthe
feministpunksubculture,riotgrrrl.Gevinson’spublicidentificationasafeminist,
promotionofgirls’communities,andprogressiveRookiearticlesthatmake
feminismrelevanttoteenagegirlsmirrorriotgrrrlpracticesandareasignificant
deviationfromtheapoliticalmediaforgirlsprimarilycreatedbyadults.Thus,
OnstadispartiallyrightinsuggestingthatGevinsonrepresentsaresurgenceofthe
culturalpoliticsofanerabeforeshewasbornandsymbolizesareturntoriotgrrrl
politicsasawaytoresistpostfeministmediaculture.
Yet,unliketheriotgrrrls,manyofwhomshunnedmainstreammediainterest
andattemptedtoavoidcelebritystatus,Gevinsonhascourtedmediaattentionsince
shegainedpublicattentionasaneleven‐year‐oldfashionbloggerandhasbeen
featuredinpublicationsrangingfromNewYorkMagazinetoAdweektoTeenVogue.
Gevinsonhasbeenaninfluentialforcewithingirls’cultureforseveralyearsasshe
transitionedfromquirkytweenfashionbloggertothemediamogulsheistoday,
presidingovertheRookiebrandwhichincludesawebsiteandtwoprintedbooks.In
thissense,GevinsonisindicativeofwhatAnitaHarris(2004)callsthe“can‐dogirl,”
agirlwhoisindependent,self‐madeandambitious,demonstratingawillingnessto
participateinthecapitalistmarketplaceasbothaconsumerandeventually,worker.
Thecan‐dogirlisagirlwhohasembraced“girlpower”andhasbenefittedfromits
incorporationintopopularcultureasahegemonicdiscoursewithinpostfeminist
mediaculture.Thus,this“post‐girlpower”eraisonewheregirlsarenotonly
“expected/demandedtobefullyself‐actualizedneoliberalsubjects”butalsoone
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wherenewopportunitiesforagencyandresistanceemerge(Gonick,Renold,
RingroseandWeems2009,2).
Gevinsonrepresentsanotableyetunder‐analyzedtensionbetweenthe
publicperformanceoffeministpoliticsthatpromotestheformationofgirls’
communities,politicalactivism,andculturalproductionasnecessaryactivitiesfor
girlsandapostfeministmediaculturewhereself‐branding,circulatedvisibility,and
achievingcelebrityisnormalizedforgirls(Banet‐Weiser2012;Hopkins2002).
Whilefeministscholarshaveproducedproductiveanalysesofpostfeministmedia
culture(Gill2007;McRobbie2009;Negra2009),andthe“girlpower”discoursethat
informsthismediatargetinggirls(Zaslow2009;Currie,Kelly,andPomerantz2009;
Hains2012),fewresearchershavegrappledwiththewaysinwhichgirls
themselvesareengaginginfeministpoliticsthroughpostfeministmediaculture.
InthispaperIbegintoaddressthisoversightbyexploringthetensionsand
contradictionsbetweenfeministpoliticsandpostfeministmediacultureusing
Gevinsonasaproductivecasestudytoconsiderthefollowingquestions:Howhas
Gevinsonrearticulated“girlpower”aspracticedbyriotgrrrlswithinRookie’sdigital
mediaculture?Howhasthisstrategyfunctionedsimultaneouslyasawaytocreate
opportunitieswithinpostfeministmediaculturetoperformalternativefeminist
girlhoodsubjectivitiesandtogeneratealucrativeself‐brandforGevinson?What
mighttheseactionssuggestabouttheculturalnarrativeof“girlpower”today,
amidstaculturalcontextwheregirlhoodremainsahighlycirculatedcommodity
withindigitalmediaspaces?
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Iaddressthesequestionsthroughadiscursiveandideologicalanalysisof
Gevinson’sself‐producedmedia,aswellasmediacoverageoftheblogger;focusing
primarilyonthetwo‐yearperiodbetweenSeptember2011andSeptember2013.I
situatemyanalysiswithinabodyofculturalstudiesandgirls’studiesscholarship
thatexaminespostfeminism,neoliberalism,andbrandculturesfromafeminist
perspective.Idrawontheoriesofperformativitytointerrogatethewaysinwhich
Gevinson’smediapersonamustbeviewednotasan“authentic”presentationofself,
butamediatedperformancesituatedwithinaculturethatdemandsgirlsandyoung
womentoself‐brand(Banet‐Weiser2012).
