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FiercelyReal?:

TyraBanksandtheMakingofNewMediaCelebrity

Correspondingauthor:JessalynnMarieKellerDepartmentofRadio­Television­Film,UniversityofTexasatAustin

1UniversityStationA0800,Austin,Texas,USA78712Phone:512­471­4071Fax:512­471­4077

Author’scontactinformation:DepartmentofRadio­Television­Film,UniversityofTexasatAustin

1UniversityStationA0800,Austin,Texas,USA78712Phone:512­461­2221

Email:Jessalynn.keller@gmail.com

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Abstract:ThispaperwillexamineformersupermodelTyraBanksasacontemporary“celebrityentrepreneur,”focusingonBanks’recentshiftfromtelevisionpersonatomultimediaiconwithinaneoliberalpopularculture.Iarguethatourcontemporarynewmediaenvironment,markedbyconvergentmediatexts,selfbranding,andinteractivityprovidesanidealspaceforBankstoproduceandgloballycirculateherpostfeministstartext.Throughherwebsites,Facebook,andTwitterconfessionals,Banksisabletosuccessfullynavigatethecontradictorydiscoursesthatinsistfemalecelebritiesbeboth“authentic”selveswhilemaintainingadisciplined,hegemonicfemininitythatbecomeslegitimizedandnaturalized.IconcludethatwhileBanks’mobilizationofahypervisibilityandsenseofindividualagencygeneratesanauthenticitythatmayresonatewithherfans,sheremainscontainedbytheneoliberalandpostfeministdiscoursesthatallowhertohavesuchaprominentInternetpresence.Consequently,thispaperservestoraiseunexploredquestionsabouttherelationshipbetweencelebrityculture,postfeministandneoliberalsubjectivities,andnewmedia.

Keywordspostfeminism,neoliberalism,celebrity,newmedia,convergenceculture

Havingfirstgainedpopularityasasultrysupermodelinthemid‐1990s,Tyra

Banksbecamepopularinpartbecauseofherpositioningasapubliclyvisibleraced

andgenderedbody.ShewasthefirstAfricanAmericancovermodelofSports

IllustratedSwimsuitIssue,GQ,andtheVictoria’sSecretcatalogue,andisconsidered

oneofthefirstblackmodelstofindsuccesswithinthepredominantlywhite

modelingworld.Bankslaterprovedtobeasavvybusinesswoman,brandingherself

throughahostofmediapropertiesincludingthepopularrealitymodelingshow

America’sNextTopModel,(2003‐present),herowntalkshow,TheTyraShow

(2005‐2010),andherextensivewebpresence,firstatTyra.com(2009‐2011)and

mostrecentlyattypeF.com(2011‐present),aswellasnewendeavors,includinga

recentseriesofnovelsforteens.Banks,inthissense,isemblematicofwhatKim

Allen(2011)callsa“celebrityentrepreneur,”whoisabletoinventherselfthrough

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multiplemediaplatformsandexplainhersuccessasindicativeofambition,talent,

andhardwork.

Recently,Bankshasshiftedherattentionawayfromtelevision,endingher

Emmy‐winningafternoontalkshowandpursuinganextensiveonlinepresenceon

Tyra.comandtypeF.com,afashionandbeautywebsitedevotedtocelebrating

individualbeautyandstyle.ItisBanks’mostrecentshifttotheonlineworldthatI

willfocusonherethroughadiscursiveandideologicaltextualanalysisofherweb

presence,includingTyra.com,typeF.com,andsupplementarypresenceonYouTube

andTwitter.Banks’shiftfromsupermodeltotelevisionpersonalitytomultimedia

businesstycoonmayappearasproofofanincreasinglyprogressivepopularculture,

whereblackwomencanattainlongstandingcelebritystatusandtheadmirationofa

mainstreamwhiteaudience.Infact,Bankshasutilizedthisrhetorictoposition

herselfasapositiverolemodelforgirls,drawingonherownpersonalexperiences

asasourcesofstrengthhelpinghertosucceedinthecutthroatentertainment

industry.ItisthisdiscourseIaminterestedininterrogatinginthispaper.Howdoes

Bankscultivateasubjectivitythatcelebratesauthenticitybasedonindividualchoice

andself‐acceptancewhilemaintainingadisciplined,yetnaturalizedhegemonic

femininityacceptabletocontemporaryAmericanideals?

