I'm not quite ready to worship my stretchmarks, but these naked pictures of mothers are inspiring

Every single morning I am treated to my own “real body” - so why did I find a book of unphotoshopped bodies after pregnancy and birth so affecting, asks Glosswitch.

No offence to my body but I’m just not the type of person to “celebrate” it. Neither am I that inclined to revel in my “own divine beauty”. Hence I might look at Jade Beall’s A Beautiful Body Book Project and consider it rather patronising. Oh, look at all the “real” ladies! How brave of you to show us all your flaws! And yet, looking at Beall’s images of women after pregnancy - unaltered, naked, strong - my cynicism fades away. Sure, I can’t decide whether they make me want to strip naked, cry, eat several doughnuts or do all three, but these photos are inspiring.

Of course, they’re also profoundly mundane. They’re just bodies. It’s not as though I’ve never seen a leaky, stretch-marked, post-natal breast before. It’s not as though I’ve not seen folds of flab and excess skin spilling over knicker elastic. Every single morning I am treated to my own “real body” show. Every bath or shower I take provides ample opportunity to immerse myself in the sheer power of my “realness”.  And yet I don’t. I try not to notice myself. If I do, I tell myself at least you’re not famous. The gossip mags would have a Circle of Shame field day.

It’s not that I deliberately compare myself with the likes of Hollyoaks’ Jennifer Metcalfe, currently showing off her real, non-airbrushed body in this week’s edition of Heat. Declaring herself proud of her blink-and-you’ll-miss-them “lumps and bumps”, Metcalfe graces the cover alongside a larger photo of Kelly Brook with the question “Does Kelly Brook look fat to you?” (Heat’s emphasis) emblazoned across it. Readers share their expert opinions inside.

I know these worries aren’t really for the likes of me. I am just a mummy. I work in an office. I don’t generally go places where bikinis are required. All the same, like so many others, I can’t help but wonder, if I were on that beach, how disgusting would people find me? Once the clothes are off what would Heat readers say about me? My perception of normality is knocked off balance. I might be surrounded by women with “normal” bodies but the only naked ones I get to scrutinise belong to beautiful starlets. If that’s true for me, it’s also true for the kind of people who take it upon themselves to contact Heat to hold forth on Brook’s stomach and thighs. I might not share the same space as famous women but I know that I share it with those who judge them harshly.

Brittni Lyn, a young mother from Texas, recently wrote a blog on an experience she had when playing outside with her daughter:

“While I was outside running around & laughing w/her, some woman walking by had the nerve to say to me - “Why would you come outside & show those disgusting marks to the world? You should be more considerate of others.” (In reference to my stretch marks because I had my bikini top on)”

I’ve never experienced that myself. Then again, I don’t wear bikini tops and I don’t have stretch marks on my stomach (I have them on my breasts. Perhaps people refrain from insulting me because they don’t want to admit where they’ve been looking). I’m not sure how I’d respond to such an insult. Certainly not in Brittni Lyn fashion, much as I admire it (“I love every part of my body, every flaw, every imperfection, & every stretch mark. Simply because it represents my journey of becoming not only a woman, but a mother. Have a blessed day”).  I’d probably say nothing then spend several years thinking of all the choice insults I’d have used in return, adding additional swear words each time.

The truth is, as far as our current standards of beauty go, the average mother’s body is considered defective. Stretch marks, sagging breasts and additional flesh aren’t admired. At best they are discussed in a semi-jokey, semi-apologetic manner. We complain of mummy tummies, jelly bellies and baby weight, as though these parts don’t really belong to us. We’re just schlepping them around, waiting to get rid, hence it doesn’t matter if we hate them in the interim. Of course, these body parts stick around, get older and saggier and the hatred only deepens. 

Beall’s Beautiful Body Book Project, which she is currently seeking to crowd-fund through Kickstarter, involves creating a book with 100 or more photographs of women who have been through pregnancy, accompanied by essays, stories and poems describing their relationships with their bodies. All very self-absorbed, all very touchy-feely. Are statements on how “we have the ability to feel worthy, to believe we are beautiful and to be part of a community of people who wish to share beauty and joy in this world” worth all that much set against so many subtle and not-so-subtle messages telling us how ugly we are? I don’t know the answer to that. But there has to be some form of corrective to the distorted view we’re getting, and ideally one that isn’t just trying to sell us body lotion.

Personally, I don’t think my stretch marks are particularly beautiful or a source of maternal pride. I feel no desire to worship them. Nonetheless, our own flesh and skin should not be frightening or disgusting to others. If we’ve reached the point at which direct immersion therapy is required to enable us to accept one another’s bodies, then the sooner we get started the better.  

You can donate to the Kickstarter here.

A picture from Jade Beall's book.

Glosswitch is a feminist mother of three who works in publishing.

Photo: Will Ireland
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Rock solid-arity: how fans and bands helped save Team Rock's music magazines

“It was purely helping out friends in a time of need.”

