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FiercelyReal?:
TyraBanksandtheMakingofNewMediaCelebrity
Correspondingauthor:JessalynnMarieKellerDepartmentofRadioTelevisionFilm,UniversityofTexasatAustin
1UniversityStationA0800,Austin,Texas,USA78712Phone:5124714071Fax:5124714077
Author’scontactinformation:DepartmentofRadioTelevisionFilm,UniversityofTexasatAustin
1UniversityStationA0800,Austin,Texas,USA78712Phone:5124612221
Email:Jessalynn.keller@gmail.com
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Abstract:ThispaperwillexamineformersupermodelTyraBanksasacontemporary“celebrityentrepreneur,”focusingonBanks’recentshiftfromtelevisionpersonatomultimediaiconwithinaneoliberalpopularculture.Iarguethatourcontemporarynewmediaenvironment,markedbyconvergentmediatexts,selfbranding,andinteractivityprovidesanidealspaceforBankstoproduceandgloballycirculateherpostfeministstartext.Throughherwebsites,Facebook,andTwitterconfessionals,Banksisabletosuccessfullynavigatethecontradictorydiscoursesthatinsistfemalecelebritiesbeboth“authentic”selveswhilemaintainingadisciplined,hegemonicfemininitythatbecomeslegitimizedandnaturalized.IconcludethatwhileBanks’mobilizationofahypervisibilityandsenseofindividualagencygeneratesanauthenticitythatmayresonatewithherfans,sheremainscontainedbytheneoliberalandpostfeministdiscoursesthatallowhertohavesuchaprominentInternetpresence.Consequently,thispaperservestoraiseunexploredquestionsabouttherelationshipbetweencelebrityculture,postfeministandneoliberalsubjectivities,andnewmedia.
Keywordspostfeminism,neoliberalism,celebrity,newmedia,convergenceculture
Havingfirstgainedpopularityasasultrysupermodelinthemid‐1990s,Tyra
Banksbecamepopularinpartbecauseofherpositioningasapubliclyvisibleraced
andgenderedbody.ShewasthefirstAfricanAmericancovermodelofSports
IllustratedSwimsuitIssue,GQ,andtheVictoria’sSecretcatalogue,andisconsidered
oneofthefirstblackmodelstofindsuccesswithinthepredominantlywhite
modelingworld.Bankslaterprovedtobeasavvybusinesswoman,brandingherself
throughahostofmediapropertiesincludingthepopularrealitymodelingshow
America’sNextTopModel,(2003‐present),herowntalkshow,TheTyraShow
(2005‐2010),andherextensivewebpresence,firstatTyra.com(2009‐2011)and
mostrecentlyattypeF.com(2011‐present),aswellasnewendeavors,includinga
recentseriesofnovelsforteens.Banks,inthissense,isemblematicofwhatKim
Allen(2011)callsa“celebrityentrepreneur,”whoisabletoinventherselfthrough
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multiplemediaplatformsandexplainhersuccessasindicativeofambition,talent,
andhardwork.
Recently,Bankshasshiftedherattentionawayfromtelevision,endingher
Emmy‐winningafternoontalkshowandpursuinganextensiveonlinepresenceon
Tyra.comandtypeF.com,afashionandbeautywebsitedevotedtocelebrating
individualbeautyandstyle.ItisBanks’mostrecentshifttotheonlineworldthatI
willfocusonherethroughadiscursiveandideologicaltextualanalysisofherweb
presence,includingTyra.com,typeF.com,andsupplementarypresenceonYouTube
andTwitter.Banks’shiftfromsupermodeltotelevisionpersonalitytomultimedia
businesstycoonmayappearasproofofanincreasinglyprogressivepopularculture,
whereblackwomencanattainlongstandingcelebritystatusandtheadmirationofa
mainstreamwhiteaudience.Infact,Bankshasutilizedthisrhetorictoposition
herselfasapositiverolemodelforgirls,drawingonherownpersonalexperiences
asasourcesofstrengthhelpinghertosucceedinthecutthroatentertainment
industry.ItisthisdiscourseIaminterestedininterrogatinginthispaper.Howdoes
Bankscultivateasubjectivitythatcelebratesauthenticitybasedonindividualchoice
andself‐acceptancewhilemaintainingadisciplined,yetnaturalizedhegemonic
femininityacceptabletocontemporaryAmericanideals?
Imaintainthatthehighlyindividualizednatureofnewmediaprovidesa
particularlysuitableplatformforBankstonavigatethecontradictoryrelationship
betweenauthenticityandapostfeminist,highlyconstructed,yetnaturalized
hegemonichyper‐femininitydemandedoffemalecelebrities.Throughheruseof
variousnewmediaplatforms,includingherwebsites,Facebook,Twitter,and
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YouTube,Banksisseeminglyabletospeakdirectlytoherfansthroughmedia
platformstheyfrequent,promoting“fiercelyreal”bodies,a“uniquelyyou”senseof
beauty,and“individualstyle”thathintsatacelebrationofnon‐normativebodies,a
categoryinwhichsheoftenincludesherself.Whilehavinganonlinepresenceisnow
standardmarketingpracticeformostcelebrities,itisthewaythatBankspositions
herselfasaninformed,authenticinsiderassheinstructsheryoungfemalefanson
howtheycanembracetheirindividual“type,”thatispertinenttomydiscussion.
IarguethatBanks’personalclaimstoauthenticitythroughsocialmedia
allowhertonaturalizeandplacateherbrand’ssustainedpromotionofhighly
disciplinedfemalebodiesthatconformtonormativenotionsofwhitefemininity,
whileavoidingthecritiqueleviedatotherfemalestars’forbeing“poor”rolemodels
foryounggirls.Inthissense,Bankshasbeenabletomaintainasuccessfulstartext
throughouthernearlytwodecadesinthepublicspotlight,asevidencednotonlyby
herrecognizedprofessionalaccomplishmentsandfandevotion,butalsothrough
herabilitytoreinventherselfacrossmediaplatformswithoutalienatingherteenage
fans.Iwillarguethatsheisabletodothisthroughherongoingabilitytoappear
progressive,whileremainingneatlycontainedwithinlargernormative
constructionsoffemininesubjectivitiesrootedinpostfeministandneoliberalvalues
madeincreasinglyvisiblethroughtheircirculationonline.
Iwillbeginbyoutliningmytheoreticalframework,whichdrawsontwo
recentsubfieldsofmediastudiesresearch,celebrity/starstudiesandnewmedia
studies.Iconnectthesetwosubfieldsbydemonstratinghowpostfeministand
neoliberaldiscoursesinformbothdominantdiscoursesaboutfemalecelebritiesand
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newmediapractices.Itheorizeauthenticityasbeingacentralissuewithinthis
researchanditisthisideathatinformsmyanalysisofBanks’online
representations.