IarguethatGevinsonusestheopportunitiesaffordedbydigitalmedia
productiontoperformandcirculatealternativegirlhoodsubjectivitiesthatdrawon
discoursesofgirlpowerarticulatedbyriotgrrrl,includingthosethatincorporate
feminism,friendship,andpoliticsasapartofcontemporarygirlhoodidentities.This
isasignificantaccomplishment,asitnotonlychallengessomeofthepostfeminist
discoursesaboutgirlhood,suchasthefigureofthe“universalmeangirl”(Ringrose
2012),butalsoservestointroducefeministpoliticstoRookie’swidereadership.
Thus,Gevinsondemonstratesthesomewhatporousnatureofpostfeministmedia
culture,wherebyfeministpoliticscananddoappearwithinpopularmediatexts.
Gevinson’sperformanceasa“mediasavvyinteractivesubject”(Banet‐Weiser
2012)mediatedthroughbothRookieandherextensivepopularpresscoverage
meansthatherfeministpoliticsareoftenarticulatedinrelationtoherself‐brand,
whichisbasedupona“subculturalcapital”(Thornton1996)thatiship,urban,and
popculture‐savvy.BecauseGevinson’sfeminismisboundtightlywithinherself‐
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brand,itistranslatedassomethingthatisprimarilywhite,middleclass,and“cool,”
complicatingthecollectivesolidarityamongstgirlsRookieattemptstocultivate.
Thispaperthenraisesimportantquestionsaboutthepossibilitiesforadiversityof
girlstoparticipateinfeministgirls’culturesuchastheonegeneratedbyRookieand
attemptstointerveneintotheongoingpublicdebateabouttheproduction,
mainstreamingandbrandingofa“hip”feminismwithinapostfeministmedia
culture(Alvaraz2013).
TheTaviBrand:DigitalMedia,EntrepreneurshipandFeminism InanApril2013coverstoryinAdweek,theindustrymagazinedescribes
Gevinsonasa“mediamogul…expandingherempire”(Bazillian2013),pointingto
hersuccessfulnavigationofthedigitalmedialandscape.Gevinson’sbiographyisan
impressivelistofaccomplishmentsthatspansmedia,fashion,publishing,filmand
theaterindustries.Gevinsongainedattentionasatweenfashionbloggerin2009
afterherblogTheStyleRookie(http://www.thestylerookie.com/)captivated
fashionindustryinsiderswithitscreativephotographyandwittycommentary.
SincethenshehaspennedarticlesforfashionbibleHarper’sBazaar,satinthefront
rowofglobalfashionweekshows,modeledalongsideCyndiLauperforJapanese
clothingchainUniqlo,andhasspokenatprominentconferences,suchasTedxTeen
2012.
InSeptember2011Gevinsonlaunchedanonlinemagazineforteenagegirls
titledRookie,whichgarneredoveronemillionpageviewslessthanaweekafterits
launch(Goodman2013).GevinsoncapitalizedonthesuccessofRookieby
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embarkingonacross‐countryRookieRoadTripinsummer2012tomeether
readersandtopromotethelaunchofRookieYearbookOne,aprintedbookof
selectedpostsfromRookie’sfirstyear.Hersecondeditedbook,RookieYearbook
Two,waspublishedinSeptember2013‐‐onlyafewweeksbeforethereleaseof
EnoughSaid,inwhichGevinson’sactingwascriticallyacclaimed.Insummer2014
therecenthighschoolgraduatestarredintheplayThisIsOurYouthinChicago,
whichmovedtoNewYork’sBroadwayinSeptemberforafour‐monthrun,an
opportunitythatledtomediacoverageinW,RollingStone,andTheNewYorker.
Gevinson’ssuccessfulcareerpointstoherabilitytounderstandamedia
culturecharacterizedbyconvergedindustries,onlinetechnologies,andrapid
change(Jenkins2006).Thismediaculturerequiresonetobea“mediasavvy
interactivesubject,”whichSarahBanet‐Weiser(2012)describesassomeonewho
producesmediacontentthatcirculatesacrossmediaplatforms,onewho“‘finds’a
selfandbroadcaststhatself,throughthosespacesthatauthorizeandencourage
useractivity”(56).Gevinson’smediaproductshingeonthispracticethatBanet‐
Weiserdescribes:FromheractiveuseofTwittertocommunicatewithover200,000
followerstoherrelianceonreaderfeedbackonRookie,Gevinsonembracesthe
interactivitythatnewmediaplatformsafford.IndoingsoGevinsonisableto
presentherselfasapeerandconfidantetohermanyfans,anaspectofherself
brandthatshe’smobilizedtocreategirlcommunitiesthroughinitiativessuchasthe
RookieRoadTrip.
