Gaslighting in the Marriage Equality “Debate”

Posted on September 29, 2017 by binarythis

Like many in the Australian LGBTIQ community, I am exhausted by the marriage equality “debate” that we are being subjected to. The nature of this atomised survey is that we’re supposed to stay positive and upbeat, to try and convince everyone that we’re “normal” and have no other agenda than “love”. But being glass-half-full optimistic in this situation takes a lot of mental and emotional energy. That’s why it was so deeply infuriating to see our Prime Minister Malcolm Turnbull—the person whose cowardice means we even have to endure this survey—on TV suggesting that the ‘yes’ campaign needs to lighten up about homophobia.

Turnbull appeared on The Project last night, commenting on the “controversy” over whether Macklemore should sing his chart-topping song Same Love at the NRL Grand Final. The religious right leading the ‘no’ campaign have suggested that Macklemore’s “same-sex anthem” has no place in sport. Turnbull defended against censoring the song, in the name of “free speech” and “artistic expression”. But when host Waleed Aly pressed him on the issue, suggesting that it was unavoidably political and an “incendiary intervention” in the current climate of homophobia, Turnbull dismissed him saying “oh no don’t…everyone’s focused on the football”. When Aly continued, Turnbull sighed, “we were just having fun Waleed, why do you have to be such a downer?!” Turnbull dismissed the recent spate of homophobic attacks and abuse being levelled at the LGBTIQ community amid the survey as a “tiny percentage”.

It’s important to take a step back here and recognise Turnbull’s comments for what they are: gaslighting. Indeed, the comments coming from the ‘no’ campaign and even many liberal ‘yes’ voters also involve gaslighting. This is not simply a case of homophobes vs. supporters, because there are many “supporters” that are contributing to a discourse that punishes LGBTIQ people and puts the blame back on them for being upset. It’s important to recognise and name this behaviour for what it is, because when you are upset by all the small comments being made it’s hard to understand why it affects you so badly unless you connect it up to the bigger picture.

Gaslighting is an emotionally abusive tactic that undermines the confidence of the person being targeted, where they are made to feel like what they are experiencing isn’t “real”. Here’s the “11 signs of gaslighting” as demonstrated by Turnbull (and similar others) in the marriage equality debate:

They tell blatant lies
Last night Turnbull defended the survey as “democratic”, referred to it as a “plebiscite”, and suggested any nastiness was just the same as what you would see in a federal election. Not only is this survey disenfranchising many, a complete shambles, not statistically rigorous, and not an actual plebiscite, this is a survey on the legitimacy of recognising same-sex couples as equal, qualitatively different from a federal election in every way.
They deny they ever said something, even though you have proof
Turnbull is now a great defender of the postal survey as democratic, even though he is on the record as previously stating (in the debate around an Australian Republic) such a method “flies in the face of Australian values”.
The use what is near and dear to you as ammunition
Because he has to defend the survey, Turnbull has been highlighting things we ought to value (including: democracy, respect, fairness) and using these values against the LGBTIQ community’s critiques of the survey. He has suggested that we “cannot ask for respect from the No case if you’re not prepared to give respect to the No case”. In other words, you have to respect people disrespecting you, otherwise it is *you* that is disrespectful.
They wear you down over time
The fact that this survey has been stretched over a timeframe of more than two months says it all—who among us has the energy to stay fighting the whole time. Turnbull is now encouraging us to stop caring about the issue, even as it goes on and on: have “fun”/stop talking about this/don’t be such a “downer”.
Their actions do not match their words
Despite not allowing a free vote in Parliament (presumably because it would have threatened his leadership in the Coalition), and subjecting us to the postal survey, Turnbull has come out supporting ‘yes’. Now I guess we’re supposed to be appreciative of his “support”. In a classic gaslighting move his words (tacit support) and actions (creating this mess) do not match up.
They throw in positive reinforcement to confuse you
One minute Turnbull is suggesting the survey is hard on LGBTIQ people, “This is a time to put your arms around them, to give them your love and support”, and in the same breath he states, “The vast majority of people who do not agree with same-sex marriage are not homophobic and do not denigrate gay people”. It is clear that the main prerogative of the ‘no’ campaign is precisely to denigrate gay people. Turnbull’s positive “support” means nothing, except for adding to the confusion about how we should feel grateful for this “democratic” opportunity to have our say.
They know confusion weakens people
Despite nominally supporting the ‘yes’ campaign, Turnbull has defended campaign tactics from ‘no’ in the name of “free speech”. Rather than suggesting that the most important thing is showing support for the LGBTIQ community (which is what I would expect from a ‘yes’ campaigner), he claims that “mutual respect” is the number one priority. It’s confusing to have someone on “your side” defending the opposite side and simultaneously chastising you for getting upset by the debate. Further adding to confusion, Turnbull has said that the will of the people reflected in this survey is only binding if it’s a no, but not if it’s a yes. Wait, which side are you on again Turnbull?
They project
Turnbull keeps telling the LGBTIQ community to be “proud” and confident, yet, we know that it is Turnbull’s cowardice that has created this drama. It seems like the person who really needs to hear the mantra “believe in yourself” is Turnbull, not us.
They try to align people against you
Instead of suggesting that we should protect against discrimination of the LGBTIQ community in this survey, Turnbull has commented that “The only way to stop people from saying things that you find hurtful is to shut down free speech”. In other words, *protecting* those who would discriminate in the first place is the number one priority because “free speech”.
They tell you or others that you are crazy
While stating again and again that only a “handful” of Australians are homophobic, Turnbull was one of the first to condemn the attack of Tony Abbott by a random anarchist and use it against the ‘yes’ side: “They are not helping their case by engaging in violent conduct. They are not showing respect for others”. In other words, Turnbull suggests we ignore the homophobic attacks happening, but is the first to use a random attack (even though the accused man has stated this had nothing to do with the marriage issue) on a Liberal as a reason to condemn the ‘yes’ side. In sum: the LGBTIQ community is crazy for feeling vilified, but Tony Abbott and co are legitimate in their fears.
They tell you everyone else is a liar
This is what we saw on The Project last night: Turnbull suggesting that being concerned about homophobia in this debate is a media beat up. Apparently the only person we should trust on this is Turnbull, who tells us to forget our troubles and have fun. Gosh what a lot of fun it is.