MydiscussionofBanksasacasestudyisbaseduponaclosediscursiveand
ideologicaltextualanalysisofBanks’websites,Twitterfeed,andFacebookpage
overtheperiodofseveralmonthsinspring2010andspring2011.Mysampletexts
werepurposefullychosenbasedupontheirinclusionofthemesandideasthatare
privilegedinpostfeministandneoliberaldiscourses,including
authenticity/realness,empowerment,individuality,choice,andsuccess.Thus,I
specificallyanalyzetextsthateitherusedtheseexactwordsordrawontheseideas
moregenerallyinordertoparseouthownewmediaplatformsprovideaspacefor
Bankstosuccessfullynavigatethecontradictoryrelationshipbetweenanauthentic
selfandanimagethatalignswithamarketablehegemonicfemininity.Iconclude
thispaperbycontemplatingquestionsofagencyinrelationtoBanks’startextand
onlineperformances,andadvocateforabetterunderstandingoftherelationship
betweencelebrityculture,neoliberalandpostfeministdiscoursesandnewmedia.
“PostIdentity”PoliticsandtheGenderingofFameinContemporaryCelebrityCulture
Feministmediastudiesscholarshaverecentlyproducedexcellentwork
analyzingpostfeminismasasensibilityshapingcontemporarypopularculture(Gill,
2007,McRobbie,2009,Negra,2009,GillandScharff,2011).Postfeminism,
accordingtothiswork,isunderstoodasaculturalsensibilitythatpromotesthe
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“undoing”offeminism,through“disarticulationanddisplacement,accompaniedby
replacementandsubstitution”(McRobbie,2009,26,Gill,2007).McRobbieargues
thatnewformsofgenderpowerinpopularculturereplacefeministpolitics,
promotingahighlyconservativemodeoffeminine‘empowerment’,consumer
citizenship,andsexualfreedomsthatarebrandedasprogressive,yetcontinually
celebratehegemonicfemininityastheidealforwomen.Withinthissocialand
culturalcontextyoungwomenarepositionedasflexible,individualizedsubjects
“weightedtowardscapacity,success,attainment,enjoyment,entitlement,social
mobilityandparticipation,”capableofunfetteredsuccessinthemarketplace
throughhardworkanddedication(McRobbie,2009,57).
Thefashionandbeautyindustriesarecentraltopostfeministfemininity,and
womenareencouragedto“choose”toadheretothenormsdictatedbythemin
ordertomarkoneselfasanambitious,empowered,andadesirablesubject
(McRobbie,2009).AccordingtoMcRobbie(2009)then,itisnotmaleretribution
butinsteadthefashionandbeautysystem,whichbecomesthenewauthoritative
regime,encouragingwomentounderminetheirsupposedthreattomenbasedon
theirnewwage‐earningpowerandvisibilityinthepublicspherethroughan
excessive,seemingly“ironic”displayofnormativefemininemarkerssuchaspencil
skirts,stilettos,andcorsettops.Femininityisconsequentlynaturalizedonthe
femalebody,whichbecomesthesiteofidentityand“self”forwomeninthese
postfeministdiscourses(Gill,2007,GillandScharff,2011,Tincknell,2011).
PostfeminismexistsintandemwithwhatscholarssuchasRalinaJoseph
(2009)calls“post‐race”logic,whichpositsthatracismhasbeeneradicatedthrough
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thecivilrightsmovementandconsequently,racenolongermattersasanidentity
category.Post‐race,alsoreferredtoas“colorblindrhetoric,”amongstotherterms,
hasbeenthoroughlyanalyzedbycriticalracescholars,whoarguethatthese
discoursesareproblematicbecausetheynegatetorecognizetheveryrealhistoryof
racismwhichcontinuestoaffectpeople’slives,merelymaskinginequalitiesthrough
denialofinequalities,ratherthanactivelyworkingtodismantlethem(Crenshaw,
1997,Bonilla‐Silva,2003,Collins,2005,Joseph,2009).
NeoliberalismalsostructurestheculturalcontextinwhichBanksdevelops
herbrand.LisaDuggan(2003)arguesthatneoliberalismisnota“unitarysystem”
buta“complex,contradictoryculturalandpoliticalprojectcreatedwithinspecific
institutions,withanagendaforreshapingtheeverydaylifeofcontemporaryglobal
capitalism”(70).Neoliberalismischaracterizedbyprivatization,deregulation,a
celebrationofindividualism,arejectionofthesocialwelfaremodelofstate
governance,anditprivilegeschoice,individualresponsibility,freedom,self‐
improvement,andpersonalempowerment.AsscholarssuchasRosalindGilland
ChristinaScharff(2011)andMcRobbie(2009)argue,neoliberalismisnotgender
neutral,butinsteadproducesspecificgenderedsubjectivities,ofteninaccordance
withpostfeministdiscourses,thatconfirmnormativegenderperformances.Itisthis
aspectofneoliberalismthatIamparticularlyinterestedinexploringhereinrelation
toBanks.
WhileIcannotprovideacomprehensiveanalysisofpostfeminism,post‐race
rhetoric,andneoliberalismhere,theyprovideasignificantculturalcontextfor
analyzingBanksasacelebrityfigure.Indeed,intheintroductiontoIntheLimelight
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andUndertheMicroscopeSuHolmesandDianeNegra(2011)arguethatthe
discursivecirculationofwomeninthecontemporarycelebritylandscapewarrants
moreattentionfromfeministscholars,particularlywithregardstohowdiscourses
ofpostfeminismintersectwiththesubjectofcelebrityandthegenderingoffame.
AliceMarwickanddanahboyd’s(2011)understandingofcelebrityisusefulhere.
Theytheorizecelebrityasan“organicandever‐changingperformativepractice
ratherthanasetofintrinsicpersonalcharacteristicsorexternallabels”and
involvingthe“ongoingmaintenanceofafanbase,performedintimacy,authenticity
andaccess,andconstructionofaconsumablepersona”(140).Byemployingthe
conceptofcelebrityinthisway,wecanaskhowpostfeministdiscoursescontribute
toourunderstandingoffemalecelebritiesandthewaysthatfemalecelebrities
consciouslyperformandnegotiatetheirstartexts.
ScholarssuchasJoseph(2009)andAmyAdeleHasinoff(2008)haveargued
thatBanksfunctionsasbothapostfeministandpost‐racecelebritywithina
neoliberalculture,embodyingandcelebratingherpositioningasa“post‐identity
everywoman”whoisabletotranscendthebarriersofgender,race,andclass
throughanempoweredattitudeanddiligentworkethic.Joseph(2009)arguesthat
Banks’positioningas“color‐neutral”andempoweredratherthanfeministremainsa
structuringdimensionofhercelebrity.Despiteoneortwooccasionswhereshehas
covertlychallengedthesepost‐discourses,Joseph(2009)maintainsthatBanksis
ultimatelycontainedbythem.Likewise,Hasinoff(2008)arguesthatBanks’reality
televisionprogramAmerica’sNextTopModelcontinuallypromotesaneoliberal
racialvisibilitythat“requiresaprofoundblindnesstocurrentandhistoricalracial
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injustices”(326).ThisresearchprovidesanimportantcontextforlocatingBanksas
embodyingbothpostfeministandpost‐racialdiscoursesandwillserveasthe
foundationuponwhichmyanalysisisbuilt.
WhilescholarssuchasSusanBordo(1994)havedemonstratedhowwomen
havealwaysbeenassociatedwiththebodywithintheWesternmind/bodydualism,
postfeministdiscourseshavefurtheremphasizedthisconnection,promotingthe
bodyastheprimarysiteoffemininity(Gill,2007).AsKimAllen(2011)notes,this
hasbeenespeciallytruewithincelebrityculture.Shearguesthatthefemale
celebritybodyhasincreasinglybecomeasiteof“punitivesurveillance,”centralto
theconstructionofone’s“authentic”selfhood(151).Allen(2011)maintainsthat
thishascreatedadoublebindforfemalecelebritieswhoarerewardedfor“staying
truetooneself,”yetarealsorequiredtoperformanaccepted,hegemonic
postfeministfemininity,consequentlycomplicatingtheperformanceofan
“authentic”celebrityselfhood.