Itisworthconsideringthe“findingandbroadcastingofaself”thatBanet‐
Weiserdescribes,apracticethatI’mreferringtoasself‐branding.Hearn(2008)
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definesself‐brandingasthe“self‐consciousconstructionofameta‐narrativeand
meta‐imageofselfthroughtheuseofculturalmeaningsandimagesdrawnfromthe
narrativeandvisualcodesofthemainstreamcultureindustries”(198).This
practice,accordingtoHearn(2010),isafunctionoftheimageeconomywhere
attentionandfameiscapital,andmayincludestrategiesthatrangefromcirculating
awittytweettodevelopingasignaturefashionstyle.
Whilescholarsmostoftendiscussself‐brandinginrelationtoshiftingforms
oflabourwithinneoliberaleconomies,Iaminterestedinhowself‐branding
functionsasagenderedpracticethatcorrelatestothedemandsofpostfeminist
femininity.RosalindGill(2007)andAngelaMcRobbie(2009)havetheorized
postfeminismasahegemonicandneoliberalculturalsensibilitythatrepudiates
feminismasacollectivepoliticalprojectwhilecelebratingtheempowermentof
individualgirlsandwomenthroughapoliticalandcapitalistactivities,includingthe
consumptionoffashionandbeautyproducts,themaintenanceofdisciplinedbodies,
andproductivitythroughentrepreneurship.Itisthislastpointthatisimportantto
considerinrelationtoGevinson.
Postfeminismprivilegesentrepreneurshipasawayforgirlsandyoung
womentoparticipateinsociallife,confirmingandnormalizingtheneoliberalvalues
ofindividualism,self‐reliance,andinnovation(Banet‐Weiser2012;McRobbie2009;
Harris2004).Harrisargues,“Thegirlentrepreneuristheultimateself‐inventing
youngwomanwhorepresentsafantasyofachievementaccomplishedbygood
ideas,hardwork,andself‐confidence”(2004,74).Often,thegirlentrepreneuris
sellingherself,engaginginself‐disclosureasamodeofrevealinga“trueself”that
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becomespubliclylegible,celebrated,andevenmonetized(Banet‐Weiser2012).We
mayunderstandthegirlentrepreneurasanentrepreneuroftheindividual
postfeministselfwhomobilizesself‐brandingasatechniquetogainpublic
attention,reputation,andevenprofit(Hearn2010;Banet‐Weiser2012).Based
uponthisframework,wecanunderstandself‐brandingasprivilegingtheindividual,
aligningwiththefocusonindividualisminherentinbothpostfeministand
neoliberaldiscourses.
WhileIdiscussGevinsoninrelationtothisculturalmomentwheregirlsare
encouragedtobeentrepreneursoftheself,IwanttoemphasizethatIamnot
arguingforunderstandingGevinson’smediatedpersonaasindicativeofaninherent,
authenticself–the“real”Gevinson.Instead,Idrawontheoriesofperformativityto
analyzeGevinson’sactions,includingherself‐branding,asindicativeofrepetitive
mediatedperformancesthatallowustocometoknowGevinsonasasubject(Butler
1990).IndoingsoIemployaButlerianconceptionofperformativitythatpositsitas
the“reiterativepowerofdiscoursetoproducethephenomenathatitregulatesand
constrains”(Butler1993).Thisframeworkisuseful,asitrecognizesthediscursive
limitsinwhichGevinsonoperates,yetdoesnotforeclosethepossibilityofher
agencyincreatingsocialchange.
Gevinson’sexperienceasafashionbloggerhasinformedherself‐brandas
eclectic,creative,andfashionforward.Wecanseethisimageinrecenthighfashion
shoots,suchasanAugust2014photoinW,aseminalfashionindustrypublication.
Gevinson’sintelligentcommentaryonpopularculture,circulatedonRookieaswell
asonherTwitterandTumblraccounts,portrayheraswittyandwellread.Yet,as
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I’vementioned,shealsoperformsasabestfriend,“oneofthegirls”thatpublicly
sharesphotosfromherSweet16andmeetsherreadersforicecream.Gevinsoncan
thusbeunderstoodasperforming“subculturalcapital,”whichSarahThornton
(1996)describesasakindof“hipness”thatconfersarecognizedsocialstatusonits
owner.Sheexplainssubculturalcapitalasbeing,“objectifiedintheformof
fashionablehaircutsandwell‐assembledrecordcollections[and]embodiedinthe
formofbeing‘intheknow’”(11‐12).Thorntoncontendsthatsubculturalcapital
appearsnaturaltocertainpeople,bestowinganauthenticityonthosewhoareable
tosuccessfullyperformsuchcapital,includingGevinson.Unliketheculturaloutputs
ofcelebritygirlactressesorpopsingerswhichcanappearmanufactured,
Gevinson’spostedmusicrecommendationsconsistingofobscure1990sriotgrrrl
bandsandmusingsonNewYorkFashionWeekappearauthentic,further
establishingGevinson’sbrandasaconnoisseurofcoolthatseeminglyoperates
outsideof,yetinconversationwith,thecommercialcultureindustries.
