Women were always going to thrive on the Internet. Connecting, enabling connections among others, sharing information and more importantly, support and wisdom — these are some of the reasons we belonged online from the beginning. I knew it as soon as I saw my first browser, Mosaic (later Netscape) in the early 90s.
After early obscurity, women have become more and more visible and successful online, not only creating content but entire media operations. Numbered among them were the pioneering iVillage and BlogHer and agencies like Clever Girls, Blogalicious, Women and Work, Sway Group, and The Motherhood. There are plenty more.
When I saw this story today about the emerging Internet of Women, led by Cisco’s Monique J. Morrow, I’ll admit I got a little sad. I had tried to write a handbook (Internet Bootcamp) for women online in 1996. A friend hooked me up with a celebrity agent I could have never enlisted on my own, and my proposal went to some serious publishers. The response – and I wish I still had the precise language, was that the writing was “engaging” but women would never buy such a book. I just pulled it to take a look and am posting it here. See what you think. If nothing else it will evoke memories of modems past.
Here is Morrow’s basic message: (We agree, right?)
From connected homes and cars to monitoring our health through smart devices, a woman’s view point in this new age of digitization has never been more critical.
I invite you to follow our publication, the Internet of Women and be part of this movement.
The commercials for JOY, created by and starring the spectacular crew from Silver Linings Playbook make the film look like a comedy, but that’s not what it is. It’s a glum story about a much put-upon young woman with a good idea and a family almost as selfish as the siblings in Transparent.
Nobody in her overflowing household can take care of herself, or anyone else. She, along with her divorced parents, ex-husband, grandmother and two children share a tiny house with a big mortgage. Each of them depends upon Joy for everything, not just financial support but also plumbing repairs, accounting for the family business — and dinner.
She’s sacrificed what we have learned are her great engineering and creative potential as well as her crack at going to college to stay home and help her ridiculously self-occupied and soap opera-obsessed mother deal with her divorce. Everything sucks.
She’s always there – to pull up a couple of boards and stop a leak in the pipes, pack lunches, cook dinners, make money, raise the children, act as her mother’s therapist, her ex-husband’s landlord (for free) and her father’s refuge (also for free) when his second wife throws him out.
At the same time, she manages to invent “the Miracle Mop” – a truly ingenious product that she knows other women will want because she could sure use it at home when she’s cleaning the bathroom floors. (Did I mention that she also does all the cleaning?)
The film is the story of her victory over these enormous odds, even when her father sells her out to please his rich girlfriend.
When we walked out of the theater, I was angry — trembling. It took a while to figure out why. The film closes with a description of all that happened to Joy after we left: big house, great business, loyal friends, generosity with aspiring entrepreneurs she meets. It then goes on the tell us how this virtuous, long-suffering woman, as she always had, continued to love and support her family — faithless father, feckless sister and hangers-on despite the fact that they even tried to sue her to steal her company. As far as we know, except for her ever-loyal ex-husband, her best friend and supporter and her kids no one related to her in biology or spirit was worthy of her kindness.
Forgiveness and love are important – and the fact that she “continued to love” this grotesque crew is understandable. What the narrator describes, though, is the classic “good girl” doing everything she is supposed to do no matter what. She may have had the strength to build her dream and fight for her vision, but she couldn’t ever say “‘Enough’ – go take care of yourselves you blood suckers” to those who betrayed her.
One of the most important scenes in The Force Awakens does not appear anywhere on the Web – not as a film clip or a screen shot or even a publicity still. I know why, I think. Its power rests largely in its unexpected, heartbreaking, surprise. You know what it is: that desperate, grieving embrace between General Leia Organa and the pilot-scavenger Rey.
Since time began, women have mourned the loss of loved ones in battle. Since time began we’ve stayed at home waiting, worrying: Penelope, Catelyn Stark, Mrs. Miniver, Sisera‘s mother, the women of WWI
Through the window she looked forth, and wailed,
The mother of Sisera, through the lattice:
“Why is his chariot so long in coming?
Why are the hoofbeats of his chariots so delayed?” — The song of Deborah, Judges 5: 24-31 s
But these two brave warriors, forced into battles that would steal their loved ones — their grief is different. It is the grief of fellow soldiers, not docile ladies-in-waiting. It is also a passing of the torch – literally and figuratively – between two powerful, wise women: one a grand figure from the last generation, the other an emerging power in the present one.
The loss of Han Solo, lover of one, father figure to the other, at the hands of Kylo Ren, his (and Leia’s) own son, and the near death of Ren himself in his battle with Rey, brought a grief shared by two warriors at opposite ends of the war against the Dark Side. Despite the pain of loss – and near loss – Leia comforts – and seeks the comfort of — of a younger version of herself. The battle between Rey and Kylo Ren in no way inhibits the joining of their pain and loss. It’s similar to the reality male soldiers have described so often: the loss of a beloved buddy in battle.