Inthissense,femalecelebritiesthatappeartoocontrived,artificial,orphony,
especiallyifitmanifestsontheirbodiesthroughexaggeratedplasticsurgeryfor
example,areoftenpubliclyridiculedfortryingtoohardand“notbeingthemselves.”
Thenegativepressattention,includingaPeoplecoverreading“AddictedtoPlastic
Surgery,”publishedinearly2010inreferencetorealitystarHeidiMontagafterit
wasreportedshehad10plasticsurgeryproceduresinoneday,isarecentexample
ofthisdisciplining(Garcia,2010).However,femalecelebritiesarerequiredto
performapostfeministfemininitycharacterizedbyhegemonicmarkerssuchasa
tall,slim,hairlessbody,long(oftenblonde)hair,clear(usuallywhite)skin,
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manicurednails,andareexpectedtobefashionedinexpensive,trendyfeminine
clothesandaccessories.Whilethereisclearlylaborinvolvedinmoldingone’sbody
tothisstandard,aswellasaraceandclasscomponentthatpositionswealthy
whitenessaslinkedtothisidealizedfemininity,Allen’s(2011)argumentimplies
thatthelabormustremaininvisibleornaturalized,makingtheperformanceof
postfeministfemininityappearnaturalandauthentictocertainindividuals(Weber,
2009).
Twopointsareparticularlyrelevanttomyfollowingdiscussion.Firstly,itis
importanttoemphasizethatforwomenandgirls,authenticityislocatedinthe
body,reaffirmingthebodyascentraltofemalecelebrity.Thishascertainlybeenthe
casewithBanks,whosepromotionofherbodyasbrandhasshapedherstartext,
evenafterretiringfrommodelingin2005.Joseph(2009)argues,“Banks’body,and
morespecificallyherbreasts,remainstarringcharactersinhermanymedia
appearances.Banksisrarelywithoutalow‐cut,décolletage‐emphasizingoutfit,as
herbreastsareindeedamajorsignifieroftheTyrabrand”(240).Banks’“booty”has
alsobecomesomewhatprominentinherbrandidentitysincea2007episode
where,afteratabloidmagazinecalledherfat(endnote1),Banksretorteddefiantly
onhertalkshow,telling“allthosewhohavesomethingnastytosaytomeorother
womenwhoarebuiltlikeme:kissmyfatass!”(Joseph,2009).Iwillreturnlaterin
myanalysistothewaythatBanks’promotionofherbody,specificallyherbreasts,
buttocks,andhairassignifiersofherauthenticityascelebrityisperformedand
circulated.
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Second,Allen(2011)emphasizesthatitistheselfasindividualwhois
celebratedwithinthisdiscourse,aligningwithalargerneoliberalprojectthat
privilegesself‐improvementasameansto“reveal”aninner,authenticself(Allen,
2011,Weber,2009).AsBrendaWeber(2009)arguesinherbook,MakeoverTV:
Selfhood,Citizenship,andCelebrity,the“after‐body”intelevisionmakeovershowsis
alwayspresentedasone’strueself,whichhasbeen(finally!)freedfromone’spast
badchoicesandpoorbodilydiscipline.Despiteviewerswatchingthecontestant’s
transformationandthelaborinvolvedinthisprocess,theauthenticityofthe“after‐
body”isneverquestionedandisnotunderstoodasperformed,butas“natural”
(Weber,2009).Thus,thistensionthatIhavebeendiscussingasindicativeofa
postfeministculture,canalsobeseenasaresultofapopularcultureincreasingly
dominatedbytheneoliberalvaluesofindividualism,choice,anddiscipline.
Celebrity,NewMedia,andNeoliberalism:InterrogatingIntersections
Newmedia,includingsocialnetworkingsitessuchasFacebook,Twitter,
YouTube,andeasy‐to‐usebloggingplatforms,areindicativeofwhatHenryJenkins
(2006)calls“participatoryculture,”amediaculturecharacterizedby“users”that
engageinbothconsumptiveandproductivepractices.Thesenewopportunitiesfor
audienceparticipationhasfosteredthepersonalizationandindividualizationof
media,whereuserscan“customorder”theirmediabasedontheirownneedsand
interests(BurgessandGreen,2009).Thus,newmediahasbecomeasignificantsite
fortheproductionofindividualidentities,tastes,anddisplay,andhasledmany
scholarstounderstandnewmediaasofferingademocraticpotentialunlike
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previousmediums(Jenkins,2006,boyd,2008,Castells,2009).Forexample,the
Internethasbeencelebratedasrelativelyaccessibleandeasy‐to‐use,forallowing
userstobecomeproducers,andforitsflexiblearchitecture(Banet‐Weiser,2011).
Accordingtothisperspective,newmediafostersinteractivity,participation,
production,andcreativeidentity‐makingthatarecentralcomponentsoftoday’s
web.Whilechallengeshavebeenmadetothisperspective,suchasworkon
surveillancebyMarcAndrejevic(2007),thefreedomandindividualagency
extendedtowebusersremainsadominantthemeinculturalstudiesscholarshipon
newmedia.
Therehasbeenlittleattentionpaidbynewmediascholarstothewaysin
whichpostfeministandneoliberalvaluesaremanifestonline.Existingwork,
however,drawssomeinterestingconnectionsbetweenpostfeminist,neoliberal
valuesandnewmedia.Forexample,LaurieOuelletteandJulieWilson(2011)argue
thatratherthanallowingfornewidentitysubjectivitiesandpleasureforwomen,
convergencecultureoftenfacilitatesaformofneoliberalcitizenshipthatmerely
repackagesandpromotestraditionalgenderedaffectivelabor.Likewise,Sarah
Banet‐Weiser(2011)arguesthatnewmediaplatformssuchasYouTubefunctionas
spaceswhereneoliberalbrandculture,Web2.0interactivity,andpost‐feminism
merge,creatinga“contemporaryinteractivesubjectwhorealizesherindividual
empowermentthroughandwithintheflexible,openarchitectureofonlinespaces”
(278).Thesimilarlogicsandidealsofpost‐feministandneoliberalsubjects,
includingindependence,capability,andempowerment,complementtheneoliberal
culturalspaceoftheweb,whereindividualsareawardedforinnovativepublic
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performancesthroughviralcirculation,monetarycompensation,andperhapsmost
importantly,celebrity.
Thecelebrityculturecreatedaroundnewmediaissignificant,asboth
“average”citizenshopingtobecomecelebritiesandcelebritiesthemselvesutilize
onlinespacestomakevisible,promote,control,andrebrandtheirpublicimage.
