The dueling Feminisms of Taylor Swift, Hillary Clinton, and Kim Kardashian by Caroline Burke


This is a very interesting essay written by Caroline Burke for Marie Claire, which talks about  feminism and the different ways it can be looked at. Using three types of women, Kim Kardashian, Taylor Swift, and Hillary Clinton. Even though these women are all different and are in different fields in life, they are collectively some of the most multi-dimensional, talented, and successful women in recent history.

They’ve created empires for themselves, broken records, and shattered ceilings. They’re quite literally pioneers for our gender, and yet we still push them off into separate corners, swatting them back when they try to flex their muscles.

“It’s hard to talk about feminism today without mentioning some of the most visible women in American culture: Kim Kardashian, Taylor Swift, and Hillary Clinton. who have come to represent three distinct “kinds” of accepted female identities sex and power; friendship and positivity; ambition and success. Why should we, modern women, have to fit into just one of these molds?

“It’s become impossible to talk about feminism without at least mentioning the three most visible women in American culture today: Kim Kardashian, who embodies sex and power, a new form of independence that courts controversy for seeming, to some, degrading. Taylor Swift, who embodies friendship and equanimity, the push to help other women and to be relentlessly positive above all else. And Hillary Clinton, who embodies ambition and career success and is judged for the exact lack of the others’ traits: not being womanly enough, not being warm enough, not being “enough” enough. Through all the praise and criticism of social and mainstream media, these women have come to represent the three distinct pillars of the feminist agenda—no overlap, no wiggle room, no gray area. You’re either a Taylor or a Kim or a Hillary—you can’t be all three, and they certainly can’t either. (Or perhaps you’re a Beyoncé, who arguably produces feminist art but whose personal politics we know next to nothing about).

“Maybe feminism is still too new and too threatening to be portrayed as anything but cartoonishly simple, painted with broad strokes in black and white. And how lame is that? That these archetypes—which Swift, Kardashian, and Clinton have been unwittingly cast in by our culture—leave no room for complexity or humanness? That we still have to fit a mold, even while breaking another one?

Taylor Swift has built an empire on being unapologetically girl-geared, which explains why she, more than her pop-star peers, has been elevated to the rank of feminist figurehead. Thanks to her squad and the anti-bullying messages in her music, she’s been pigeonholed into a “virginal” role, one that has nothing to do with actual sex and everything to do with how she comes across: coy smiles, sweet makeup, sleepovers with her friends. She can get away with a lot, but, as she has noted, not with being seen with two men in the same week.

She’s expected to be Female Empowerment: Squeaky-Clean Edition. If Swift represents girl gangs and that lean-in group mentality of pushing other women forward with your own success, then Kardashian is about empowerment of the self over all else.

Her brand of feminism is defined by a refusal to acknowledge or bend to the opinions of others: Kardashian posts nude selfies. Kardashian appropriates black culture. Kardashian oozes sex, demanding that you see her for her body just as much as her motherhood, if not more. She doesn’t smile—she pouts, smolders, and poses. She walks with her impeccably dressed children in tow, looking you in the eye and daring you to challenge the validity of her unabashed love of her own body. Even her kids have a stare-down that would turn you to dust.

Then there’s Hillary Clinton, who may not be the Original Feminist, but who, for a new generation, could be. She has stood proudly in those pantsuits for decades with a firm, calm demeanor that seems to say, “This is feminism, and it is work.”

Clinton’s feminism is tireless, in both appearance and effort. It isn’t about fun or sex or self-empowerment so much as it is about the unyielding work of being a woman. Clinton’s feminism isn’t pretty. It doesn’t cater to sexuality or safety in numbers. It is in many ways the most accurate indicator of what feminism feels like for many of us: a job. Of course, none of these figures is as one-dimensional as their designated “characters” imply. But we’ve begun to compartmentalize feminism into separate categories rather than allow it—and the people inside it—breathing room.

Want proof? See what happens every time one of these women reveals themselves to be multi-dimensional: We attack. When Kardashian had a baby, the world lost its mind over the provocative nude magazine cover that followed. Mothers can’t be sex objects! When Swift was shown (by none other than Kardashian) to be a smart, shrewd businesswoman concerned about—gasp!—her image, the world threw a #TaylorSwiftIsOverParty.

Watch literally any news network right now and see how Clinton’s gender is relentlessly analyzed simply for existing. Her voice is too stern! She doesn’t smile enough! Her demeanor is too masculine, but her body is too feminine and fragile—look, she just coughed!

There are, of course, countless other women who are redefining and challenging female roles in society today, women who are quite literally in the business of feminism: Laverne Cox, Roxane Gay, Ellen Page, Chimimanda Ngozi Adiche, and Malala Yousafzai all defy compartmentalization. But we don’t give them a fraction of the attention that we give to Taylor Swift being seen in public with a man, or to Kim Kardashian taking a selfie with her clothes off.

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