For women though, that loss has usually been at a distance, learned of and mourned far after the death itself. Now, just after the United States military has granted women soldiers access to the same combat duties and responsibilities as their brothers, and even as it portrays the generational legacy, the Star Wars tale depicts the same parity. These preservers of The Force fully share it all as, now, do our own soldiers – and equally know loss as battlefield comrades. Consider this, too:
I hate war as only a soldier who has lived it can, only as one who has seen its brutality, its stupidity. — Dwight David Eisenhower, 1946
I couldn’t sleep and at 2AM, this, Bruce Springsteen on Storytellers, was my reward. The first time I heard this song, I cried. Grown up, near 30 with a baby and far from those front porches, I was transported. The power of the song hasn’t faded.
Anyway, here’s what he said about it:
So this was my big invitation, to my audience, to myself, to anybody that was interested. My invitation to a long and earthly — very earthly — journey, hopefully in the company of someone you love, people you love and in search of a home you can feel a part of. Good luck.
Thanks Bruce.
I meant to write about Star Wars, but then The Boss walked in. Tomorrow maybe.
“I was raised to do one thing but I’ve got nothing to fight for.” — Finn – a Storm Trooper*
My sons are 40 and 36 and they’re going to Star Wars opening night together. It took some avid site refreshing and one wildly committed wife as deputy but they have tickets. I love knowing that they like each other enough to share this. The first films hijacked our family – much to our delight.
Once when he was around ten, I asked my older son, what he really wanted to do when he was older. He replied, with growing agitation, “I want…. I want…. I want to fight The Empire!
And there it is. Deep inside the battles and light shows and Yoda-isms is the simple truth that informs most wonderful stories: a battle fought for honor, justice, family, love, or even peace.
Is it any wonder why that nearly 40 years later, the fever has reemerged, the joy and anticipation like new?
It is with gratitude that one watches a child find joy in a story or a song, from Little Bear to Harry Potter. But Star Wars — well, that’s not just a wonderful tale, it’s the gift of a dream – something to fight for connected to the best parts of each of us, of hope, and courage and love. I’m grateful that it exists and that my grown kids still love it and I’m really really grateful that the person each wants to revisit that world with is his very own brother.
*A trained warrior desperate to escape his past, Finn is plunged into adventure as his conscience drives him down a heroic, but dangerous, path.” From the Official Star Wars Databank
The Cabinet of Dr. Caligari – “Original German One-Sheet”
These are scary times. A terrible sense of vulnerability has enveloped all of us. Is my son safe at his Jewish preschool? Should I still ride the bus? Continue to refuse to own a gun? Most importantly, trust my neighbors?
Worst of all, in the ramp-up to the Presidential election, can I continue to vote my hopes and ideals, not the base instincts of fear and distrust that Donald Trump evokes so skillfully? Here’s what TV host and former Hill staffer Chris Matthews said about Trump the day that he challenged President Obama’s patriotism.
For those who applauded him today, cheered at his insinuation that the President hides himself as a defender of Islamist terrorism, I can only say this,You should be ashamed. None of us should applaud this 21st century McCarthyism, this cheap insinuation against a fellow American backed up by nothing but hate.”
Matthews described a “21st century McCarthyism;” perhaps there are even stronger parallels with the Germany’s Weimar Republic, which ruled during the desperate years between the end of WWI in 1918 and 1933, when Hitler was elected — and with the legendary film “The Cabinet of Dr. Caligari,” released in Germany in 1920.
Considered the “first horror film,” it is the tale of an insane hypnotist who uses a somnambulist to commit murders. Its protagonist, Dr. Caligari, according to Siegfried Kracauer in his remarkable From Caligari to Hitler: A Psychological History of the German Film “stands for an unlimited authority that idolizes power as such, and, to satisfy its lust for domination, ruthlessly violates all human rights and values”*. The somnambulist, (sleepwalker) Cesare is meant to be ordinary man, conditioned to kill.
There is much to connect our time with those Weimar years. Some of it is a reach – but some of it is not. The Harvard Film Archive describes the Weimar Republic as “A period of great political and economic instability – of rampant inflation and unemployment.” I remember learning about times when Germans needed a wheelbarrow of money to buy a loaf of bread, of hunger and sometimes even starvation, and about a deep resentment that the money that might have eased some this misery went instead to pay reparations to France and other victors.
The impact of this humiliation, along with deep resentment of Germany’s changed role in the world, is considered to have supported the response to Hitler’s message and his subsequent rise. Kracauer late wrote:
Whether intentionally or not, [CALIGARI] exposes the soul wavering between tyranny and chaos, and facing a desperate situation: any escape from tyranny seems to throw it into a state of utter confusion. Quite logically, the film spreads an all-pervading atmosphere of horror. Like the Nazi world, that of CALIGARI overflows with sinister portents, acts of terror and outbursts of panic.
Familiar?