AmyShieldsDobson(2008)notesthatpost‐feminist“girlpower”narrativesrelyon
whatSusanHopkins(2002)calls“celebritypower”tocreateandupdateone’simage
asempoweredandincontrolofone’sselfonline.Dobson(2008)concludesthat,“In
commodified,‘celebrified’girlpowerculture,beingaproductin‘highcirculation’is
theultimateachievement”(127).Theselfasacommodifiedproduct,thenbecomes
indicativeofasavvybusinesssense,aconfidenceinone’sphysicalappearanceand
ultimately,atrue,authenticselfthatisrelatabletopotentialviewersandfans.
ScholarssuchasAnitaHarris(2004),Dobson(2008),andWeber(2009)
haveallarguedthatcontemporarymediacultureoftenreliesonconfessional
narrativesthatservetoreveala“trueself”oranauthenticidentity,oftentheclimax
ofarealitytelevisionshoworasuccessfulcamgirlcareer.Indemarcatingatrueself
viaconfessional,theseperformancescanbeunderstoodascreatingindividuals
withinalargermatrixofpower(Foucault,1978).Authenticitythen,becomes
intertwinedwithbothstar‐makingandindividualization,asWeber(2009)arguesin
relationtomakeovertelevisionshows.ToWeber(2009),therevealofan
individual’sauthentic“innercelebrity”merelymakesvisiblewhat’salreadythere
andchallengesthecommonly‐heldbeliefofcelebrityasbeingfake,inauthentic,and
unnatural.
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Whileauthenticityhashistoricallybeenasignificantissueinattemptingto
understandstardomandcelebrityinthefilm,music,andmorerecentlytelevision
industries,scholarssuchasSuHolmesandSeanRedmond(2006),AliceMarwick
anddanahboyd(2011)andElizabethEllcessor(2012)haverecentlyarguedthat
theconcepthasbecomeevenmoreimportant–andcomplex‐inournewmedia
environment.Ellcessor(2012)arguesthat,“Internet‐basedfamedependsonthe
authenticityofastar’sself‐representationandonthenotionofintimacy,
experiencedthroughthepossibilityofinteractionratherthansimplefamiliarity”
(51).Inthissense,authenticitybecomesmadeevidentthroughanewsetof
standards,whichincludeillusionsof“liveness,”interactivity,apossiblelackof
mediagatekeeperssuchaspublicists,andspontaneitythatsupposedlyallows
celebritiesto“disclosea‘real’versionofthemselvesthatreinforcestheirpersonas”
(59).
Thus,byemployingtheconceptofauthenticityhereandanalyzingBanks’use
ofit,Iamnotsuggestingthatthereisanykindof“real”Banksthatwecanactually
knowthroughheronlinemedia.Instead,Iaimtobetterunderstandthewaythat
Banks’performstheconceptofauthenticityinbothapostfeministculturalcontext
thatprivilegesauthenticityasanecessaryqualityforfemalecelebritiesandanew
mediaenvironmentthatoffersdistinctivelynewopportunitiestoperformit.This
paperistheninformedbyapoststructuralistunderstandingofidentity,which
suggeststhatauthenticityitselfisnotinherentandstatic,butissociallyconstructed,
contextual,andperformed(Marwickandboyd,2011).
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Theabovediscussionsuggeststhatnewmediaenvironmentsandformats
requireanewconceptualizationofcelebrity,whereadesireforauthenticity,
constantaccess,andinteractivitybecomebedrocksforthesuccessfulcelebrityin
contemporarypopularculture.AliceLeppertandJulieWilson’s(2011)workon
LaurenConradbeginstomapConrad’sstartextwithinthisculturallandscape,
howevertheirdiscussionofherinrelationtohernewmediapresenceremains
limitedandfocusedonMTV’sbrandingofConradonline,ratherthanConrad’sown
onlineinitiatives.Iaimtofurtherinterrogatethisonlinespaceglossedoverby
LeppertandWilsonbyfocusingmyanalysisonBanks’onlineendeavorsand
examineBanks’ownagencyinproducingandcirculatingherimagevianewmedia.
Itisimpossibletoknowwhetherornotitisthecelebrityinquestionwhois
activelytweeting,posting,andcommentingonline.Ellcessor(2012)maintains,
“Newmediaforms,suchasTwitterandothersocialmedia,encouragethenotion
theyareimmediateandauthentic,buttheyareatbaseasynchronous,mediated
formsofcommunicationthatcanbeeasilyfalsified(66).”However,sheremindsus
thatwhentheperceivedtraitsofacelebrityareenactedinthe“seeminglyauthentic
andsociallyconnectedcontextofonlinesocialmedia,theyceasetobeperceivedas
performances(whichmayormaynotbetruthful)andbecomeunderstoodas
evidenceofbackstagebehaviouranda‘true’personality”(Ellcessor,2012,60).
Consequently,Iamsuggestingthatbecauseofthewaythatsocialmediais
commonlyunderstoodasinherentlyauthenticwithinthepublicimagination,itmay
notmatterifitisactuallyBanksbehindthecomputer,aswearemeanttoreadher
onlinepresenceasauthentic(Marwickandboyd,2011).WecanthenlooktoBanks’
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presenceonherwebsiteandsocialmediaplatformsasevidenceofherdesiredstar
text,whichisthefocusofmyanalysis.
“TheRealMe”:PerformingAuthenticityonTyra.comandYouTube Bankslaunchedheronlinecampaign,BeautyInsideOut(B.I.O.)infall2009,
alongwithherrebrandedwebsite,Tyra.com.Thefirstpublicinitiativeofthe
campaignwasthe“FiercelyReal”teenmodelingcompetition,allowing“plussize”
teenagerstocompeteonBanks’talkshowinordertowinthetitleofthe“Fiercely
Real”modelwinner,amongotherincentives.OnhersiteBanks’writes,“theterm
‘Plus‐sized’modelssoundssuperoldfashioned…soI’mchangingtheterm‘Plus‐
sizedandmakingit‘FiercelyReal’!”Thepicturesfromthefinalshootwereposted
onBanks’websiteandthefirstFiercelyRealwinner,SheridanWatson,a“17year‐
old,size14,fierceteenfromNewJersey”was“crowned”inMarch2010.
Fromtheoutset,Banks’B.I.Ocampaignappearstobeaprogressive,feminist
approachtobodyimageandmediarepresentation.Afterall,feministresearchfrom
thepastthirtyyearshasdemonstratedtheharmfuleffectsofunrealisticmedia
imagesontheconfidenceofgirlsandwomen(Bordo,1993,Kilbourne,1999).
However,Banks’missionisclearlyacommercialone.Inherdiscussionofthe
‘FiercelyReal”competitionshewrites,
TheaveragesizeofawomaninAmericaisasize14…It’smymissiontoexpandthedefinitionofbeauty.Toshowunique,atypical,fiercelyreal,quirky,clumsy,five‐headedgirlsthroughallofmymanymediaprojectsandbusinesses.SowatchoutforwhatIhaveinstorenext!
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WhileBanksdoesinvitegirlstomakeaB.I.O.pledgeonherwebsiteastohow
they’regoingtorallyagainst“unrealistic”mediaimages,Banks’projectappearsto
bemoreaboutherowncelebritypersonaandher“manymediaprojectsand
businesses”thanaboutfeministpoliticsperse.
