A Girl's Girl

A buzzword that has been decorated across the Twitter decks of celebrities and even Beyoncé’s block-lettered background for her performance during the MTV Video Music Awards, the word ‘feminism’ has garnered a trendiness all its own.

In a whirl of non-fiction spun around a slew of fictional social rebels, the sit-com “Girls” has been referred to as the realistic take on “Sex and the City”. With a gleaming needle of counter hegemony, Lena Dunham asserts herself as the creative seamstress responsible for threading the controversial television episodes together.

If situational comedies were founded upon the idea of recreating reality for the masses, then Dunham is the writer to remind us of just that. In an article from Elle Magazine, Virginia Vitzthum writes, “Among Dunham's gifts to womankind is her frontline example that some asshole may call you undesirable or worse, and it won't kill you. Your version matters more.” Referring to Dunham’s insistence on honesty in an era of hyperbolic airbrushing, the show “Girls” features Dunham’s character in nude scenes that rival the mainstream women whose idealistic bodies dominate television.

Photo courtesy of thetimes.co.uk.

One size does not fit all and “Girls” reminds audiences of this in the unabashed platform that HBO and three seasons worth of sexual health righteousness will allow. While the upfront stylings that take place on screen in “Girls”, such as the testing of sexually transmitted infections and overt discussions of body awareness are a pivotal ingredient for a good Friday night in with your own misfit friends, critics have something to say about the deviance of this sit-com.

On his SiruisXM radio show in 2013, Howard Stern said of the sit-com, “It's a little fat girl who kinda looks like Jonah Hill and she keeps taking her clothes off and it kind of feels like rape. She seems -- it's like -- I don't want to see that." Met with much backlash, Stern eventually issued a public apology after the public accused him of delusion over the realistic image of the American woman.

At the tip of the messy multitude of pens with chewed up caps that spew the script Dunham writes for herself and her cast mates, is the promotion of learning in media that has yet to take place. By affirming the average woman’s body and doing it in a way that weaves satire and comedy into the lot, HBO has allowed audiences the re-birth of our favorite New York City socialites. Trading Carrie Bradshaw’s closet for Hannah Horvath’s love for expletives, audiences are already exposed to a more honest viewing experience.

Mixing in the need for appreciation versus tolerance for the American woman makes Dunham more of a feminist than any of her star-studded Hollywood colleagues. Because, according to Dunham’s scrawlings, gender equity is not a topic to be covered up so easily with a glittery illusion. It is an issue worth talking about and talking about fairly.

Watch Lena Dunham in an interview with Good Morning America as she translates her sit-com hilarity into her new book, Not That Kind of Girl.

A 'Booty' by Any Other Name

Of all the fan-made and artist-inspired monikers, none is as renowned as ‘J. Lo’. Withstanding the tests of time and trendiness, Jennifer Lopez has built a brand to outlast the eras of the Puff Daddies and Snoop Doggs whose images were defeated at the turn of the century. Durable and adorable as the 45-year-old has proven to be, J. Lo has also ventured to prove that her moniker comes with an identifier: her bottom.

On September 18, J. Lo released the official music video for ‘Booty’ featuring her Aussie counterpart, Iggy Azalea, with curves down under to rival the original Fly Girl herself. These two femme queens make the most of four minutes and some-odd seconds, showing audiences more dance moves to highlight your rear-end than ever previously imagined. Of course, this is no surprise as the newly ranked Billboard Hot 100 track uses J. Lo’s trademark body part as its namesake.

Jennifer Lopez in the music video for "I Luh Ya Papi" ft. French Montana. Courtesy of  jennifer-lopez.net.

For decades now, the frame through which consumers view J. Lo has been through the recognition of her Latina allure and her best asset. This is to say that the identity and purpose that Lopez serves in the media is conveyed in such a way that audiences interpret her strengths as a star to be dependent on her minority identity. As an actress she has lent beauty and relatable nature to the archetypal Latina maid, the Latin pop star and the unlikely female suitor to the fair-skinned McConaughey-male leads. As an energetic performer, she made us believe that love don’t cost a thing in the presence of catchy choruses and truly bootylicious dance moves (our apologies to Beyoncé, CC: Destiny’s Child). 

Perhaps it is Jenny from the Block’s identity as a minority and as a Latina that contributes to her resistance identity as a curvaceous female. Deserving of the resistance identity title, J. Lo’s media framing keeps her from fitting in with her female counterparts, even within her latest music video alongside Iggy Azalea, because of her warm skin and the rhythmical aptitude, which stereotypes would suggest is all too telling of her Latin upbringing.

In one of the most watched role reversals of mainstream media, Lopez made a satire of the modern music video for her song “I Luh Ya Papi” featuring French Montana. Joining in on the recent trend of female pop stars advocating for gender equity, Lopez “turns the male gaze on its head,” as stated in this music video review from the Huffington Post. Breaking the dichotomy of gender roles and the spectrum of objectification, Jennifer Lopez and her female counterparts make a mockery of men as mere décor—an effort that equity-conscious consumers can surely get behind.

What’s more important than the media frame that permits J. Lo’s booty to precede her in music and movies alike, is the way that she has taken this resistance identity, put on some gold hoop earrings, and has run with it. It is not out of defiance that this Latina from the Bronx has remained a name to know, no matter the monikers you choose. It is with compliance and maybe a little help from a stylist, that J. Lo has embraced her outlier of a silhouette in order to make the most of her Latina identity and to frame her biggest asset for decades on end.

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