Gevinson’sself‐brandinghasbeeninstrumentaltohercreationofRookieand
heroverallsuccessasadigitalentrepreneur.Unliketheexamplesofpostfeminist
self‐brandingdiscussedbyfeministscholars(Banet‐Weiser2012;Senft2008;
Dobson2008),Gevinson’sself‐brand,whichincludesheridentificationasafeminist,
complicatestheexistinganalysisofthedigitalself‐brandasasolelypostfeminist,
entrepreneurialpursuitdevoidofpoliticalsubjectivity.Forexample,inaspring
2012interviewforthePBSMakersseriesGevinsonisidentifiedinanaccompanying
captionasa“FashionBlogger&Feminist,”highlightingfeministpoliticsasacentral
aspectofheridentityperformance.Gevinsonhasbeenvocalaboutbeingafeminist
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sincemid‐2010,oftenframingherdevelopmentofRookieasaresponsetoalackof
feministmediaforgirls(PBS2012).
ByidentifyingpubliclyasafeministGevinsonperformsapolitical
subjectivity,challenginghegemonicpostfeministdiscoursesthatsuggestgirlsare
apoliticalandnotinterestedinfeminism,andcreatingdiscursivespaceforfeminist
politicswithinapostfeministmediaculture.Ihavearguedelsewherethatforgirls
merelypubliclyidentifyingasafeministfunctionsasaresistantpracticeinthatit
grantsgirlsaspeakingpositionfromwhichtheycancritiquehegemonic
postfeministfemininityand“offersgirlsapoliticalsubjectivitytomakesenseofthe
worldthatfewothernormativegirlhoodidentitiesoffer”(Keller2013,96).Online
spaceshavebeensignificanttothisprocess,providinganonymousspaceto
“experiment”(Keller2013;2012)withfeministidentitiesandaffordinggirlsa
chancetoconnectwithotherfeministgirlsandwomen.Gevinson’sperformanceofa
feministidentityaspartofherself‐brandcanbeviewedasachallengeto
postfeministgirlhoodsubjectivitiesandmayencouragehergirlfanstoexplore
feminismforthemselves.
RiotGrrrlinRookie:(Feminist)PoliticsandPromotionalSkin AsOnstad(2012)emphasizes,Gevinson’sfeministpoliticsareheavily
influencedbytheculturalpoliticsofriotgrrrl,agirl‐centeredpunksubculturethat
beganintheU.S.intheearly1990s.Therearetwosignificantaspectsofriotgrrrl
thatarerelevanttomydiscussionofGevinsonandRookie.First,riotgrrrlspracticed
feminismfromagirlsubjectivitywhichtheydubbed“girlpower,”1notonly
rewritingfeminismtoaddresstheconcernsofgirlssuchasbeautystandards,sexual
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abuseandpressuretobe“perfect,”but“reinventinggirlhoodandgirls’culturefora
newmillennium”(Kearney2006,65).Inthissense,riotgrrrlwasaccessibleto
(some)girlsandyoungwomeninwaysthatmainstreamadult‐producedfeminism
wasnot.
Second,theriotgrrrlcommunitywassustainedthroughgirls’self‐produced
mediaproducts,includingzines,music,andcrafts.Thus,riotgrrrlsnotonly
encouragedgirlstobemediaproducers,butmotivatedgirlstocreatealternative
representationsofgirlhoodthatchallengedthosecreatedbythecommercialculture
industries(Kearney2006).Baseduponthesetwocharacteristicsofriotgrrrlwecan
seewhythemovementwaslikelyappealingtoGevinsonasagirlculturalproducer
whowasoftennottakenseriouslyasafashionbloggerduetobothherageand
gender(Keller2013).IhavearguedelsewherethatGevinson’sturntofeminism
mayhavebeenprecipitatedbythelackofrespectshereceivedbysomefashion
industryinsiders,asriotgrrrl‐inspiredfeminismprovidedherthelanguagetomake
senseofherexperience(Keller2013).
AsaresultofGevinsonpubliclyexpressingherinterestinriotgrrrlonher
blogaswellasininterviewswiththepress,Gevinsonherselfbecamerepresentative
ofthenextgenerationofriotgrrrlwithinmainstreammedia.Thisisevidentin
Onstad’ssuggestionthatGevinsonrepresents“girlpower’slastchance”andin
articlessuchas“TheNewRiotGrrrls?”(Bastow2012),whichlinkGevinson’s
politics,mediaproductionpracticesandstylewiththemovement.Riotgrrrl,inthis
sense,becameapartofthewayinwhichGevinsonperformsheridentity,andupon
circulationthroughouthervarioussocialmediaplatforms,partofherself‐brand.