Thisbecomesparticularlyevidentinthelanguagethatsheusestodiscussthe
campaign.Thereisaglaringabsenceofanyreferencetofeminismorthelong
historyofworkbyfeministstocombatunrealisticimagesofwomenandgirlsinthe
media.ThereisalsonomentionofthemanyorganizationsthroughouttheUnited
Statesandtheworldthatarecurrentlylobbyingformorepositiverepresentations
ofwomennotjustintermsofbodysize,butalsointermsofrace,ethnicity,
sexuality,class,ability,andotheridentities.WhileitwouldmakesenseforBanksto
usetheconnectivitythatthewebofferstolinktootherrelatedfeministprojects
withthehopesofformingabroadcoalitionofmediaactivists,shespecifically
choosesnotto.Thus,Banks’projectexistsinisolationfromfeministmediaactivism
andisinsteadrepresentedasthebrainchildofBanksasanindividualmentorand
businesswoman.
Thisindividualizedapproachalignswithneoliberalandpostfeministvalues
whichcelebratetheindividualasthesitewherecapacity,freedom,andchangeare
enacted.AccordingtoMcRobbie(2009),thissenseof“femaleindividualism”has
replacedthecollectivestrategiesoffeminismpolitics,andiseasilyacceptedby
mainstreamsocietybecauseitisnon‐threateningtoaneoliberaleconomicand
socialsystem(16).Indeed,Banks’“femaleindividualism”complements
contemporaryculturalnormsthroughitsdisassociationfromfeminismandits
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embracingofempowerment,agency,choice,andentrepreneurialspirit
disconnectedfromstructuralinequalities.Byadoptingthisapproach,Banks
achievesadelicatebalance,ensuringherbrandisbothnon‐controversialforawide
audience,yetseeminglymodern,positive,andfunforheryoungfans.
Bankscontinuallyreliesonthewords“fierce”and“real”throughouther
discussionsoftheB.I.O.campaign.Theword“fierce”isaninterestingchoicefor
severalreasons.WhileBankshasrecentlyappropriatedtheterm,thewordhasa
longerhistorywithinqueercommunitiestodescribe“anythingexceptional”(Queers
UnitedBlog,2009).Gaymenofcolor,suchasAmerica’sNextTopModeljudgeand
runwaycoachMissJAlexander,wereprimarilyresponsibleforintegratingitinto
thefashionindustry,whereitshiftedtobecomeamoremainstreamword.
Consideringitshistoryasawordfromthemargins,Banks’relianceon“fierce”raises
severalinterestingimplications.First,itpotentiallyalludestoherownmarginalized
positionasablackwomaninamediaindustrydominatedbywhitemen,aswellas
themarginalizedpositionofher“fiercelyreal”sizedteenmodelsinanindustry
dominatedbythin,whitewomen.Second,itpotentiallyalliesherwiththequeer
community,whereshehasbeenrecognizedwiththe2009ExcellenceinMedia
AwardfromtheGay&LesbianAllianceAgainstDefamation(GLADD).Shealso
employsseveralopenlygaymenonherTopModelteam,andhasfeaturedseveral
lesbianandonetransgenderedcontestant(endnote2).
Butdespitethepotentialchallengetodominantwhiteheterosexualnorms
carriedbytheterm,Banksdoesnotuse‘fierce’inoppositional,resistant,orpolitical
ways,adoptingthewordasawaytodemonstrateherownindividualauthenticity
19
ratherthancallattentiontostructuralinequalitiesfacedbyAfricanAmericansand
queerpeople.Thisisevidentnotonlythroughherlackofacknowledgmentofpower
relationsthatprivilegecertainbodies,butalsothroughthewaysheemploysthe
wordtomerelypromoteanormativewhite,femininegenderperformance
celebratedintheBeautyInsideOutcampaign.Forexample,inMarch2010Banks
writesonTyra.comthat,“Thisweekisallaboutbeingnatural.Real.Therealyou.”
Shecontinuestoinstructhervisitors,
Youseethepicturesonthecoverthisweek?I’mbarelywearinganymake‐upandIgottherealhairgoin’on(witharelaxerofcourse)…Sostoptryingtopleaseeveryoneelsebybeingaslavetolotsofmakeupthisweek.Walkaroundwithyourheadheldhighandshowoffthatfabulousskin.OfcourseIdon’texpectyoutogotoschoolorworkwithnomake‐up,butmaybeonaSaturdayouttothegrocerystoreyoucouldkeepyourfreshfaceandjustaddsomeclearlip‐gloss!Thinkofitasawaytotheinneryou.TellmehowYOUgetunmasked!Fierce&Love,Tyra(boldemphasisinoriginaltext)
Banks’contradictoryprescriptionsforbeautyheremustbeanalyzedin
relationtoheraudience.Bysuggestingtoherteenagegirlfansthat“beingaslaveto
lotsofmake‐up”isnottheonlyoptionforgirls,Banksispresentinganideathat
contradictsmanyofthemediamessagesthatgirlsreceiveaboutnormativefeminine
beautypractices.Iamsuggestingthatwhilethisactioncanbereadasbothresistant
andprogressive,Banks’agencyislimitedbyherneedtocontinuallyappealtoa
broadaudienceofgirlsthatmaynotbereceptivetoacompleterejectionofbeauty
norms.Thus,thepotentiallyresistantmessageofrejectingmakeupisrecuperated
throughhersuggestionstogomake‐upfreeonSaturdaysortojustwearclearlip
gloss.
20
WhileBanks’suggestionto“addsomeclearlip‐gloss”maysendthesignalto
bemorenatural,italsoimpliestheimportanceofstillbeingadequatelyfeminine
andassumesthatonehasclearlip‐gloss,thatitispartofeverygirl’smake‐up
essentials.Furthermore,herdisclaimerthatofcourseshedoesn’t“expectyoutogo
toschoolorworkwithnomake‐up”maintainstraditionalideasaboutfeminine
beauty‐thatintheformalpublicsphere,womenmuststillbeclearlyfeminine.In
otherwords,despitecomingclosetoofferingaresistantstanceagainstdominant
beautynorms,Banksultimatelyendsupenforcingnormativefemininityasamust
forthosewomenandgirlswantingtobesuccessfulinthemarketplace,andBanks
continuallypresentsthisperformanceoffemininityasanaturalandinnatequality
ofbeingfemale.
TheaccompanyingpicturesofBanksandher“FiercelyReal”modelwinner
thatflashcontinuouslyonherwebsitealsoreflecttraditionalnotionsoffeminine
beauty:theireyesandlipsaremadeup,theirhairissleeklystyled,theirskin
airbrushedtoflawlessperfection.WhileWatson’sbodyisindeedlargerthanBanks’,
herproportionsmirroraperfecthourglassfigureanditappearsasthoughshe
doesn’thaveanyexcessbodyfat.Butperhapsmoststrikingisthebrightlighting
shiningdownonthetwowomen.AlthoughbothBanksandWatsonareblack,their
skinappearstobealmostwhiteandtheirfeaturesconformtowhitestandardsof
femininebeauty,mostnotably,sleek,straighthair.
