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Javier E

Who is Andrew Tate, the misogynist hero to millions of young men? | The Economist - 0 views

www.economist.com/...-hero-to-millions-of-young-men

misogyny influencer TikTok Gen Z

shared by Javier E on 31 Dec 22 - No Cached
  • what sets Mr Tate apart from other alt-right social-media personalities and previous anti-feminist online movements is the extent to which his views have found a ready audience among teenage boys.
  • In 2021 Mr Tate established Hustlers University, an online platform where young men could take courses in business and investing for $49.99 a month. It also gave students financial rewards for promoting Mr Tate’s misogynist ideas via a now-suspended affiliate marketing programme. Thanks to a continuing stream of fan-generated content, his views have proliferated on social media even though most platforms have banned his accounts.
  • Part of the reason why Mr Tate has found success specifically on TikTok is that its algorithm is uniquely predictive, appearing not only to rely on the content users watch and recommend, but making assumptions about their potential interests
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  • That has made him the most popular influencer among American Gen-Zers, according to a twice-yearly survey of 14,500 of the country’s teenage boys and girls by Piper Sandler, a finance company that researches consumer data. Teachers have reported boys as young as 11 praising and emulating him.
Javier E

The Class Politics of Instagram Face - Tablet Magazine - 0 views

www.tabletmag.com/...class-politics-instagram-face

face class be beauty cosmetics surgery age women

shared by Javier E on 10 Apr 23 - No Cached
  • by approaching universality, Instagram Face actually secured its role as an instrument of class distinction—a mark of a certain kind of woman. The women who don’t mind looking like others, or the conspicuousness of the work they’ve had done
  • Instagram Face goes with implants, middle-aged dates and nails too long to pick up the check. Batting false eyelashes, there in the restaurant it orders for dinner all the food groups of nouveau riche Dubai: caviar, truffle, fillers, foie gras, Botox, bottle service, bodycon silhouettes. The look, in that restaurant and everywhere, has reached a definite status. It’s the girlfriend, not the wife.
  • Does cosmetic work have a particular class? It has a price tag, which can amount to the same thing, unless that price drops low enough.
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  • Before the introduction of Botox and hyaluronic acid dermal fillers in 2002 and 2003, respectively, aesthetic work was serious, expensive. Nose jobs and face lifts required general anesthesia, not insignificant recovery time, and cost thousands of dollars (in 2000, a facelift was $5,416 on average, and a rhinoplasty $4,109, around $9,400 and $7,000 adjusted).
  • In contrast, the average price of a syringe of hyaluronic acid filler today is $684, while treating, for example, the forehead and eyes with Botox will put you out anywhere from $300 to $600
  • We copied the beautiful and the rich, not in facsimile, but in homage.
  • In 2018, use of Botox and fillers was up 18% and 20% from five years prior. Philosophies of prejuvenation have made Botox use jump 22% among 22- to 37-year-olds in half a decade as well. By 2030, global noninvasive aesthetic treatments are predicted to triple.
  • The trouble is that a status symbol, without status, is common.
  • Beauty has always been exclusive. When someone strikes you as pretty, it means they are something that everyone else is not.
  • It’s a zero-sum game, as relative as our morals. Naturally, we hoard of beauty what we can. It’s why we call grooming tips “secrets.”
  • Largely the secrets started with the wealthy, who possess the requisite money and leisure to spare on their appearances
  • Botox and filler only accelerated a trend that began in the ’70s and ’80s and is just now reaching its saturation point.
  • we didn’t have the tools for anything more than emulation. Fake breasts and overdrawn lips only approximated real ones; a birthmark drawn with pencil would always be just that.
  • Instagram Face, on the other hand, distinguishes itself by its sheer reproducibility. Not only because of those new cosmetic technologies, which can truly reshape features, at reasonable cost and with little risk.
  • built in to the whole premise of reversible, low-stakes modification is an indefinite flux, and thus a lack of discretion.
  • Instagram Face has replicated outward, with trendsetters giving up competing with one another in favor of looking eerily alike. And obviously it has replicated down.
  • Eva looks like Eva. If she has procedures in common with Kim K, you couldn’t tell. “I look at my features and I think long and hard of how I can, without looking different and while keeping as natural as possible, make them look better and more proportional. I’m against everything that is too invasive. My problem with Instagram Face is that if you want to look like someone else, you should be in therapy.”
  • natural looks have always been, and still are, more valuable than artificial ones. Partly because of our urge to legitimize in any way we can the advantages we have over other people. Hotness is a class struggle.
  • As more and more women post videos of themselves eating, sleeping, dressing, dancing, and Only-Fanning online, in a logical bid for economic ascendance, the women who haven’t needed to do that gain a new status symbol.
  • Privacy. A life which is not a ticketed show. An intimacy that does not admit advertisers. A face that does not broadcast its insecurity, or the work undergone to correct it.
  • Upper class, private women get discrete work done. The differences aren’t in the procedures themselves—they’re the same—but in disposition
  • Eva, who lives between central London, Geneva, and the south of France, says: “I do stuff, but none of the stuff I do is at all in my head associated with Instagram Face. Essentially you do similar procedures, but the end goal is completely different. Because they are trying to get the result of looking like another human being, and I’m just beautifying myself.”
  • But the more rapidly it replicates, and the clearer our manuals for quick imitation become, the closer we get to singularity—that moment Kim Kardashian fears unlike any other: the moment when it becomes unclear whether we’re copying her, or whether she is copying us.
  • what he restores is complicated and yet not complicated at all. It’s herself, the fingerprint of her features. Her aura, her presence and genealogy, her authenticity in space and time.
  • Dr. Taktouk’s approach is “not so formulaic.” He aims to give his patients the “better versions of themselves.” “It’s not about trying to be anyone else,” he says, “or creating a conveyor belt of patients. It’s about working with your best features, enhancing them, but still looking like you.”
  • “Vulgar” says that in pursuing indistinguishability, women have been duped into another punishing divide. “Vulgar” says that the subtlety of his work is what signals its special class—and that the women who’ve obtained Instagram Face for mobility’s sake have unwittingly shut themselves out of it.
  • While younger women are dissolving their gratuitous work, the 64-year-old Madonna appeared at the Grammy Awards in early February, looking so tragically unlike herself that the internet launched an immediate postmortem.
  • The folly of Instagram Face is that in pursuing a bionic ideal, it turns cosmetic technology away from not just the reality of class and power, but also the great, poignant, painful human project of trying to reverse time. It misses the point of what we find beautiful: that which is ephemeral, and can’t be reproduced
  • Age is just one of the hierarchies Instagram Face can’t topple, in the history of women striving versus the women already arrived. What exactly have they arrived at?
  • Youth, temporarily. Wealth. Emotional security. Privacy. Personal choices, like cosmetic decisions, which are not so public, and do not have to be defended as empowered, in the defeatist humiliation of our times
  • Maybe they’ve arrived at love, which for women has never been separate from the things I’ve already mentioned.
  • I can’t help but recall the time I was chatting with a plastic surgeon. I began to point to my features, my flaws. I asked her, “What would you do to me, if I were your patient?” I had many ideas. She gazed at me, and then noticed my ring. “Nothing,” she said. “You’re already married.”
Javier E

