American Hook Up Culture: Nothing New?

Going from a small university town to a large one, I continually find myself in a state of culture shock -perpetually surprised by my new classmates' liberal lifestyles. And while many of the changes are refreshing, there is one that I find myself butting heads against: the quote-on-quote Hook-up Culture.

While researching this romanticized lifestyle, I was shocked to discover that the history of this no-strings-attached approach to love actually extends back much further than the Summer of Love of the 1960s. Rather, it began in the nineteenth century! 


Nineteenth Century Free Love 
The 'first wave' of America's Free Love Movement is said to have arisen in the mid-nineteenth century, when this country was caught up in the sweep of spiritualism. Despite it's rather scandalous title, though, the idea behind the Free Love Movement was to challenge the cold, business-like institution that was the traditional marriage. (The entire concept of two individuals marrying for love was still alien to Western culture at this time.)

Being a Free Lover typically meant that an individual could/would "freely choose a monogamous sexual partner and to freely choose to end a marriage or relationship when love ended" (Johnson Lewis). A concept called 'voluntary motherhood' was also introduced.

One of the Movement's first, and most famous, pioneers was a woman named Victoria Woodhull -the woman who would later be nominated by the Equal Rights Party to be their candidate in the 1872 presidential election (against Frederick Douglass and Ulysses S. Grant). In her own words:

Victoria Woodhull

"Yes, I am a Free Lover. I have an inalienable, constitutional and natural right to love whom I may, to love as long or as short a period as I can; to change that love every day if I please, and with that right neither you nor any law you can frame have any right to interfere." 

 While the majority of the nation was under the impression that the Free Lovers were trying to promote promiscuity, the exact opposite was actually taking place. Rather, the Free Lovers considered themselves to be the practitioners of a new, modified kind of sexual morality: "one that was based on a freely chosen commitment and love, instead of legal and economic bonds" (Johnson Lewis). To the women of America, it promised an alternative -if not protection -from the shackles that was the average, accepted marriage at the time.

Twentieth Century Free Love

Between the 1960s and the 1970s, a new form of Free Love spread across America. Now interested in the hands of hippies and beatniks, the movement "came to imply a sexually active lifestyle with many casual sex partners and little or no commitment" (Johnson Lewis).

All the previous teachings and goals of the original movement were perverted, remolded into but another way for the American Youth to say "F*** the Man!"

The country, obviously, has never recovered.

Millennial Century Free Love

In a number of ways, the form of Free Love that is practiced in America today very much mirrors that of 1960s and 70s. Young adults, predominately between the ages of 17 and 25, venture into college and -the majority -embrace all of its possibilities. The biggest ones being parties and sex.

(After all, why not? Mom and Dad are not around to tell you 'no'!)

The most immediate results: dating and other relationship-building rituals are steadily dying out.

Marriage rates continue to steadily go down, year after year, as the younger generation thrives on the hedonistic promises of their media-driven society -a great promoter of the lifestyle.

America is slowly being redefined as a No-Strings-Attached culture.

My Views

Despite being a feminist, I find it hard to agree with the contemporary doctrines of Free Love -of hooking up, of participating in casual sex. Perhaps I can blame it on my Christian upbringing, or my fascination with BBC [period] movies; but the lifestyle both sickens and worries me.

As it was explained to me by a close friend, a fair number of young adults who dilly-dally in this particular culture are ones who -in some ways -are trying to find an alternative route to coping [with] or overcoming a sour dating/relationship history. 

This argument, I can understand. After all, I myself have a rather unpleasant dating resume. 

And yet, I remain unmoved. 

While I believe that the original ideology of the Free Love Movement is amiable, the version that my peers practice is upsetting. And not just for me.

As noted by Allie Bukatman from the blog Elite Daily:

"Our generation is so afraid of commitment, interpreting it as the be-all, end-all in life. We’re afraid of allowing ourselves to actually like someone, but why?"

Has sex really become such a cheap experience? What happened to it being a profound display of love and admiration? 

For me, my stance is based on a need for two things: (1) respect and (2) legitimacy. I am not in the market for a stuffed dog (a Sun Also Rises [Hemingway] reference). Having respect for myself as well as for my partner creates a legitimate experience, a genuine relationship.