What all of this reveals is that whatever the outcome of the survey, Turnbull is firmly not on the side of the LGBTIQ community.

Instead of accepting the abusive logic of the marriage equality survey where we are told to be politely grateful for every ‘yes’, we should remember the liberatory politics of LGBTIQ activism past: we don’t just want equality, we want freedom; we want more than words, we want action; we don’t beg, we demand. And most of all: we are not the problem.

Katy Perry Does Critical Theory

Posted on February 23, 2017 by binarythis

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Illuminati realness, or reference to Guy Debord’s ‘Society of the Spectacle’? You decide.

There is little doubt now that we are living in a strange time, a time where Teen Vogue talks Black Lives Matter, Elle Magazine quotes Russian revolutionaries, and the dictionary trolls the President of the United States. Activist politics is filtering into mainstream spaces in strange and uneven ways. This week one such event was the release of Katy Perry’s video for her new song ‘Chained to the Rhythm‘, which is, in fact, a hilariously direct engagement with Critical Theory.

Critical Theory emerged in the mid twentieth century, and involved theorists such as Theodor Adorno and Max Horkheimer taking up strands of Marxist and Psychoanalytic thought, to provide a critique of society and mass culture. In particular, Adorno was very concerned with what he called the “culture industry“, that is, entertainment consumed by the masses that works to keep people controlled and complicit under capitalism. Adorno believed that popular culture numbs people so that they are not able to fully realise the conditions of their own oppression.

This is exactly the critique of society that Perry presents in her new video.

With the subtlety of a sledgehammer, Perry’s video is set in an amusement park called “Oblivia”, where everyone is either viewing the world through their iPads or shuffling behind others toward mundane rides such as a literal hampster wheel. The setting notably connects up with Adorno and Horkheimer’s famous claim that “amusement has become an extension of labor under late capitalism”.

Gosh KP, what on earth does it mean?!

But with increasing nuance throughout the clip, Perry manages to address some of the most pressing political issues of our time. These include:

1. The financial crisis and the American dream

The first ride Perry visits is a reference to the financial crisis of 2008 that saw the mortgage market in the USA bottom-out. It’s not a fun ride—you sit in a tiny house and get jolted in the air once you’re locked in the house. It’s almost like Perry read Lauren Berlant’s book ‘Cruel Optimism‘ which talks about how people invest in dreams of a better future (i.e. the American dream) but that this belief is actually a cruel and toxic attachment.

2. Heteronormativity

The dream drop ride shows heterosexual couples enter, surrounded by a white picket fence. Perry comes along and smells the roses on the fence, only to prick her finger, realising that the roses have stems of barbed wire. In a reverse-Sleeping-Beauty move, this finger prick helps to wake Perry up, and we realise that the deep sleep represented in fairytales is in fact about succumbing to a heteronormative life. Here, Perry functions as a queer character who can’t quite meet the normative standards that allow her to fully enjoy the park. As Perry is also the star of the piece, we are called to rethink the “barbed” reality of heterosexually “normal” life.