DespiteBanks’rhetoricaboutlovingandembracingyour“real”body,Banks
isknownforalwayswearingahairweaveandhavingherhairrelaxed.Her
commentabove,thatshe’s“gottherealhairgoin’on(witharelaxerofcourse)”
21
indicatesthatherhairrelaxerisnon‐negotiable,anassumedpartofher“real”
beauty.Banksfurtheremphasizesthiscontradictorylogiconthepremiereofthe
fifthseasonofTheTyraShow,whereshegarneredwidespreadmediaattentionfor
revealingher“real”hairon‐air,tellingherfans,“Iwantedtoshowtherealme,I
wantedtoshowtherawme.AndIjustgotoutoftheshower–beatthefacefirstof
course,y’all‐andcameouthereonthisstage,andthisisme,y’all!”Thenextday,
Banksmadeheadlineswithherrevelation,withcelebrityglossiescoveringthe
“story.”ThevideoofBanks’reveal,marketedbytheCWasoneofthe“Top10Tyra
Show”moments,continuestocirculateonYouTubeasamuchcommentedonclip.
WhileBanks’discoursepositionsherbodyas“real”and“natural”withinboth
oftheaboveexamples,acloserexaminationofBanks’mediatedimagerevealsher
simultaneouspromotionofaveryspecific,traditionallyfemininebeautythatmust
beactivelyconstructedandmaintainedthroughbeautyproductsandmaintenance
routines.Forexample,whenrevealingher“real”hairBanksnotesthatdespitejust
gettingoutoftheshower,she“beatthefacefirstofcourse,y’all.”Inotherwords,a
fullfaceofmakeupwasanunquestionednecessityforsteppingontothestage,
despitethethemeoftheepisodebeingallaboutnaturalness.
Furthermore,whileBanksmaybeweave‐free,herhairisstillchemically
relaxed,conformingtothelongstandingtraditionofAfricanAmericanhair
straighteningandsignifyingthatBanks’hairdiscourseisclearlyaboutissuesof
racializedbeauty(Walker,2007).ButBanksrefusestoframeitassuch,instead
positioningherhairrelaxingasapersonalchoice,equivalenttoputtingonlip
glossandaffirminganeoliberalpostraceproject,whereblackwomenare
22
entitledtochoosewhethertorelaxtheirhair,divorcedfromthebroader
politicalandsocialimplicationsthatthisdecisionmayimply.Thus,Banks’
“real”selfisstillacarefullyconstructedperformanceofan“appropriate”,contained,
non‐threateningblackfemininity(Banet‐Weiser,1999).
Whilethisnon‐threateningblackfemininityiscomfortablyapoliticalinit’s
conformingtowhitebeautystandards,Banks’performancecontinuallyreaffirms
herauthenticblackness,whichisnecessaryforhercommercialappeal.Forexample,
BankswillofteninterjectwhatSusanDouglas(2010)calls“BlackSpeak”intoher
performances,suchaswhenshetellstheaudienceatherrealhairepisodethatshe,
“beattheface,ofcourse,y’all”(148).WhileBanksdoesnotoftenmakeexplicit
referencetoherselfasablackwomanintermsofasocialpositionwithinhegemonic
powerrelations,thesemomentsassureBanks’viewersthatsheis,indeed,
authenticallyblack.This“aura”ofauthenticblacknessiscentraltoBanks’
presentationofher“realself”,whichultimatelymaintainsherhighmarketvalue
(Benjamin,1984,Allen,2011).
InherdiscussionofOprah,Douglas(2010)arguesthatcode‐switching
between“standardwhiteEnglish”and“BlackSpeak,”“notonlymarksherselfascool
andauthenticbutalsoincludesthewhiteaudienceinherhipcommunity”(148).
ThisisalsotrueofBanks,whosemainstreamappealincludesadiverseaudienceof
primarilyteenagegirlsandyoungwomen.AccordingtoHeleneA.Shugart(2007),
thisconfirmationofauthenticityoftenbecomesimportantforcelebritiesofcolorin
ordertomaintainacrossoverappealtoamainstream–read,white–audience.
“Authenticblackness”becomesindicativeofa“whitefascination”withanddesire
23
forblackexpressionwhichWattsandOrb(2002)argue,servestoensureits
availabilityforcontainment,commodificationandconsumption.
Inotherwords,whitegirls–akeytargetdemographicforadvertisers‐can
comfortablyenjoyBanks’BlackSpeakassomethingcoolandedgy,whiletheirown
whiteprivilegegoesunchallengedandwhitehegemonicfemininityissecuredasthe
desirednorm.Thus,aperformanceofauthenticblackness,orauthenticotherness,is
notaliability,butoftenanecessityfornon‐Whitecelebritiesthataimtogainalarge,
mainstreamfollowingoffans,aswe’vewitnessedinthecaseofOprahandJennifer
Lopez(Douglas,2010,Beltran,2007,Shugart,2007).Conveniently,this
performancealsoworkswithinthelogicofpost‐racialdiscourse,framingracial
markersasedgy,ethnic,marketableaccessoriestoamainstreamaudiencecraving
somethingalittledifferent,whilepositioningBanksherselfasa“successful
Everywoman”,albeitonewhojusthappenstobeblack(Douglas,2010).
ByconductingherB.I.O.Campaignonline,Banksdrawsontheparticipatory
capacityofsocialnetworkplatformstoreachouttohergirlfans,encouragingthem
tojoinherinhercampaign.Indeed,theparticipationofherfansisnecessaryfor
manyofherprojects,suchasthe“FiercelyReal”modelingcompetition,whichrelies
ongirls’photosubmissionsandactiveparticipationinthecontestbyposting
advertisementsforitontheirsocialnetworkingprofilesandloggingontoBanks’
sitetocommentonthewinner.Baseduponthisparticipatoryelement,Iam
suggestingthataseeminglymorepersonalandintimaterelationshipisbuilt
betweenBanksandherfans,onethatpositionsBanksasanaccessibleonlinefriend,
reaffirmingherimageassomeonewhoisreal,authentic,andgenuine,ratherthana
24
superficialpersonaonaTVscreenormagazinepage.ItisthisabilityofBankstobe
seenas“real”bypostingpersonalizedmessages,constantlycirculatingnewcontent,
andevenrespondingtofan’srequestsonhermessageboard,thatservesto
maintainhercurrentfanbaseandrelevanceinpopularculture.
“WelcometoaRevolution”:CelebratingIndividualityontypeF.comand
InApril2011Bankslaunchedhernewestonlineendeavor,typeF.com,a
comprehensivewebsitedevotedtofashionandbeauty.Visitorstothesiteare
greetedwithapop‐upmessagefromBankswarningyouto“getreadytojoinin
revolutionizingtheworldoffashionandbeauty”withBankspromising,“typeF.com
continuesmygoalofexpandingthedefinitionofbeauty.”Thesiteissimilartomost
otherbeautyandfashionwebsites,offeringblog‐stylepostsonthelatestfashion
trends,newestmake‐upandhairtricks,celebritystyle,andbeautyproducts.Banks
attemptstodifferentiateherselffromthisoversaturatedmarketbyappealingtothe
logicofindividualbeauty.AccordingtothisperspectivepromotedbyBanks,every
womanisuniqueandshouldnothavetoconformtoonenarrowstandardof
physicalbeauty,butinsteadembraceone’sownbeautythroughuniquepractices
andproductscateredtoeachindividual.AsBankssaysinherintroductoryblog
post,
Likemanypioneeringwomenbeforeme,includingAriannaHuffington,IbelieveIhavebotharesponsibilityandtheopportunitytogivewomenanewviewofthemselves.Foralongtime,thefashionworlddefinedmy"type."IwanttodefinewhattypeofwomanIam.Idon'twantafeweditorstodictatemystyle;Iwantittobemorepersonal.Makingthingsmorepersonalalways
25
makesthemmorepowerful.
