Miley Cyrus performs onstage during the iHeartRadio Music Festival in Las Vegas. Photo: Getty
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Laurie Penny on the Miley Cyrus complex - an ontology of slut-shaming

Sexual performance is still the only power this society grants to young women, and it grants it grudgingly, rushing to judge and humiliate them whenever they claim it.

What does empowerment look like for young women today? That’s the debate du jour and, as ever, it stars a pretty young pop star in her pants. It all started when Sinead O’Connor wrote an open letter to the perennially halfnaked sexpot of the moment, Miley Cyrus, advising her not to let the male-dominated music industry “make a fool” of her.

Cyrus responded, as she usually does, by sticking out her tongue and taking off her clothes. Other female rock stars weighed in: Amanda Palmer wants O’Connor to respect Cyrus’s integrity as an artist. Annie Lennox is disturbed by porny music videos. Whose camp are you in? And who is being exploited – apart from the millions of readers who have flicked guiltily through endless snaps of Miley Cyrus in her scanties just to check how shocking they really are?

Nobody has covered themselves in glory in this insalubrious episode. Not O’Connor, whose “motherly” advice strayed into slutshaming, as she warned the younger singer about the dangers of being a “prostitute” and advised her that “your body is for you and your boyfriend”; not Cyrus, whose response was a cruel jab at the older woman’s mental health history. Nor the rest of us, the clickbait hunters and tabloid outrage merchants rubbing our hands with glee.

This is a familiar discussion. On the one hand, the worried middle-aged woman lecturing the ingénue on the importance of wearing clothes in public; on the other, the girl who is sick of being cast as a pure and perfect princess, who wants to have fun and feel powerful and has limited options for doing so in a society that remains intolerant of women trying to claim space as anything at all except hot and half-dressed. Miley Cyrus grew up in public as the Disney Channel’s tame tween everygirl, Hannah Montana – a role every bit as artificial as the power-toolhumping sexpot pose. In a recent sketch for Saturday Night Live, Cyrus declared that Hannah Montana had been “murdered” – and her glee was obvious.

So, is Miley Cyrus empowered or is she exploited when she wriggles around naked on an enormous wrecking ball, smashing into a music culture already saturated with images of slender girls in tiny pants? Is Sinead O’Connor being selflessly brave, or is she a hectoring, prudish old hag? Are young girls better off stripping and twerking for money, or covering up for fear of being judged, exploited or attacked? Should they be allowed to make mistakes in public in a society whose horny hatred for young women’s real bodies is so treacherous to negotiate, or should we just lock them up for their own protection? On and on and on. The debate has been raging for years and it will continue for as long as we continue to treat young women as commodities, rather than human beings.

When you are a young girl in a world that hates women’s bodies, your developing sexuality is a loaded weapon and your parents, peers and teachers line up to make sure you never learn how to use it. Instead, you are meant to polish the thing to a shine, twirl it about; perform sexy but don’t actually have sex. You can play with power, as long as you never claim it; you can enact desire, as long as you don’t act on it. All the while, you’re told that being young, beautiful and vulnerable is still the best thing that a woman can possibly be – that you’d better grab what power you can right now, before time and gravity take that away, too.

How are young women meant to grow up free and brave in a world that covets our commercial potential and despises us when we demand control of our destinies? It would help if we stopped speaking of “empowerment” and “exploitation” as if those things were mutually exclusive. When a young woman puts on latex panties and grinds with a middle-aged creep on stage, because she knows that doing so will get her money and attention, is there power there? Hell, yes. Is that power bounded on all sides by patriarchy? Yes, again.

When I was 20, I did some very silly things in search of that brief, thrilling sexual power that is the privilege of the young, drunk and naked. I stripped and bounced and let myself be exploited by older, more powerful men who couldn’t care less about my inner beauty; I danced half-naked onstage with fabulous drag artists in purple suspenders and I looked ridiculous and had a lot of fun. I am lucky to have more scars than I have regrets. Now, when I see younger women I love and admire trying to negotiate that vanishing territory between slut-shaming and self-objectification, it makes me want to cram my whole fist in my mouth – but I will swallow it before I judge them.

Sinead O’Connor is right about one thing: the music industry does not care about young women. Society does not care about young women – not, that is, about female people who just happen to be young. Rather, it cares about Young WomenTM as concept and commodity, Young WomenTM as pose and performance, Young WomenTM and how much money you can squeeze out of them before they turn around and demand to be treated like human beings – which is still the most shocking thing an actual female person can do.

The problem is not that we cannot decide whether nearly-naked pop stars are empowered or exploited. The problem is that bland sexual performance is still the only power this society grants to young women, and it grants it grudgingly, rushing to judge and humiliate them whenever they claim it. Rather than condemn girls as they try to negotiate this strange, sexist society – a society that offers temporary, dazzling power to those who play the game –we should be supporting them as they grow up, make art and stick out their tongue at the whole stuck-up world – and that starts with a stand against slut-shaming.

Laurie Penny is the contributing editor of the New Statesman

Laurie Penny is a contributing editor to the New Statesman. She is the author of five books, most recently Unspeakable Things.

This article first appeared in the 11 October 2013 issue of the New Statesman, Iran vs Israel

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Douglas Carswell leaves Ukip to become independent MP

The Clacton MP quits his party but insists he will not rejoin the Conservatives or trigger a by-election. 

Douglas Carswell has long been a Ukip MP in name only. Now he isn't even that. Ukip's sole MP, who defected from the Conservatives in 2014, has announced that he is leaving the party.

Carswell's announcement comes as no great surprise. He has long endured a comically antagonistic relationship with Nigel Farage, who last month demanded his expulsion for the sin of failing to aid his knighthood bid. The Clacton MP's ambition to transform Ukip into a libertarian force, rather than a reactionary one, predictably failed. With the party now often polling in single figures, below the Liberal Democrats, the MP has left a sinking ship (taking £217,000 of opposition funding or "short money" with him). As Carswell acknowledges in his statement, Brexit has deprieved Ukip of its raison d'être.

He writes: "Ukip might not have managed to win many seats in Parliament, but in a way we are the most successful political party in Britain ever. We have achieved what we were established to do – and in doing so we have changed the course of our country's history for the better. Make no mistake; we would not be leaving the EU if it was not for Ukip – and for those remarkable people who founded, supported and sustained our party over that period.

"Our party has prevailed thanks to the heroic efforts of Ukip party members and supporters. You ensured we got a referendum. With your street stalls and leafleting, you helped Vote Leave win the referendum. You should all be given medals for what you helped make happen – and face the future with optimism.

"Like many of you, I switched to Ukip because I desperately wanted us to leave the EU. Now we can be certain that that is going to happen, I have decided that I will be leaving Ukip."

Though Ukip could yet recover if Theresa May disappoints anti-immigration voters, that's not a path that the pro-migration Carswell would wish to pursue. He insists that he has no intention of returning to the Conservatives (and will not trigger a new by-election). "I will simply be the Member of Parliament for Clacton, sitting as an independent."

Carswell's erstwhile Conservative colleagues will no doubt delight in reminding him that he was warned.  

George Eaton is political editor of the New Statesman.