Shania Twain said (sang) it best:

"If you're not in it for love,

if you're not in it for life

Let me make it clear 
to you, my dear

...

I'm outta here!"

Work Cited

Bukatman, Allie. "The Hook-Up Culture Has Killed the Possibility of Dating in College."  
             Daily Elite, 2 April 2014. Online. 6 October 2014. 

Johnson Lewis, Jone. "Free Love in the 19th Century." About Education, 2014. Online. 6
             October 2014.  

Maggie Evans: An Underrated Heroine

Maggie Evans, portrayed by Kathryn Lee Scott

There are a number of strong female characters featured in Dan Curtis's original daytime gothic soap opera "Dark Shadows" (1965-1971). But sandwiched between the rigid matriarch (Elizabeth Collins) and the spunky governess (Victoria Winters) remains a continually overlooked heroine: the determined and strong-minded Maggie Evans -one of the first victims of Barnabas Collins.

The Backstory
For those who have not yet seen the television show, or Tim Burton's rendition of the story, the overall plot of "Dark Shadows" can be summarized as thus: Set in 'modern-day' Collinsport, Maine, the vampire Barnabas Collins has been awakened from his tomb after more than two hundred years of imprisonment. Disguising himself as a distant cousin among his contemporary descendants, the dark and tortured being seeks to regain all that he had lost in his previous life. 

Maggie, standing in front of Josette's portrait.

After meeting Maggie Evans -who bears a staggering resemblance to his former love, Josette DuPres -Barnabas works to bring the young woman under his thrall and to groom her to be his -you guessed it! -vampire bride. Shot from 1966-67, a fair selection of episodes from the show were dedicated to this storyline -which has since been nicknamed by fans as "The Kidnapping of Maggie Evans."

Maggie as a Heroine
Admittedly, based on the description above, the character of Maggie does not sound or appear particularly unique when compared alongside modern vampire-story heroines such as Sookie Stakehouse ("True Blood") and Elena Gilbert ("The Vampire Diaries").

What needs to be remembered, however, is that Maggie stands among the female archetypes in her genre. That is, she was one of the first females to resist the power of the male vampire and to fight to retain her sense of agency. Not even Mina Murray from Bram Stoker's Dracula can claim such a feminist achievement -despite her being a rather progressive character for her time in literary history.


Despite the strength of Barnabas's mind control powers, and his determination to break and remold her, Maggie's subconscious continued to fight back. Even after breaking his spell, under the threat of death, she could not force herself to succumb to her captor's will.
  
Maggie knew who she was; and she was not Josette -no matter how much the two women looked alike, or how much Barnabas wanted her to be. 

Even for the 1960s, the idea of a woman having more strength than her male superior/oppressor -if only in the psychological sense -was not looked upon too fondly. Back then, still, women were being groomed by their mothers, their society(s), and even their men to fit within a certain mold, a certain image.

Today, autonomous women still find themselves fighting against the vampiric thrall of it all (mothers, societies, men). Magazines, television, and other media tell us what to wear and what to do -primarily in order to please our men. The temptation to give in, at times, can be strong; especially if the promise of love is dangled in front of us. 

Be like Maggie: Don't give in! Don't change who you are (your legitimate self) to be a poor man's (a poor vampire's) Josette. 

One of the worst things a girl, a woman can allow herself to do is to be in a relationship that forces her to compromise any and all sense of agency. 

Be a Maggie Evans; not a Bella Swan. (But I shall save my Twilight rant for another day.)

'The Virgin' and 'The Slut': Exploration of an Old Dichotomy

"Miley Cyrus vs Joan of Arc" (featured below) is the thirty-sixth episode in the popular YouTube series "Epic Rap Battles of History" (or "ERB"). While darkly comedic but undoubtedly entertaining, this video is an excellent artistic example of the old 'Virgin/Slut' dichotomy that still plagues the modern women of today. 

Yes... 'Who won' indeed?...

If one were to base the answer of that question on the teachings of society, Joan of Arc would be the winner. 