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Gevinson’sposteddiscussionsofherfriendshipwithprominentriotgrrrlKathleen
Hanna,Polaroid’sofherselfwearingriotgrrrl‐inspiredbabybarrettes,andscrawled
playlistswithriotgrrrlbandslike7YearBitchandL7worktogenerateasymbolic
selfthat,inthewordsofAlisonHearn(2012)functionasa“promotionalskin”that
associatesGevinsonwiththepolitics,affects,andaestheticsof1990s“girlpower.”
GevinsonoftenincludesinformationaboutriotgrrrlinRookie,including
recentinterviewswithriotgrrrlsKathleenHannaandCarrieBrownstein,articleson
howtomakeazine,andfashionspreadsinspiredbyHole’s1994musicvideoforthe
song“MissWorld.”ByincludingthesetypesofstoriesinRookieGevinsonintroduces
riotgrrrlandfeminismtohergirlreaderswhomaynotbefamiliarwitheither,
providingahistoryforfeminismthatencouragesgirlstounderstandtheirown
strugglesaspartofalengthyhistoryoffeministactivism.
Beyondmerelywritingaboutriotgrrrl,Gevinsonappliesriotgrrrlpoliticsto
herpersonallifeandwritesaboutitinRookie.Forexample,inaSeptember2011
postcalled“FirstEncounterswiththeMaleGaze”Gevinsondiscusseshowsexual
harassmentpermeatesthehighschoolenvironmentandhowgirlsfeelwhenthey
firstwitnessothersnoticingtheirchangingbodies.Shewritesofhermalepeerswho
engageinsexualharassment:
Iwanttheseguystoknowthatthey’reabletobesocavalierbecausetheydon’thearunsolicitedopinionsontheirbodiesandallegedsexlivesallthetime….becauseyourtransitionintopubertydidn’tincludethesamekindsofridiculousbeautyexpectations,andthenunsolicitedevaluationsofhowwellyoumeasuredup.
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Gevinson’sattentiontogirls’experienceswithsexualharassmentwithinhighschool
islikelyinformedbyherfamiliaritywithriotgrrrl’semphasisonfeminismasit
appliestogirls’everydaylives,aswellastheirattentiontosexualharassment.By
publishingapiecesuchasthisoneGevinsoncreatesthediscursivespaceforgirlsto
publiclydiscussthistoo‐commonexperience,astrategyalsousedbyriotgrrrls.
Indeed,thisarticlereceivedover100comments,manyfromgirlsandwomenwho
describedtheirownexperienceswithsexualharassment.Theexchangesonthe
commentsectionalsofunctionasasignificantexampleofintergenerational
feminism,asteenagegirlsareactivelyparticipatinginfeministconversationwith
womenwhohaveidentifiedthemselvesasintheirtwenties,thirties,andforties;an
experiencewhichchallengesthelogicof“disarticulation”(McRobbie2009)within
postfeministdiscourses.Italsopointstothepotentialofonlinespacestoserveas
productiveplacesforintergenerationalfeministdiscussions,evenwithina
postfeministmediaculture.
Yetdespitetheopportunitiesfornewdiscursiveonlinespacesand
connectionsamongstgirlsandbetweenfeministgirlsandwomen,Gevinson’s
rearticulationofriotgrrrlwithinapostfeministmediaculturerisksreplicatingthe
privilegingofthe“cando”girl’s(Harris2004)publicvisibilityandexperiences
withinthepublicsphere;excludinggirlswhodonothavetheraceorclassprivilege
tooccupythisidealizedposition.Whilescholarshavenotedthewaysinwhichmany
girlsofcolorandthosefromlowersocioeconomicstatuswereexcludedfromriot
grrrltwentyyearsago(Kearney2006),therehasbeenlittlecommentaryonthe
waysinwhichGevinson’sraceandclassprivilegeallowhertoperformidentity–
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includingariotgrrrlinfluencedfeministidentity–inwaysthatothergirlscannotdo
easily(Wald1997;Kearney2006).
Forexample,somegirlsofcolorhavearguedthatRookiefailsat
intersectionality,animportantcritiquethathasbeennoticeablyabsentfrom
mainstreampresscoverageofthewebsite.InaDecember2012postontheRude
GirlMagazineTumblr(http://rudegirlmag.tumblr.com/),Bredescribeshowshe
beganRudeGirlbecauseshefeltexcludedasagirlofcolorfromthediscussionsthat
werehappeningonRookieandwasparticularlyupsetwiththewaysinwhichthe
websiteappropriatestheculturesofwomenofcolor.WhileRookiedidpublishan
articleaddressingwhyculturalappropriationisproblematic(“Something
Borrowed”)whichreceivedover400comments,Brearguesthatthediscussionis
“offensive”inlightofRookie’sownuseofculturalappropriationasawaytocreate
supposedlyhipstylesuggestions,suchasaflowercrownhairstylewornbyFrida
Kahlo(“FloweryandFrida‐esque”)orclothingpairingstomimiclooksfromthe
HarlemRenaissance(“SecretStyleIcon:LadiesoftheHarlemRenaissance”).