I spent some time Friday with a psychiatrist who listens to people all day. I was ranting about the dangers of feeding fear and anger, encouraging blanket discrimination and even violence. “We need someone to address our better angels, not our untrammeled fears.” said I.
His response: Never, ever had things been like they are in this country at this moment, when no none knows what to do. Every one of his patients, he added, described feeling some sort of real anxiety, if not abject fear.
I responded pretty much as Chris Matthews had. In his limited sample, my friend replied, Trump was the only candidate who felt to patients like a “strong American.” It was that impression that led them to feel such a strong affinity for him.
So here we sit. Certainly not Weimar but unsettled and seeking a “stronger” leader and allowing a man (whose qualifications. — beyond his brilliant ability to read a crowd) are questionable, to suggest that we ban Muslims from our shores.
We need to decide whether we are willing to be sleepwalkers. If we’re not, we’ve got to wake up everybody else.
The freaks’ll stay together, They’re a tight old crew
You look at them, And they look at you…. Devil Baby, by Mark Knopfler
This is a song about a freak show. And why not?
Today I turned on the TV and found not one, but two “active shooter” situations going on in California. UPDATE: One hour after I wrote this, a news conference in San Bernardino, scene of the first of these shooting events, reported 14 people dead and 14 wounded, by “as many as three gunmen.”
Before that was Colorado and the viciousness and cruelty of targeting Planned Parenthood — and women. Before that was Paris. And the Russian plane. And always — Isis/Isil/DAESH/BokoHaram. And of course, Donald Trump. SO.
This is a song about a freak show. And that’s why.
ALSO we all know I love Mark Knopfler so there’s that.
I’ve tried everywhere to find audio or video of this wonderful song. I know it exists because I used to play it with my kids*. Even without the music though, it’s great. So on this anniversary, with honor, admiration — and awe:
The Ballad of Momma Rosa Parks
(Nick Venet and Buddy Mize, 1963)
In nineteen hundred and fifty-five,
In a southern American town,
A tired colored lady got on a city bus
And immediately sat down,
With a closed mind and an opened mouth
The big bus driver got rough
And told his only passenger
To move to the back of the bus.
cho: When Momma Parks sat down,
The whole world stood up,
What's good for one is good for all,
It's good for all of us.
The lady's name was Momma Rosa Parks,
A hard workin' woman indeed,
She was goin' home, 'twas her goin' time,
She had little hungry mouths to feed,
She wasn't botherin' nobody
And doin' nothin' wrong,
By the Lord's rules of love
When Momma Parks sat down
The whole world stood up.
printed in "Songs of Peace, Freedom and Protest" by Tom Glazer
(1970, David McKay Company)
*If you know where I can find it please let me know!
We’re ending this month with so much sadness and bad news and facing an election year sure to bring much more. SO instead of the long NABLOPOMO meditation I’d planned I offer you the last song from the best concert I haveever been to IN MY LIFE, not just because this amazing lineup* (it was almost too much to absorb,) but because it existed to serve the 2004 Democratic ticket as John Kerry challenged George Bush.
Yeah I know he lost, but the song – this song – written by Patti Smith, still helps to remind us today of the task that lies before us. “The People Have the Power.” We, the people, need to do all we can to protect our rights and fight to revive those stolen from us: the Voting Rights Act, the terrible assaults on women’s healthcare providers, especially Planned Parenthood, racial injustice and pain beyond describing, xenophobia and hate speech from those who would lead us. We can’t afford to lose.
So, enjoy the music and take it to heart, then remember for the next year that those people who have the power?
They’re us.
*Babyface, Bonnie Raitt, Bruce Springsteen, Dave Matthews Band, Dixie Chicks, Eddie Vedder, Jackson Browne, James Taylor, John Fogerty, John Mellencamp, Jurassic 5, Keb’ Mo’, Pearl Jam, R.E.M.
Interesting how the media is characterizing this premeditated act of terror against Planned Parenthood as committed by a “calm and crazy” person whereas the attacks in Paris, including Charlie Hebdo (another workplace targeted for political reasons), were carried out by terrorists who were only characterized as “calm”. The media’s attempt to make the string of fatal attacks against clinics isolated attacks by insane individuals, whereas the string of fatal vigilante attacks by Muslim extremists are considered political acts of terror, is because the media fears being seen as taking sides in the abortion debate.
Then read this:
Here’s the first post I read about this topic – also from Christina Page. Thank you Christina for reminding us all of the importance of words!
The media needs to change this language immediately. They are referring to him as a shooter. He is a terrorist. This language needs to be corrected from the inception (I think behind the scenes so as to not make that the issue). If they start naturally referring to him that way, that’s what we want and that’s what it will be. All of the messengers should just not sway from this language. Terror was understood right from the start in Paris, this is the very same. One officer killed, four officers shot and 4 civilians.
It’s gratifying to hear so many establishment pundits, right and left, advocating the conscious use of the word “terrorist” but if it weren’t for the advocacy from women like Christina and others, who knows how much longer it would have taken to get them to do it?