Thus,visitorsareencouragedtocreatetheirownpersonalizedprofilewherethey
willbegiventipstailoredtotheirownbeautyandfashionneeds,tipsbasedontheir
perceived“type”whichwillsupposedlyhelpthembetternavigatethecomplex
ritualsoftheworldofbeautyandfashiondemandedbypostfeminism.
Banks’rationalizationofthesite’smissionshiftsherownpositionfroma
televisionexpert,whodispensesadvicewithlittleinteractionwithhersubject,to
anonlinetrailblazingguide,someonewhoisarealfriend,atrustedconfidante
lookingoutforherfan’sbestinterests,andharnessingthebestuseoftechnologyto
doso.Thus,Banksclaimstomobilizeherownbodyandexperiencesintheservice
ofhelpingherfansdealwiththeirownbodyinsecurities.Sheblogs,
Inthemodelingbusiness,Idefinitelywasatype.That’showthebusinessworks(Iamhappythatmytypejusthappenedtobeonewithcurveswheremosthadnone!).Butnow,Istrivetobreakmystereotype,everyday.IhopeIcanempowerwomentobreaktheirs.Whenanyonetellsyouwhat"type"ofpersontheythinkyouare,itispersonal.Let'sdecideourowntypenomatterhowfierce,fabulous,funorfeistyitmaybe.
SimilartoBanks’framingofherB.I.O.campaign,Banks’rhetoricofthe
individualontypeF.comoperatesthroughthedelicatecontradictionIelaboratedon
previously:thecelebrationofareal,authenticindividualbeautywhilealso
promotingtraditionalstandardsoffemininityandbodilymaintenance.Forexample,
aFebruary27,2011blogposttitled“HowtoCoveraRaisedScarontheFace”by
GlendaTaylorstates,
Realbeautycomesinallshapesandsizes,andyes,eveninfacialscars.Whileyoucanminimizetheappearanceofaraisedscarwithmakeup,don'tletthe
26
Ms.Perfectinsideyoutellyouthatyou'reanythinglessthanfabulousifyoudon't.Hidethescaronlyifitboostsyourself‐confidence,thentellthatshallowtwittotakeahike.Baby,you'rethebomb!
Thepostthenproceedstoprovidestep‐by‐stepmakeupadviceforhowtocovera
facialscar,withsidebaradvertisementformakeupbrandslikeL’Oreal.Butwhile
thereareevencontradictorylogicsatworkwithinthissingleposting(acelebration
ofnotneedingtocoverupafacialscar,followedbyadviceonhowtocoverit,all
sandwichedbesideadvertisingforL’Oreal’snewfoundation)theopeningtoneis
celebratory,positive,andperhapsforsome,empowering.Itpresentsthebodyas
somethingtoembraceandfeelcomfortablein.
However,thisfeel‐goodlogicischallengedinablogpostdatedApril26,2011
byAntoniaBlythtitled“It’sGenetic:SkinCareTailoredtoYou:InheritYour
Mother’sWisdom–NotHerWrinkles”,whichinstructsreadersthat“dreaded
saggingandthinskin”canbeavoidedthrough“preventativecareandtheright
products.”Theblogpostgoesontodetailsevenstepsto“keepingyouyoung
looking”aswellasasidebarwarningreadersof“SignsofAginginYour20sand
30s.”Blogpostssuchasthisoneserveassomewhatofadisciplinaryrodshould
readersgettoocomfortableinacceptingtheirrealbodies:goneisthecelebratory
toneaboutthebody,replacedinsteadwithawarningaboutthenecessityof
femininebodilymaintenanceandunderscoringthenaturalagingprocessas
somethingthatshouldbeactivelyresistedthroughthepurchaseofproductsandthe
laborofbeauty.
27
IfBanksisreliantonpromotingconsumptivefashionandbeautypractices,
whydoesshecontinuetoutilizeadiscourseofauthenticityandacelebrationof
naturalbeautyaskeytoherstartext?Banks’emphasisontheimportanceof“real”
beauty–an“authenticbeauty”–isnecessaryinordertodeflectattentionawayfrom
hercarefullyconstructedperformancesoffemininebeauty.Asaformersupermodel
andthehostandcreatorofamodelingshow,Banksmustbecautioustoavoid
promotingdangerousandunrealisticstandardsofbeautytoheryoungfans,which
wouldnodoubttarnishherimageasrolemodelandknowledgeablebigsister,
imagesthatBanksactivelycultivatesonbothTyra.comandTypeF.com.The
messageofauthenticbeautyisunproblematictoavarietyofaudiences–hergirl
fans,theirmothers,andevenfeministcritics–becauseitseeminglypromotesloving
oneselfasonealreadyis.
ItisimportanttorecognizethatBanks’authenticbeautyalignswiththe
corporatebrandingofCoverGirlCosmetics,forwhomBanksisaformer
spokesperson.CoverGirlisamajorsponsorforTopModel,andthecosmetics
manufactureralsouseswordslike“natural”and“fresh”tosellitsproducts.Perhaps
inordertopreservethisrelationship,Banks’celebrationofunique,authenticbeauty
remainspurposefullyvague,andcertainlydoesnotdismissfemininebeauty
practices.Instead,Banksencouragesreaderstotweakthesepracticestobettersuit
theirownneedsand,likethemakeovershowsdescribedbyWeber(2009),to
merelyrevealtheirnaturalbeauty.
28
Banks’typeF.comprovidesaparticularlyrichexampleoftheuniquewaythat
onlinespaceallowsforthecirculationofneoliberalcelebrationsoftheindividual.
Banksacknowledgesthisinherfirstblogpost,writing,
Listeningtoandstudyingconsumershasgivenmeagreatappreciationforwhatproblemswomenarelookingtosolve.Theonlinefashionandbeautyspaceisfragmented,mostlybecausetherearesomanytypesofwomen.WeattypeF.comwillbeabletogivethemtailoredanswersbyusingFacebookasthepersonalizationplatform.Myintentionistocreateasite,andamovement,forandbasedonalltypesofwomen.
InthissensetypeF.comismorethanasolitarywebsite,butahubforalarger
networkoftheBankscelebritybrand,whichisextendedthroughTyra.com(now
onlyaccessiblethroughthetypeF.comwebsite),Facebook,Twitter,andYouTube
andisindicativeofthehypervisibilitythatscholarssuchasBanet‐Weiser(2011)
argueissymptomaticofapostfeministandneoliberalnewmediaculture.
Forexample,visitorstotypeF.comcanconnecttheirFacebookaccountsto
thesite,allowingforeasycirculationoftypeF.compostings,orchoosetofollow
typeF.comorBanksherselfonTwitter.Banks’personalTwitterfeedisindicativeof
apopulartrendamongstcelebritiestoboosttheirimageandincreasepublicity
throughconstanttweets,suchasinthecaseofCharlieSheen,whorecentlygarnered
overamillionfollowerswithintwenty‐fourhoursofopeningaTwitteraccount.
BanksoftenusesherTwitterfeed(connectedtobothtypeF.comandBanks’
Facebookpage)tomakemundanecommentsaboutherday,toconnectwithher
fans,ortofurtherpromoteherB.I.O.agenda.Forexample,anApril24,2011tweet
reads:“Page35NYPost2day.ActressAnaDeLaRegueraw/real1950’stypecurves.