Rookieemploysadiversityofwritersonstaffandattemptsinclusivityby
publishingstoriessuchasapieceonbeingbi‐racial(“OnContainingMultitudes”),
comingoutasgay(“TheSafetyCloset”),andidentifyingastransgendered(“MyKind
ofGuy”).However,Bre’scommentspointtothedifficultyinseparatingRookiefrom
Gevinson’sownself‐brand,animagecreatedthroughherabilitytoaccess
alternativefeministculturessuchasriotgrrrlandperformtheseidentitiespublicly;
aperformancearguablymadepossibleduetoheruppermiddle‐classness,
whiteness,andAmerican‐ness,aswellasherconventionalphysicalbeauty.
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Gevinson’sfeministpoliticsarearticulatedfromapositionofprivilegetowhich
manygirlsmaybeunabletorelate.Tobeclear:IamnotcriticizingGevinsonnoram
Isuggestingthatherfeministpoliticsareunimportant.Iaminsteadarguingthatwe
mustbebetterattunedtohowthepracticeofself‐brandingmaylimitwhichgirlsare
abletoperformfeministidentitieswithinapost‐girlpowercontextandwhoisable
toidentifywithsuchalternativegirlhoodsubjectivities.
RoadTripping:(Branded)Communities,Girls’Friendships,andPublicSpace Insummer2012,Gevinsonembarkedona16‐cityU.S.roadtripwithseveral
otherRookiestaffers,meetingreadersinlocalcafes,parks,andrecordshops.While
describedbyGevinsonintermsofthepursuitofleisureandfriendship,theroadtrip
alsofunctionedaspromotionforRookie,theupcomingreleaseofRookieYearbook
One,andpublicityforGevinsonherself,deemedan“oracleofgirlworld”bytheNew
YorkTimes(Schulman2012).ThetripalsoforgedanalliancebetweenRookieand
UrbanOutfittersthroughthecompany’ssponsorshipofthetrip,creatingwhatSarah
Banet‐Weisercallsa“brandculture”whereby“consumersproduceidentity,
community,emotionalattachments,affectivepractices,andrelationshipsbothwith
thebrandandwitheachother”(2012,46).
Knownasaglobalbrandthatsellsmass‐producedclothing,accessories,and
housewaresthatincorporateretro,vintageandbohemiantrends,itisunsurprising
thatUrbanOutfitterswouldcourtapartnershipwithGevinson.Herdaysasa
fashionbloggerestablishedGevinsonasastyleiconwhomimaginativelymixeshigh
fashionitemswithvintagefinds,homemadegoods,andhighstreetstaples;aDIY
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(do‐it‐yourself)approachtofashionthatUrbanOutfittersimitatesthroughtheir
corporatebranding.BysponsoringtheRookieroadtripGevinsonlendsthecompany
anairofauthenticityandalternativehipnesstotheirbrand,resultinginnew
promotionalopportunitiesforUrbanOutfitters.Forexample,thecompany
produceda“RookieRoadTripEssentials”webpagewherevariousfashiongoods
weremarketedtogirlsas“musthaves”fortheirparticipationinthescheduled
meet‐ups.Theroadtripthenbecameasemi‐commercializedeventwheregirlswere
encouraged,atleastbyUrbanOutfitters,toconsumefashionandbeautyproductsas
awaytoparticipateinsociallife,acommondiscoursewithinpostfeministmedia
culture(Harris2004).
ButwhileGevinson’sdecisiontopartnerRookiewithUrbanOutfittersseems
antitheticaltoherDIYriotgrrrlpoliticsandcreativestyle,Iamsuggestingthatthis
partnershipillustratesonetenantofthispaper,namely,thatinapostgirlpower
mediaculturethesetypesofneoliberalbrandingstrategiesarenormalized;theyare
merelypartofthelogicofaconvergedmediaculturethatdemandsgirlslike
Gevinsonnegotiatetheirfeministpoliticswithanall‐encompassingconsumer
culture.Unliketheriotgrrrls’shunningofthecommercialcultureindustries,
Gevinsonoperatesintandemwiththem,grantingUrbanOutfittersaccesstoher
audience,whilestrategicallyusingtheirresourcestonotonlymaketheroadtrip
possible,butalsoaccessibletohergirlreaderswhomayshopatoneofthe
company’smanystores.Thus,whilerecognizingtheRookieroadtripasproducing
brandedspacesandthereforenotdivorcedfromthelatecapitalistlogicthatinforms
suchspaces,IaminterestedinhowGevinsonhasnonethelessmanipulatedthis
17
opportunitytocomplicatepostfeministdiscoursesongirls’friendshipsandpromote
girls’communitiesasgenerativeoffeministsocialchange.
