Qualifier: Brenda Martinez leans in

US Olympic Track and Field trials, final for the women’s 1,500 meters. Just watch.



Five Drills, Brad Killam and Zachary Cahill

Julia Lazarus: The Brittleness of the Player’s Body

Die Brüchigkeit der Spielerinnenkörper from julia lazarus on Vimeo.

Theseus Beefcake (teaser)

Theseus Beefcake – Teaser 1 from PanicLab on Vimeo.

I cannot get enough of grappling-based performance!

Hazel Meyer’s Muscle Panic

Muscle Panic (1 min) from Hazel Meyer on Vimeo.

“Performed on Thursday August 27th, at Scrap Metal Gallery in Toronto Ontario, with Cait McKinney, Lena Suksi, Anthea Black, Aisha Sasha John and Hazel Meyer. Original performance runs 32 minutes.”

A genre: installation-based work repurposing sports artifacts — often inviting movement, forms of play within the gallery. I’m partial to feminist/gendery versions like the above.


“I Don’t Think We’ve Seen That”


From the days when the rape-y-ness of the football imagination had a certain innocence to it.

Pink Slime: on racist reporting of anti-racist student activism


From Bon Appétit’s website: “And good luck locating Indian food as authentic as what our eBay and Google guests enjoy at our cafés at any other workplace.”

Popular media is determined to present the national student body as a generation of spoiled brats. Pundits cherry-pick and decontextualize stories from student papers, presenting individual campus struggles to a scandalized public as symptoms of the collapse of moral character. It is no wonder that activists at the University of Missouri attempted to exile the press from their fall 2015 demonstrations. Journalists are not what they were in the 1960s. The few who have the resources, drive and ability to report a story are far outnumbered by the flock of sneering bloggers who supply Facebook and Twitter feeds with rhetorical pink slime.

Take recent stories about student questioning of Oberlin College’s dining options. Oberlin’s dining services are provided by Bon Appétit Management Company, a food services corporation that brands itself as socially progressive through its use of “locally sources/humanly raised” product, etc. They operate “650 cafés in 33 states, with dozens of marquee clients.” Students complained that much of the international fare on Appétit’s menu is more appropriative than authentic. (One of the offending menu items is a pulled pork sandwich served on ciabatta with cold slaw, presented as Banh Mi). They asked to sit down with those designing the menu, in the interest of improving it. Their complaint to the campus dining service was reported by the school’s paper, the Oberlin Review. That article led to a New York Post headline which declared, “students at Lena Dunham’s college offended by lack of fried chicken.”

This is not an unusual path in the development of a story. College campuses have long served as inspiration for collective finger wagging. Student art projects, sit-ins, course ideas, new majors, experimental pedagogy can be trusted to make headlines during a slow week.

One might see in this story an interesting conversation between international students, Oberlin staff and Bon Appétit, a national food service corporation that uses social consciousness as a marketing tool. One might spy a story about the flattening of campus culture by the delocalized corporate management of student life. Life at one liberal arts college looks increasingly like life at every other liberal arts college because, nationally, a handful of corporations produce all aspects of student life. These corporations promise to make life on college campuses “better,” but in doing so they make it more uniform. That uniformity includes the translation of diversity into easily produced and consumed menu-items. This, the use of diversity as a marketing device, was actually the focus of Clover Lin Tranh’s November 6 story for The Oberlin Review. The exchange between students and staff at Oberlin is, in fact, typical of college life. For people working in student affairs, it’s hardly newsworthy. It is a basic workday.

In their earnest idealism, student activists are vulnerable to judgment from a cynical public. Today, the latter is more interested in the problem of student entitlement than it is in the crisis in public education. If Oberlin students seem “spoiled,” it is because the overwhelming majority of students in this country are served salt-cured ambiguous animal protein soaked in grease — and the public accepts this, just as it accepts in strip-mining of the national curriculum and the degradation of teaching. It is pink slime everywhere in our schools — those of us who teach college are now used to students who have never been inside a library, and whose progress in their degrees is hampered by their need for remedial writing and math. Those remedial needs, by the way, are generally met by adjuncts — by teachers working part-time with no health or retirement benefits, who have no say in campus governance and no pathway for career advancement.