Gorgeous!Checkitout!”WhileanApril30,2011retweetfromBanksconfirmsthat
29
shedoesfollowherfansonTwitter:“RT@britdomingue:@tyrabanksispretty
awesome#justsayinDoyoufollowfans?–YES!CONSIDERYOURSELFJUST
FOLLOWED!”ThesetypesofonlineinteractionshelptofurtherdevelopBanksasan
authenticcelebrityintouchwithherfans,whocanlearnwhatmovieBankswatched
lastweekendorwhatshe’seatingforbreakfastbyfollowingheronTwitter.Thus,
theseonlineplatformsareparticularlyusefulforBankswhohasnewavenuesto
developauthenticitythroughinstantlycirculatingmessagestwenty‐fourhoursa
day,sevendaysaweek.
ConclusionsandImplications:From‘Fierce’toFarce?
ThroughoutthisdiscussionIhaveshownhowBankshasusedonlinespaceto
negotiatethecentralcontradictionofherstartext:herstrategytobeseenasareal,
natural,authentic,andaccessiblefriendtoherfansandhersustainedadherenceto
hegemonicfemininebeautynormsrequiringongoingbodilydisciplineandlabor.
ThisdilemmaisnotuniquetoBanks,butisacommontensionfortoday’sfemale
celebritiesthatBankshassuccessfullyheldincheck,inpart,viaheruseofnew
mediaplatforms(Allen,2011,Weber,2009).Iamsuggestingthen,thatmy
discussionpointstotheneedforanewconceptualizationoffemalecelebrity,one
thattakesintoaccounthowanewmediaculturalcontextsupportedbypostfeminist
notionsofempowermentandtheindividualistvaluesofneoliberalismprivileges
femalecelebritysubjectivitiesthatcanbereadasrealandauthentic,yetunableto
disruptthedominanceofhegemonic,whitefemininity.
30
AsIdemonstrateinthispaper,Banksmaintainsherauthenticityby
mobilizingafeminine,confessional‐likerhetoricthatismadehypervisiblethrougha
constantcirculationoftweets,blogpostings,andimages.Banks’constantrevealing,
whetherbloggingaboutcomingtotermswithherown“curvy”bodyorposting
photosofherselfsansmakeup,successfullyutilizesthe“flexible,openarchitecture
ofonlinespaces”asastrategytomaintainarealnessandclosenesswithhergirlfans
onplatformsthattheyfrequentintheireverydaylives(Banet‐Weiser,2011,278,
Ellcessor,2012).Theconfessionalhasbecomeapopularonlinepracticeoverthe
pastdecade,ascanbeseeninthepopularityofcam‐girlculture,onlinediariesand
journalslikeLiveJournal,andevenFacebookstatusupdates.Andwhilethe
confessionalhasalsobeenacentralcomponentofrealitytelevisionshows,itisthe
lackofintermediarysuchasaneditororastructuralfactorsuchasatimelimitthat
differentiatestheonlineconfessionalfromitstelevisioncounterpart.Individuals
are,atleastseemingly,incontroloftheirownonlineimageandcanbecelebratedas
such.Inthissense,Banks’useofwhatI’mcallingthe“virtualconfessional,”that
reliesonhypervisibilityandasenseofindividualagencygeneratesanauthenticity
thatotherfemalecelebrities,suchasKimKardashian,havefailedatmaintaining
(endnote3).
WhiletheparticipatoryandseeminglydemocraticfunctionsoftheInternet
mayappeartoofferfemalecelebritieslikeBanksincreasedagencyandperhaps
eventheabilitytochallengegenderandracebarrierstotheentertainmentindustry,
IquestionthisassumptionbasedonmyanalysisofBanks.Whileclaimingtooffer
herfansinsightintotherealher,Banksisabletonaturalizeandplacateherbrand’s
31
sustainedpromotionofhighlydisciplinedfemalebodiesthatconformtonormative
notionsofwhitefemininity.Banks’confessionalthenservesinmuchthesameway
asMichelFoucault(1978)conceptualizesit.Hervirtualconfessionalfunctionsasa
discipliningstructurethatlegitimizesherasanindividual,yetkeepshersafely
containedwithinthedominantpowerstructuresofpatriarchy,racism,andclassism.
Thus,thesenseofindividualagencythatgeneratesBanks’claimtoauthenticityis
seeminglylimitedbythediscursivepositionsofferedtoherwithinourpostfeminist
andneoliberalculture.Perhapsironically,itisthisrhetoricofindividualism,
empowerment,visibility,andauthenticitythathasallowedhertoseamlessly
translatehercelebrityonlineandnavigatethewebsosuccessfully.
Thereislittlescholarlyworkthatexaminestheintersectionofcelebrityand
criticalInternetstudies,anditismyintentiontobegintomapsomeoftherelevant
issueshere.UsingBanksasacasestudyitispossibletoseethewaysinwhichthe
dominantdiscoursesofbothneoliberalismandpostfeminismshapeandconstruct
thediscursivepositioningoffemalecelebrities,eveninaneraseeminglymarkedby
thefreedomofnewmediaplatforms.WhiletheInternetmayindeedmoreeasily
allowforcelebritieslikeBankstonegotiatethedemandsplacedonthem,suchas
theneedtobeauthenticyetconformtodisciplinedfemininity,itisessentialtobe
criticaloftheintersectionofnewmediaandtheproductionofneoliberaland
postfeministsubjectivities.Thus,Iamsuggestingthatmoreresearchbedone
examininghowthesediscoursessupportourunderstandingofnewmediaas
offeringindividualchoice,agency,empowerment,andauthenticity.
32
Acknowledgments
I’dliketothankDr.NhiLieu,Dr.JanetDavisandDr.MaryCelesteKearneyattheUniversityofTexasatAustinfortheirusefulcommentsonearlierdraftsofthispaper.AlsospecialthankstoMorganBlueforherkeeneditingeyeandinsightfulsuggestionstoimprovethispaper.Finally,I’dliketothankthereviewersfortheirusefulcommentsandconstructivefeedbackthroughouttheeditingprocess.Endnotes(1)This“scandal”eruptedafterphotosofBankswearinganill‐fittingswimsuitonabeachwereleakedinthepress.Severalcelebrityglossiesandtabloidmagazinespickedupthestory,chastisingBanksforgainingweightandcallingher“fat.”Interestingly,thisisoneofthefewtimesBankshasbeencoveredinthesetypesofpublications.(2)TheprogressivepossibilitiesofgayrepresentationonTopModelarguablyremainlimited,asgaymenarealreadyassumedtobeinterestedinfashionandstyle.Thus,Banksisnotnecessarilychallengingstereotypeswithqueerrepresentationonhershow.(3)Aftersheannouncedherdivorceafteronly72daysofmarriageandanestimatedtenmilliondollarweddingthatwasshowcasedonE!,realitystarKimKardashianwasharshlycriticizedinthepressforher“shammarriage”thatfurthercementedherpublicreputationasbeinginauthentic,andfame‐hungry(Peyser,2011).WorksCitedAalten,Anna.(1997)“PerformingtheBody,CreatingCulture”inEmbodied
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