OneofthemostinterestingaspectsoftheRookieroadtripwasitsstructure:
informalgatheringsatlocalfavoritepublicplacessuggestedbyRookiereaders.
WhilemanygirlsintheUnitedStateshaveconsiderablymorepersonalfreedomto
occupypublicspacethanpreviousgenerationsofgirls,wemuststillconsiderwhat
itmeansforagroupofgirlstophysicallyoccupythesespacesasconsumersinsome
cases,butalsoasculturalproducers,friends,andgirls.Whilescholarshaveusefully
theorizedneoliberalismasrequiringareprivatizingofgirls’politicsand
simultaneouslypublicizinggirls’privatelives(Harris2004),theRookiemeet‐ups
canbeseenaspotentiallychallengingthistrendbyre‐publicizinggirls’politics
throughthesegatherings,occupyingandeven“takingover”publicspacewith
numbersthathavereachedclosetotwohundredatonemeet‐up.
Asadultresearcherswemayoverlookhowtheactofphysicallyjoiningthese
gatheringspointtoanelementofresistanceamongstGevinson’sfans.Forexample,
GevinsontellsBitchMagazinehowahomeschooledPhiladelphiagirl“hadtosneak
outofthehousetogotoourevent,whichwasinthemiddleoftheday,andhadto
wearherbrother’sshoesbecauseshe,asagirl,didnotownshoesthatallowyouto
walkveryfar.”GevinsonthencommentshowshewantedRookie’sfeminismtobe
“accessible”andthedifficultiesindoingso“withoutwateringitdown”(Zeisler
2013).HereGevinsoncallsattentiontothewaysinwhichgenderinequalities,
includingaccesstopublicspace,continuetorestrictmanygirls’livesand
18
opportunities,linkingthisrealitytotheneedtodiscussfeminisminanaccessible
wayonthesite.
ApostingbyGevinsonaboutthePhiladelphiastopontheRookieroadtrip
TumblrillustratesthewaysinwhichtheRookiemeet‐upsdefyeasycategorization;
theyarebothproductiveandconsumptive,politicalandpersonal,lightheartedand
serious‐minded.Shewrites,“AftershoppingweheadedovertheRittenshouse
SquareParktolistentotherecordswebought(ViolentFemmeswasonatfullblast)
andmakepennantbannersoutoffabric.Wehadaninterestinggroupchatabout
feminismanditsplaceinfashionandwealsotackledtrickyquestionssuchas
“Cluelessvs.Heathersvs.MeanGirls:whichisthebest?”(Gevinson2012a).
Gevinson’spostpointstothewaysinwhichtheRookiemeet‐upfunctionedas
creatingpublicspaceforgirlstocometogetherandtalk,engageincultural
production,andformfriendships.Whilethemeet‐upsarenotexplicitlyframedas
“political”or“feminist,”feministpoliticsarenonethelesspartoftheconversations
thatoccur.WecancontextualizetheRookieroadtipaspartofalengthyhistoryof
girlsandwomencomingtogethertosharetheirexperiences,includingwoman
liberationists’consciousnessraisingcirclesandriotgrrrls’meetingsand
conventions.
WhileRookiereaderswerenodoubtexcitedtomeetGevinsonherself,the
touralsofunctionedasawayfor“Rookies”toconnectwithoneanother.Gevinson
emphasizesthisinherfinaltourdiaryentrywheresheinstructsgirlstoorganize
theirownRookiemeet‐upsintheirrespectivetowns,prescribingthesepotential
friendshipsasawaytogenerate“alittlelesssadnessinonecorneroftheworld”
19
(Gevinson2012b).Thus,Gevinsonrecognizesthepoweroffemalefriendshipsto
minimizenegativeaffects,or“sadness,”ingirls’lives.IndoingsoGevinsonpresents
analternativetopostfeministnarrativesofgirls’friendshipsthatassumegirlsas
catty,competitive,anduntrustworthy(Ringrose2012),andusesmediaproduction
tomakegirls’friendshipsnotonlypubliclyvisible,butnecessaryforcountering
neoliberalgirlfriendculture(Winch2013).