One might understand individual stories of student activism as confrontations with the difficulty of recognizing and working from difference. Differences in cultural practices of hospitality are an important threshold for conversations about race, ethnicity, nationality and religion — especially within the context of a residential campus. One might assume that students are translating into collective action some of the material they are learning in the classroom, and that they want to make the campus a more interesting place to live. Instead, popular media dismisses students as entitled monsters.

Teachers and staff members who work with students know that the college campus has always been, by definition, a community dedicated to struggle — education is, always, hard work, and it is a collective undertaking. Each class of students will hold the campus to a new, different, and evolving standard calibrated to their needs and ambitions. Faculty and staff negotiate with these needs and ambitions. That is our job. Today that job includes suffering through the blunt force of popular media’s racism, which would have the reader believe that earnest anti-racist activism is the real problem, and not the brutality of the profoundly racialized forms of class warfare that render student struggles for equality into a form of entitlement.


NOTE: Normally I write about sports here but every now and again I have other thoughts.

Serena’s Pose

all hail the Queen

Of course this is a controversial image.

The last women to grace this particular SI issue solo were “American Sweethearts” Mary Decker (1983) and Chris Evert (1976). Decker’s photo layers a portrait of the runner in her street clothes over another image of her finishing a race. She leans into the picture, her body excised by the image’s frame. She is dressed like a pretty suburban mom in a monochromatic jacket and turtleneck. Her pose and her expression suggest a woman embarrassed to be taking up even the space she occupies here. Sorry! she says with a smile.

Mary Decker SI cover 1983

This is, actually, light years ahead of the cover for the 1976 issue of SI dedicated to Chris Evert. There is no way on earth Serena Williams isn’t acutely aware of this photograph.

chris evert SI 1976

Evert is wearing the kind of restrictive tennis costume women players were forced to wear, in another century. She does not look like she has just walked off a tennis court. She looks like she just fell into an Edith Wharton novel. She is the picture of a proper white lady.

Maud Watson 1884

The 2015 issue is notable for oh so many reasons. Among those reasons is the way the cover sidelines the issue of gender difference and also foregrounds it. Gender difference is always a problem for women athletes who must both demonstrate that yes, they are women and apologize, as women, for existing. This cover image is assertive and unapologetic about Serena as a sexual subject.

The title of the award itself has been loosened from gender — this year it is “sportsperson” instead of  “sportswoman.” This is a signal: things are getting more interesting. In years past, even in the context of issues dedicated to more than one athlete — e.g. 1984’s issue, celebrating Mary Lou Retton and Edwin Moses or 2011’s issue dedicated to Pat Summitt and Mike Krzyzewski — the awards were titled “Sportsman” and “Sportswoman” of the year.

The thing about that word “sportswoman” is that it asserts a regime of femininity, at the expense of the athlete’s sexuality. It reminds us that the entire world of sports is segregated, and that its rituals tend to body forth contradiction, ambivalence and anxiety regarding just what that segregation is about.This is how one arrives at the idea of putting Cris Evert in Edwardian Lady Drag. That outfit is not about asserting her athleticism or her sexual power. It is, in fact, about restricting both. It is about framing her body within the gendered architecture of restricted movement.

Sexuality, in Serena’s cover image, pushes back against the raced and classed codes of femininity that govern the “proper” presentation of women athletes around the world. In this image, sexuality is freed, if you will, from the discourse of gender difference which evacuates all signs of strength and power from the feminine subject. That, of course, is entwined with racist discourse which figures a black woman’s sexuality as excessive, and as “unfeminine” and in which a black woman’s athleticism appears as some kind of interference with her womanliness — indeed, with her humanity.

A number of writers defend Serena’s cover image as a celebration of her femininity. But this is only part of that image’s story. For what is her femininity? The fuck-me heels? The spread of her legs? The dare in her expression? Femininity is a very poor word for Serena’s styling, pose and posture here. The proper feminine subject, for example, does not spread her legs for anyone. She does not wear shoes like that. She wears more clothes. Especially if she is an athlete, she makes herself look demure, or sexless.

I see, in this image choice, the ghost of Evert’s corset, re-presented here within the language of sexual domination.

all hail the Queen

Here, Serena gives us a glimpse of her sexual power. This portrait is intentionally sexy. It is dominating. She is the master of her sexual power, and in this context, that mastery is a shiny reflection of the control she has over her athletic power. With this image, she asserts that she will do exactly what she want to do, and that this is, in fact, also what we want her to do.

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