Why?

Well, despite her [portrayal's] colorful use of language ('bitches' and 'skank'), Joan stands tall on one of the highest of pedestals: the one reserved for the most virtuous of women. Over the course of history, such a ranking has consisted of a type of woman known as 'the Virgin.' 

And as the yin must always have a yang, the opposite of such a female -the one who dwells in the filth and shadow of the pedestal's base -is 'the Slut.'

Early Classifications
The classifications of 'the Virgin' and 'the Slut' have existed longer than the rules of civility  of the 1950s/60s or the 'True Cult of Womanhood' in the Victoria Era.

The expected characteristics of a Virgin, in general, are as follows:

• sexually 'pure' / 'untouched'
• refined and poised
• practices Church doctrine
• subordinate to males

In contrast, a Slut is generally characterized as thus:

• sexually 'active' / 'promiscuous'
• crude and chaotic
• blasphemes Church doctrine
• insubordinate to males 

Joan: A Virgin?

Joan of Arc is a saint: there is no dispute on this point. Canonized by Pope Benedict XV in 1920, she is recognized by the Catholic Church as the patroness of soldiers and France. 

Born during the Hundred Years War, a bloody skirmish between the British and the French, Joan was raised to be an obedient daughter -both to her parents and to God. In her early teens, she began to hear voices -those of Saints Christopher, Catherine, and Margaret.

As the legend goes: one day the voices of the saints told Joan to leave her childhood home, raise up an army, and crown the dauphin king. Being faithful to these orders, Joan did everything she was told. As a result, however, she would eventually be captured by the British and charged as a witch. Instead of attempting to rescue their heroine, France abandoned Joan.

She was burned at the stake on May 30, 1431 -at the age of nineteen.

Ironically, Joan might have fallen into the category of 'bad girl' in her day and time. She fashioned short hair and a knight's uniform. She claimed to hear divine voices and to be the savior of France. She wielded a sword and led an army. Worse, though: she stood up to her superiors and other men of the time (*gasp!*). Were it not for the sake of miracles or a prophecy (about the coming Maid of Orleans), she might have been locked up in nearest lunatic asylum or burned by her own countrymen.  

And yet, she is a saint...?

Well, she was a martyr and a virgin...

Miley: A Slut?

Miley, "Before"

To further the comparison between her and Brittany Spears, Miley Cyrus is certainly an example of a pop icon 'gone bad.'

Granted, much of an entertainer's reputation is formulated by media. Taking this fact into account, however, can it be right to say that Miley could merely be a victim of bad press? 

Maybe yes; maybe no.

It all started with a haircut; then came the twerking. Within just a short amount of time, the preteens of today lost sight of the Hannah Montana star that they had come to adore.

Miley, "After"

In theory, Miley had a meltdown. Like so many of the child stars who came before, she became crushed and lost under the expectations of the entertainment industry and her idolizing fans.

Hannah Montana was the character, the identity that Miley -the girl -was saddled with. Perhaps it was fine for a while; but then the girl had to grow up and shed the skin that was the fictional her. 

Surely, though, the real Miley could still be a role model for her young fans -through music, if not also in acting. But the new and radical Miley only stirred the pool of controversy. 

Suddenly, no one could control her. She became a forest fire. (Or, rather, a wrecking ball.)

Drugs, vulgarity, and sex: Hannah Montana was officially dead.

Personally, I agree with the latter theory, though. Maybe Miley wanted to grow up; maybe she wanted to be taken seriously. If such is the case, however, I have only this left to say on the matter: Miley, honey, the twerkin' ain't workin'!


"Virgin/Slut": A Dichotomy for the Postmodern Age?

Sadly, for a number of people, the ideas imposed by the 'Virgin or Slut' culture are a popular inheritance -passed down by parents and enforced by certain communities. But does that mean that they (these ideas) belong in this postmodern age?

Surely, by now, it has been established that the modern female should be free to create herself however she sees fit. 'Free,' that is, in the traditional and idolized sense: without ridicule.

The girls of today need role models, something or someone to aspire to. 

As a result: The Virgin (Joan), for now, will continue to win.