That fleshy bit of tissue is more mythical than Sisyphus' rock (although many men have blamed both for their feelings of deep-seated failure).
Everyone is a virgin. Or nobody is. Whatever: "Virginity is a social construct." Miley Cyrus says so.
The 26-year-old pop singer recently released a red latex-filled music video for "Mother's Daughter," the latest single off her EP She Is Coming. Cyrus has proven to the world that despite marrying Liam Hemsworth, she hasn't settled down, still appreciates hot women, and she's still freaky. The trippy, provocative music video, conceptualized by the singer and directed by Alexandre Moors, includes blocks of text with messages fit for a 13-year-old's wannabe-edgy Tumblr post, like "Sin Is in Your Eyes," "Not an Object, "I Am Free," and the one Cyrus recently shared on her Instagram account, "Virginity Is a Social Construct." The ensuing debate within her comment section clarifies that we, as a society, have no idea what "virginity" actually is.
First of all, because the United States has an 86% literacy rate but a population in which 50% of adults can't read above an eighth grade level—people didn't read the message that closely. The singer's two posts with the screen grab quickly received over 11,000 comments. Many assumed for some reason that it was criticizing those who abstained from sex and "shaming" virgins, while others contested the idea that virginity was anything other than hard science.
What's painfully clear from this heated interaction over a venial celebrity post is that a serious problem with sex education (and basic knowledge about the human body) exists in the U.S. Aside from the fact that we're only just now realizing that abstinence-only sex-ed doesn't work, we have a tradition of teaching teenagers outright incorrect and unrealistic information. As Laura Lindbergh, research scientist on reproductive health, noted in her study on adolescent health and sexual behavior, "We fail our young people when we don't provide them with complete and medically accurate information."
Now, despite the perception of nonstop connectedness on social media, dating apps, and hook up culture, it's an empirical fact that millennials are losing their virginity later in life than previous generations, embarking on fewer dates, marrying at a later age, and, in general, having much, much less sex. It's no wonder, what with their rampant intimacy and trust issues (you know, as a result of inheriting a world of fractured politics, heightened social isolation and anxiety, and a planet that will dissolve under their feet while they pay more and make less money to fund efforts to reverse the irreversible damage).
So while "millennials in their early 20s aren't having sex, and are more than twice as likely to be sexually inactive than the previous generation," what does this mean for the outdated notions of virginity?
The history of virginity and its surrounding stigma involving "purity" and moral high ground is, of course, groundless. But as a form of social currency that values untouched women as exchangeable commodities, the idea is mainly rooted in religion. Oddly, no one's sure where the idea that virginity mattered originally came from, with earliest written records signaling it held great social value but with no clear explanation as to why. From ancient Greeks evaluating young girls' nipple shapes to the medieval practice of checking newlywed's bedsheets for blood to verify a consummated marriage (thereby legitimizing the dowry), desirable virgin women could gain their families wealth and higher social status. Then there's hundreds of years of Christian theocracy and worship of the Virgin Mary to increase the premium on virginity as a symbol of "successful patriarchy as a whole."
Today, too many still defer to the outdated belief that female virginity is defined as having an intact hymen. One of Cyrus's invested commenters posted, "What? That's like saying puberty or menstration [sic] is a social contract. They're physical things, they involve physical changes." Aside from the obvious fact that this definition dismisses sex between non-female bodies and non-penetrative sex (which carries just as many risks of contracting STDS and so is just as valid and significant), let's talk about hymens.
That fleshy bit of tissue is more mythical than Sisyphus' rock (although many men have blamed both for their feelings of deep-seated failure). In reality, "having a hymen and being a virgin are not the same thing. Some people are born with hymens that are naturally open. And many other activities besides sex can stretch your hymen. So you can't tell if someone has had sex by the way their hymen looks or feels."
Really, we should thank Miley for highlighting that virginity is just as messy, disruptive, emotionally fraught, and hilarious as sex is, with her thousands of commenters running the gamut from sex positivity to virgin shaming to religious zealotry. So remember: never shame what other people choose to do with their bodies, read like a 9th grader, and always use protection (because even hand stuff can get dicey).
