Calling time on club nights that sexualise women

Why are women still expected to look a certain way?



I’ve never been one for clubbing, which is rather surprising seeing as I’m a second year undergraduate at one of the most notorious "party" universities in the country. I chose to attend Liverpool for its atmosphere, its culture and the course they offered. However, many of my housemates chose Liverpool solely on its reputation as a good night out. Fair enough - I can appreciate having a good time with your friends, getting progressively pickled and ending the evening with an oily, unappetising commodity (human or takeaway). It is the treatment of girls in clubs that I cannot abide, in particular the way club nights portray young women in their promotions.



A good example is the "Carnage" club nights that are held across the country. These nights are seen as the holy grail of clubbing by student partygoers. For ten pounds you receive all sorts of discounts and free entry into various clubs around your city. You also receive a "Carnage" T-shirt, which girls are expected to customise into crop tops, the shorter the better. Note how it is expecte - it really isn't the done thing to wear your "Carnage" T-shirt the normal way. If you don’t look like Britney Spears circa "Baby One More Time" you have a problem.



This is just the tip of the iceberg as far as what girls are expected to wear and act on such nights. The recent Carnage night held here in Liverpool had the lovely theme of "Pimps and Hoes". The boys naturally got to dress up in a very tongue-in-cheek manner, with fur coats and feathered hats. On the other hand, the girls’ costume theme was not designed to be humourous but humiliating. When the theme of the night Liverpool city councillor Rachael O’Byrne commented: "The theme is blatant in its sexism and perpetuates the objectification and exploitation of women." She went on to argue that "Themes such as 'Pimps and Hoes' sexualise women's inequality and creates a climate where rape culture is trivialised."

You could argue that the promoters of Carnage were not trying to degrade women, but were rather empowering them with a theme that promotes a pride in how you look. However, it is clear to see that this is not the case. Club culture itself promotes the sexualisation of women to a degree where it is no longer about empowering women, but degrading them.

It is worse to think that these club nights are aimed predominantly at Freshers, some of whom are quite shy and find the thought of dressing like a "hoe" to be the stuff of nightmares. Not only is it distressing but it conveys a message to new students that dressing like that on a night out is the status quo and if you do not conform then you will be outcast. Therefore, not only are these nights degrading but they are also playing on the insecurities of young women.

It is only ever empowering to wear attire like this if you yourself have chosen to wear it. The Slut Walk marches contrast well with the concept of Carnage nights. The women who participated in the marches were told not to wear provocative clothing at night as it could lead to rape. They marched for the right to wear what they choose without fear of intimidation or violence. It should always be about choice, not about what club promoters or the media think you should look.

As a young woman, I could do without the constant bombardment of advertisements, magazine covers and music videos inferring how I should look. I, along with the majority of young women in this country, constantly feel the pressure to be thin and "beautiful", or whatever society’s idea of beauty is.

Tina Fey explained society’s skewed view of how a woman should look when she said "Now every girl is expected to have Caucasian blue eyes, full Spanish lips, a classic button nose, hairless Asian skin with a California tan, a Jamaican dance hall ass, long Swedish legs, small Japanese feet, the abs of a lesbian gym owner, the hips of a nine-year-old boy, the arms of Michelle Obama, and doll tits."

Note how she also uses the word "expected". Why are women still expected to look a certain way? Club nights that are aimed at students are only serving to continue the objectification of women and promoting the idea that this is the way it should be.
 

Club night themes often perpetuate the objectification and exploitation of women. Photograph: Getty Images
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Cabinet audit: what does the appointment of Andrea Leadsom as Environment Secretary mean for policy?

The political and policy-based implications of the new Secretary of State for Environment, Food and Rural Affairs.

A little over a week into Andrea Leadsom’s new role as Secretary of State for Environment, Food and Rural Affairs (Defra), and senior industry figures are already questioning her credentials. A growing list of campaigners have called for her resignation, and even the Cabinet Office implied that her department's responsibilities will be downgraded.

So far, so bad.

The appointment would appear to be something of a consolation prize, coming just days after Leadsom pulled out of the Conservative leadership race and allowed Theresa May to enter No 10 unopposed.

Yet while Leadsom may have been able to twist the truth on her CV in the City, no amount of tampering will improve the agriculture-related side to her record: one barely exists. In fact, recent statements made on the subject have only added to her reputation for vacuous opinion: “It would make so much more sense if those with the big fields do the sheep, and those with the hill farms do the butterflies,” she told an audience assembled for a referendum debate. No matter the livelihoods of thousands of the UK’s hilltop sheep farmers, then? No need for butterflies outside of national parks?

Normally such a lack of experience is unsurprising. The department has gained a reputation as something of a ministerial backwater; a useful place to send problematic colleagues for some sobering time-out.

But these are not normal times.

As Brexit negotiations unfold, Defra will be central to establishing new, domestic policies for UK food and farming; sectors worth around £108bn to the economy and responsible for employing one in eight of the population.

In this context, Leadsom’s appointment seems, at best, a misguided attempt to make the architects of Brexit either live up to their promises or be seen to fail in the attempt.

At worst, May might actually think she is a good fit for the job. Leadsom’s one, water-tight credential – her commitment to opposing restraints on industry – certainly has its upsides for a Prime Minister in need of an alternative to the EU’s Common Agricultural Policy (CAP); a policy responsible for around 40 per cent the entire EU budget.

Why not leave such a daunting task in the hands of someone with an instinct for “abolishing” subsidies  thus freeing up money to spend elsewhere?

As with most things to do with the EU, CAP has some major cons and some equally compelling pros. Take the fact that 80 per cent of CAP aid is paid out to the richest 25 per cent of farmers (most of whom are either landed gentry or vast, industrialised, mega-farmers). But then offset this against the provision of vital lifelines for some of the UK’s most conscientious, local and insecure of food producers.

The NFU told the New Statesman that there are many issues in need of urgent attention; from an improved Basic Payment Scheme, to guarantees for agri-environment funding, and a commitment to the 25-year TB eradication strategy. But that they also hope, above all, “that Mrs Leadsom will champion British food and farming. Our industry has a great story to tell”.

The construction of a new domestic agricultural policy is a once-in-a-generation opportunity for Britain to truly decide where its priorities for food and environment lie, as well as to which kind of farmers (as well as which countries) it wants to delegate their delivery.

In the context of so much uncertainty and such great opportunity, Leadsom has a tough job ahead of her. And no amount of “speaking as a mother” will change that.

India Bourke is the New Statesman's editorial assistant.