On this note, we should pause here to consider how Perry’s partner on the love-rollercoaster is an incredibly camp man in a glitter shirt.

3. Racism and the Trump Travel Ban

One of the next rides that Perry stumbles across involves black couples and single people getting flung over a fence/wall. Here Perry is offering a direct critique of the Trump administration’s white heterosexist rulings.

4. War and nuclear holocaust

Park-goers walk around carrying fairyfloss that looks like broccoli, that we later realise are actually mushroom clouds. Also this ride:

Bleak.

5. Climate change and environmental degradation

“Fire Water” is Perry’s most obscure reference—or, perhaps her most literal. Perry visits a gas station where the petrol is actually water but that water is on fire. There are also sailors. It’s pretty great. It appears to be a reference to climate change (the world is heating up) but also fracking (which can cause river fires!), and on that note, it is also clearly about Standing Rock.

6. The nuclear family and false appearances

Toward the end of the song Perry sits in a crowd wearing 3D glasses, watching a family perform in front of a TV screen. Here Perry challenges the charade of the perfect nuclear family, and the societal focus on the heterosexual couple. The retro styling of the entire clip also gains greater meaning here, as we see that this world is also one where women are cast back into the stereotype of the 1950s housewife. But in Perry also adopting this dress (reminiscent of the Jetsons) she is entertaining a form of what Elizabeth Freeman calls “temporal drag“. That is, a way of embodying the past in order to displace the “present”, to help us question our own progress narratives.

The imagery of this scene also, remarkably, directly references Guy Debord’s 1967 work ‘Society of the Spectacle‘, which laments the way everything in society has become about consumption and appearances. One of Debord’s proposed tactics for interrupting such a society is called “detournement“—basically hijacking cultural products and subverting their meaning, also known as culture jamming. That Perry would reference (or perhaps recuperate) Debord would, I imagine, have him rolling in his grave.

The cover of Debord’s classic

During the same scene, Skip Marley emerges out of the television screen, and in a direct critique of imperialism, the ruling class and capitalist society, sings: “Time is ticking for the empire/The truth they feed is feeble/As so many times before/They greed over the people/They stumbling and fumbling and we’re about to riot”.

After this Perry dances around confusedly for a bit, before running and then stopping on a treadmill, giving us a completely alarmed stare down the camera.

When I first heard the song—which includes lyrics such as “So comfortable, we live in a bubble, a bubble” and “Stumbling around like a wasted zombie”—I was annoyed that Perry would take a swipe at ordinary people, as if everyone is just stupid and thoughtless. This seemed perfectly in line with the desperately elitist condemnation by Clinton of Trump supporters as “deplorables” in 2016, which only served to alienate rather than mobilise people. The original critical theory work from Adorno and others is similarly irksome in its extreme disdain for “low culture” enjoyed by the many, versus more intellectual “high culture”. As I see it, to condemn mass culture and in turn the “cultural dupes” who consume it, is to be radically ungenerous to the circumstances and experiences of the people involved.

But here’s where Perry manages to one-up Adorno. What makes Perry’s engagement more dynamic, is the way she places herself in the world of Oblivia. Rather than being a snobby outsider, she constantly refers to herself in the lyrics (through the use of “we”), and depicts herself in the video, as being caught up in oblivion similarly to everyone else. While she gradually becomes more “woke” than the other inhabitants of the theme park, she is consistently shown in a state of ignorant bliss just as unaware as everyone else. Here Perry manages to resolve the philosophical problem posed by Slavoj Zizek who suggests that it is false to think one can be authentically “outside” of a relation to culture. Perry doesn’t pretend to be outside of popular culture in an elitist way because she just physically can’t be…because this is a pop music video! That Marley emerges out of the television at the end also perhaps hints that Perry thinks critical ideas can come out of popular culture as much as you can also be “chained to the rhythm”. Presumably she’s hoping her work will woke you too.

Marley climbs out of the TV

While the irony of all of this should give you a lot of LOLs it does also beg the question as to whether this is really culture-jamming or merely the selling-back to us of critiques of culture. My sense is that it is almost certainly both (Perry is making money out of this after all), and that it certainly won’t be a Katy Perry video that starts the revolution (unless she keeps up her Brit Awards antics of course).

But I also don’t think it’s bad—in fact, it should be taken as an overwhelmingly positive sign that there is a current mood in daily life that is about being wildly vocal and “about to riot”. As Perry and Marley suggest, “they woke up the lions”. Sure, some of those lions are totally bizarre pop stars, but it also means it’s a jungle out there…