A little over 25 years ago, a journalist friend let me in on the secret of publishing success. He cut his teeth in the Sixties as an editor in the Yippie underground press, wrote for Rolling Stone, Associated Press and the Chicago Sun-Times, then went on to teach at one of America’s most prestigious journalism schools.

The big secret, he had concluded, was community. No more, no less. Get to know your community and serve it well.

A quarter of a century on, it’s sometimes hard to remember what community looks like in newspapers and magazines. Carefully crafted pages have been obscured by a haze of clickbait, engineered to sucker everyone and anyone into donating a drive-by page view for ads. Community has given way to commodity.

But occasionally, there are glimpses of hope. Six months ago, TeamRock.com, built around a group of specialist music magazines including Classic Rock, Metal Hammer and Prog, went into administration.

The Christmas closure came brutally quickly. The Scottish Sun reported that stunned staff in the company’s Lanarkshire headquarters were told they had been made redundant “as a joiner changed the locks on their offices”. In total, 73 staff were laid off; nearly 30 in Scotland and more than 40 in London.

At the close of 2016, the future for the Team Rock brand and its stable of magazine titles was bleaker than a Black Sabbath album. But last month, in an extraordinary reversal of fortunes, TeamRock.com was named the most influential rock music website in the world.

Bargain-basement buy back

Just a fortnight after its shock closure, the brand was bought by former owners Future Plc. In a no-brainer deal, the Bath-based publisher re-acquired the three magazines it had sold to Team Rock’s founders in 2013. It bought back assets sold for £10m at the knockdown price of £800,000 with the bonus of TeamRock.com and Team Rock Radio. The deal rescued large parts of the Team Rock operation – but its soul was saved by the rock and metal community.

Oblivious to any discussions going on to rescue the magazines, readers, music fans and bands came together in a stunning display of loyalty. Hearing that Team Rock staff wouldn’t be getting paid their Christmas wage they took to social media to pledge their support and raised almost £90,000 for redundant staff.

Ben Ward, the organiser of the crowdfunding campaign and frontman for heavy metal band Orange Goblin said he started the appeal with no thought for the business. “It was purely helping out friends in a time of need,” he explained.

He had read all three Team Rock magazines for years, socialised with their staff and promoted his own and other bands in their pages. “To think of a world without any of those magazines – it was devastating,” he said.

The response to the campaign brought him some cheer, with members of bands such as Queen, Rush and Avenged Sevenfold all posting about it on their social media pages. He added: “The whole Christmas period, my phone just wouldn't stop beeping with notifications for another donation.”

Show of solidarity

Though the fundraiser blew up all Ward's expectations, beating his initial target by more than 400 per cent, he didn't seem completely surprised by the scale of the response.

“Heavy metal and hard rock, people that are into that sort of music, we've always been sort of looked down upon. We know it's not commercially the done thing, we know it's not the norm to walk around with long hair and tattoos and dirty leather jackets. But when you see a fellow metal head in the supermarket, you always give them an approving nod. There's a kind of solidarity.”

While favourable capitalist arithmetic has kept the presses rolling – and the online servers going – for Team Rock, it was the music community – empowered by social media – who delivered the real resurrection. With a combined Facebook following of more than 3.5million and a total social media audience of almost five million, it was no surprise TeamRock.com was soon number one in its field.

“What's brilliant about this is that it's based on what music fans share with each other,” explains editor-in-chief Scott Rowley.

TeamRock.com became the most influential rock site based on social media sharing, and came fifth in the top 100 sites across all music genres. The site above it is a hip-hop title, again featured for the strength of its community, according to Rowley. “Those people really know what they're talking about, they want very specific content, and they're not getting served it elsewhere,” he said. “When they get it, they love it and they share it and talk about it and that's their world.”

Responsiblity

Following the outpouring of support for the rock magazines, Rowley now feels a heightened sense of responsibility to do “the right thing” and steer clear of cynical decisions to get clicks or put certain bands on the cover just to sell copies. He believes future success will come down to trust. “Sometimes that feels precarious, but equally I think we're in good hands,” he explains. “We're a business, we've got to make money, but we know what smells fake and where the limits are.”

Zillah Byng-Thorne, CEO of owner Future, recognises the need to balance the realities of running a listed company with the authenticity needed to maintain trust. “What Future is interested in is the passion that underpins specialist media,” she says. “I don't really mind what your passion is, what's important is that it's a passion.”

“No one is sitting around thinking, 'I wonder what bands sound like Thin Lizzy?',” says Rowley. “We're much more a part of their lifestyle, interrupting their day to tell them someone’s just released an album or announced a tour.”

“But it doesn't have to always be about fishing for clicks,” he adds. “I remember [Classic Rock online editor] Fraser Lewry saying, 'Sometimes on social we should just be being social'.”

Being social. Listening. Contributing to the conversation. Sharing the passion. That old-fashioned notion of serving the community. It seems Ward would agree, as he offers the new owners of the magazines he helped to save some advice: “Don't make the same mistakes, investing in things that weren't really necessary from the magazine’s point of view. I'm in no position to tell anyone how to run their business, but on behalf of the rock and metal community…keep it interesting, keep it relevant.”