Conclusions:TheSelfBrandandContemporaryFeminism InthispaperIhavedemonstratedhow,throughhercreationofRookie
Magazine,Gevinsonhassuccessfullycreateddiscursiveandphysicalspacewithin
postfeministmediacultureforathrivingfeministgirls’culture.Drawingonthe
feministideasandpracticesoftheriotgrrrls,Gevinsonhaspubliclyemphasizedthe
importanceoffeminismforgirlsandintroducedherreaderstobothfeministpolitics
andthehistoryofthosepolitics–anotableaccomplishmentwithinamediaculture
wherefeminismoccupiesanambiguousstatus.Indoingso,Gevinsonchallengeskey
aspectsofpostfeministfemininity,suchasthebeliefthatgirlsareapoliticalandthe
relianceonthetropeofthemeangirltounderstandgirls’friendships.Thisanalysis
thussuggeststheneedforfeministmediascholarstomovebeyondmerely
identifyingpostfeministdiscourseswithinmediacultureandinsteadexaminethe
complexwaysinwhichfeministpolitics“pokeholes”inanoftenseeminglydaunting
andoppressivemediaculture.Thisiscrucialforscholarsinterestedingirls’media
cultures,astherecontinuestobeadearthofgirls’studiesscholarshipthat
20
recognizesthepoliticalagencyofgirls,particularlywithinthecontextofonline
media(Caron2011;Keller2013).
Nonetheless,IhavealsoarguedthatGevinson’ssuccessincreatingRookieis
due,inpart,tothecurrencyofherself‐brandasoneofthestylish,smart,and
culturally‐savvyfeminist.Whileitisinspiringandexcitingtoseeyoungfeminists
gainpublicattention–whichmaypointtoaresurgenceoffeminismwithin
mainstreammediaculture‐Iamsuggestingthatwemustbecriticalofthewaysin
whichself‐brandingremainsaboutindividualimage.Thus,Gevinson’sperformance
ofafeministidentitybecomesassociatedwithherprivilegedsubjectposition
informedbywhiteness,upper‐middleclassness,American‐ness,andultimately,high
subculturalcapitalthatgrantshertheopportunitiestobefriendKathleenHanna,
enterintoapromotionalrelationshipwithUrbanOutfittersandgenerateincome
andcelebritystatus.Thisraisessignificantquestionsabouttheabilityforfeminism
tofunctionasa“brand”whilemaintainingfocusasacollectivemovement‐adebate
thathasbeenrecentlytakenupinthefeministblogosphere.
Towit:inanOctober2013articleintheDailyBeastAnaCeciliaAlvarez
arguesthatthe“decidedlyhip”styleoffeminismcirculatingonblogslikeJezebeland
hawkedintheirnewcoffeetabletomeTheBookofJezebelrepresentanarrow
approachtofeminismthatoftenfunctiontobolstertheimageofthosewhoconsume
thesemediaproducts.Sheargues,“Allthatafeministbrandinducesisanimpulseto
buy.Butthefeminismworthfightingforwon’tbelistedinanencyclopediaoflady
‘things’–itevadessuchsimplicity…andmustbeapproachedwithintersectionaland
anti‐oppressionframeworksinmind.”Thus,wemustunderstandthesuccessof
21
Gevinson’sbrand,includingRookie,asaproductofthissamepostfeministmedia
culture,wheregirlsandwomenarerequiredtoself‐brandasastrategybywhich
theymaytakepartinpubliclife.Feminism,aswe’veseenwithGevinson,can
increasethevalueofone’sbrandifperformedinawaythatisreadas“hip”and
avoidsthreateningtheconsumerlogicofthecapitalistmarketplace.Wemustbe
mindfulofhowthesediscoursesfunctiontointerpellatecertaingirlsandwomenas
feministsubjects,whileleavingtheexperiencesofothersoutsideofthepopular
articulationsoffeminismthatmaybefoundinpublicationslikeRookie,Jezebel,and
initiativeslike#ElleFeminism.
Whilegirls’studiesscholarshavebeenrightlycriticalofthefigureofthegirl
entrepreneur(Harris2004;Banet‐Weiser2012)itisimportanttorememberthat
sheisnotonlyaproductofneoliberalpostfeministmediaculture,butalsoof
feminismitself.Indeed,itwasn’tlongagowhenitwouldbeabsurdtothinkabouta
teenagegirlrunningasuccessfulmagazine.Inthissense,girlslikeGevinsonmake
visibletheaccomplishmentsof(liberal)feminismanddemonstratethatafeminist
“girlpower”mayhavearenewedtenacitywithinpostfeministmediaculture.
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1Despitebeingappropriatedintocommercialpopularcultureinthelate1990s,itisnecessarytorecognizetheterm“girlpower”asoriginatingwithinriotgrrrl.Ialsowanttoemphasizethecontestednatureofriotgrrrlasamovementthatdefieseasycategorizationandsuggestthatmyanalysisisnotintendedtobeacomprehensivediscussionofthesubculture.