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SahBabii, UnoTheActivist and more make up this weeks under appreciated releases
Juice WRLD's posthumous release, Legends Never Die, has already sold over 400,000 copies, putting it in the running for the biggest release of 2020.
Meanwhile, Summer Walker confidently returns with a sleek new E.P., Kid Cudi and Marshall Mathers unite for the first time, James Blake quietly dropped a shadowy new track, and H.E.R. added a splash of reggae flavor to her new track "Do To Me." While it was a big week for the mainstream, it was equally as massive for the underground. Upcoming mumble emcee SahBabii's released an infectious collection of wavy, levitative hip-hop, and the iconic Fresh Veggies duo of Casey Veggies and Rockie Fresh return for their second outing. Check out the latest underground releases below.
With "Mother's Daughter," Miley Cyrus makes a pro-choice tribute to feminist punks.
Anyone still concerned that Miley Cyrus might be reverting back to her squeaky-clean Southern roots can stop right now, because it's clear that Miley isn't going back to white dresses and fields of wildflowers anytime soon.
Her newest video, "Mother's Daughter," finds her celebrating feminism, freedom of choice, queerness, and gender fluidity. She spends most of the video rolling around in a skin-tight red leather bodysuit and calling herself nasty, evil, and a witch—all words traditionally used to denounce women who don't comply with patriarchal norms. "Don't f**k with my freedom," goes the refrain, and it's clear that Cyrus is deadly serious: She has a fanged genitals to prove it.
Miley Cyrus - Mother's Daughter (Official Video) www.youtube.com
Though her performance comes off as slightly trite and exaggerated, the video's strongest point is its lineup of diverse bodies, all in flattering and powerful positions. That's a refreshing change from the legions of slim, mostly white, heteronormative-looking backup dancers that have been constants in music videos since the dawn of MTV. Guest features include 11-year-old philanthropist Mari Copley, body-positive actress and model Angelina Duplisea, dancer and activist Mela Murder, non-binary professional skateboarder Lacey Baker, trans models Aaron Phillip and Casil McArthur, and Cyrus's own mother, Tish Cyrus.
Overall, the video is decidedly intersectional, not exclusively fixated on race, gender, or sexuality but rather concerned with tearing down the boundaries between them. Along with its diverse cast, it features an array of feminist messages, including "virginity is a social construct" and "my body my choice" flashing between clips, alongside "images of breastfeeding, C-sections, menstruation pads—everything [about the female body] that's supposed to carry some taboo, but we should be beyond that," in the words of the video's director, Alexandre Moors. This imagery and the video's overall concept were modeled after the punk aesthetics of pioneering feminist groups like Riot Grrrl and Guerrilla Girls.
Image via YouTube
"The video is about the woman's body—the right to own your own body and make it free from the male gaze, in any way shape and form," said Moors in an interview with the New York Times. "It's a broad message, and we're not trying to be dogmatic. But we're living in difficult times in America, and what I get from this video is that it injects a lot of energy and determination and the right fuel for the struggle."
Still, in an era where social justice equals profit, it's likely that we'll be seeing more and more pop stars (or rather, their marketing teams) cashing in on diversity and social awareness. Sometimes, that will lead to painfully manufactured flops like Taylor Swift's ill-advised "You Need to Calm Down," which used a demographic Swift was not a part of as an accessory, so that she could place herself at the helm of a phony brand of allyship.
On the other hand, Cyrus—who is actually bisexual and who has a long history of supporting LGBTQ+ causes—comes off as a bit more genuine in this video than Swift did, as she's not trying to speak out for groups that she doesn't belong to. She also puts her own body on the line, drawing "mixed reactions" for its "intense imagery," according to Fox, and seemingly promising that her commitment to radical feminism is not just an act.
However, what really needs to happen in this era of social-justice-as-branding is the elevation of voices who actually belong to marginalized demographics. After all, Miley Cyrus has done performed her fair share of cultural appropriation, picking up and dropping identities at will; perhaps she's found her niche in intersectional feminism, but time will tell.
In the end, it's great when stars support intersectionality and representation, but that doesn't make up for actually recognizing artists who don't belong to dominant identities (or who aren't backed up by massive corporate record deals).
On the other hand, in a nation that seems closer to Handmaid's Tale-levels of dystopia each day, any protest is better than nothing, right?
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