'Meta-Content' Is Taking Over the Internet - The Atlantic - 0 views

www.theatlantic.com/...673739

social media internet meta content reflection reality technology performance influencer

shared by Javier E on 18 Apr 23 - No Cached
  • Jenn, however, has complicated things by adding an unexpected topic to her repertoire: the dangers of social media. She recently spoke about disengaging from it for her well-being; she also posted an Instagram Story about the risks of ChatGPT
  • and, in none other than a YouTube video, recommended Neil Postman’s Amusing Ourselves to Death, a seminal piece of media critique from 1985 that denounces television’s reduction of life to entertainment.
  • (Her other book recommendations included Stolen Focus, by Johann Hari, and Recapture the Rapture, by Jamie Wheal.)
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  • Social-media platforms are “preying on your insecurities; they’re preying on your temptations,” Jenn explained to me in an interview that shifted our parasocial connection, at least for an hour, to a mere relationship. “And, you know, I do play a role in this.” Jenn makes money through aspirational advertising, after all—a familiar part of any influencer’s job.
  • She’s pro–parasocial relationships, she explains to the camera, but only if we remain aware that we’re in one. “This relationship does not replace existing friendships, existing relationships,” she emphasizes. “This is all supplementary. Like, it should be in addition to your life, not a replacement.” I sat there watching her talk about parasocial relationships while absorbing the irony of being in one with her.
  • The open acknowledgment of social media’s inner workings, with content creators exposing the foundations of their content within the content itself, is what Alice Marwick, an associate communications professor at the University of North Carolina at Chapel Hill, described to me as “meta-content.”
  • Meta-content can be overt, such as the vlogger Casey Neistat wondering, in a vlog, if vlogging your life prevents you from being fully present in it;
  • But meta-content can also be subtle: a vlogger walking across the frame before running back to get the camera. Or influencers vlogging themselves editing the very video you’re watching, in a moment of space-time distortion.
  • Viewers don’t seem to care. We keep watching, fully accepting the performance. Perhaps that’s because the rise of meta-content promises a way to grasp authenticity by acknowledging artifice; especially in a moment when artifice is easier to create than ever before, audiences want to know what’s “real” and what isn’
  • “The idea of a space where you can trust no sources, there’s no place to sort of land, everything is put into question, is a very unsettling, unsatisfying way to live.
  • So we continue to search for, as Murray observes, the “agreed-upon things, our basic understandings of what’s real, what’s true.” But when the content we watch becomes self-aware and even self-critical, it raises the question of whether we can truly escape the machinations of social media. Maybe when we stare directly into the abyss, we begin to enjoy its company.
  • “The difference between BeReal and the social-media giants isn’t the former’s relationship to truth but the size and scale of its deceptions.” BeReal users still angle their camera and wait to take their daily photo at an aesthetic time of day. The snapshots merely remind us how impossible it is to stop performing online.
  • Jenn’s concern over the future of the internet stems, in part, from motherhood. She recently had a son, Lennon (whose first birthday party I watched on YouTube), and worries about the digital world he’s going to inherit.
  • Back in the age of MySpace, she had her own internet friends and would sneak out to parking lots at 1 a.m. to meet them in real life: “I think this was when technology was really used as a tool to connect us.” Now, she explained, it’s beginning to ensnare us. Posting content online is no longer a means to an end so much as the end itself.
  • We used to view influencers’ lives as aspirational, a reality that we could reach toward. Now both sides acknowledge that they’re part of a perfect product that the viewer understands is unattainable and the influencer acknowledges is not fully real.
  • “I forgot to say this to her in the interview, but I truly think that my videos are less about me and more of a reflection of where you are currently … You are kind of reflecting on your own life and seeing what resonates [with] you, and you’re discarding what doesn’t. And I think that’s what’s beautiful about it.”
  • meta-content is fundamentally a compromise. Recognizing the delusion of the internet doesn’t alter our course within it so much as remind us how trapped we truly are—and how we wouldn’t have it any other way.
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