Imaintainthatthehighlyindividualizednatureofnewmediaprovidesa

particularlysuitableplatformforBankstonavigatethecontradictoryrelationship

betweenauthenticityandapostfeminist,highlyconstructed,yetnaturalized

hegemonichyper‐femininitydemandedoffemalecelebrities.Throughheruseof

variousnewmediaplatforms,includingherwebsites,Facebook,Twitter,and

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YouTube,Banksisseeminglyabletospeakdirectlytoherfansthroughmedia

platformstheyfrequent,promoting“fiercelyreal”bodies,a“uniquelyyou”senseof

beauty,and“individualstyle”thathintsatacelebrationofnon‐normativebodies,a

categoryinwhichsheoftenincludesherself.Whilehavinganonlinepresenceisnow

standardmarketingpracticeformostcelebrities,itisthewaythatBankspositions

herselfasaninformed,authenticinsiderassheinstructsheryoungfemalefanson

howtheycanembracetheirindividual“type,”thatispertinenttomydiscussion.

IarguethatBanks’personalclaimstoauthenticitythroughsocialmedia

allowhertonaturalizeandplacateherbrand’ssustainedpromotionofhighly

disciplinedfemalebodiesthatconformtonormativenotionsofwhitefemininity,

whileavoidingthecritiqueleviedatotherfemalestars’forbeing“poor”rolemodels

foryounggirls.Inthissense,Bankshasbeenabletomaintainasuccessfulstartext

throughouthernearlytwodecadesinthepublicspotlight,asevidencednotonlyby

herrecognizedprofessionalaccomplishmentsandfandevotion,butalsothrough

herabilitytoreinventherselfacrossmediaplatformswithoutalienatingherteenage

fans.Iwillarguethatsheisabletodothisthroughherongoingabilitytoappear

progressive,whileremainingneatlycontainedwithinlargernormative

constructionsoffemininesubjectivitiesrootedinpostfeministandneoliberalvalues

madeincreasinglyvisiblethroughtheircirculationonline.

Iwillbeginbyoutliningmytheoreticalframework,whichdrawsontwo

recentsubfieldsofmediastudiesresearch,celebrity/starstudiesandnewmedia

studies.Iconnectthesetwosubfieldsbydemonstratinghowpostfeministand

neoliberaldiscoursesinformbothdominantdiscoursesaboutfemalecelebritiesand

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newmediapractices.Itheorizeauthenticityasbeingacentralissuewithinthis

researchanditisthisideathatinformsmyanalysisofBanks’online

representations.

MydiscussionofBanksasacasestudyisbaseduponaclosediscursiveand

ideologicaltextualanalysisofBanks’websites,Twitterfeed,andFacebookpage

overtheperiodofseveralmonthsinspring2010andspring2011.Mysampletexts

werepurposefullychosenbasedupontheirinclusionofthemesandideasthatare

privilegedinpostfeministandneoliberaldiscourses,including

authenticity/realness,empowerment,individuality,choice,andsuccess.Thus,I

specificallyanalyzetextsthateitherusedtheseexactwordsordrawontheseideas

moregenerallyinordertoparseouthownewmediaplatformsprovideaspacefor

Bankstosuccessfullynavigatethecontradictoryrelationshipbetweenanauthentic

selfandanimagethatalignswithamarketablehegemonicfemininity.Iconclude

thispaperbycontemplatingquestionsofagencyinrelationtoBanks’startextand

onlineperformances,andadvocateforabetterunderstandingoftherelationship

betweencelebrityculture,neoliberalandpostfeministdiscoursesandnewmedia.

“Post­Identity”PoliticsandtheGenderingofFameinContemporaryCelebrityCulture

Feministmediastudiesscholarshaverecentlyproducedexcellentwork

analyzingpostfeminismasasensibilityshapingcontemporarypopularculture(Gill,

2007,McRobbie,2009,Negra,2009,GillandScharff,2011).Postfeminism,

accordingtothiswork,isunderstoodasaculturalsensibilitythatpromotesthe

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“undoing”offeminism,through“disarticulationanddisplacement,accompaniedby

replacementandsubstitution”(McRobbie,2009,26,Gill,2007).McRobbieargues

thatnewformsofgenderpowerinpopularculturereplacefeministpolitics,

promotingahighlyconservativemodeoffeminine‘empowerment’,consumer

citizenship,andsexualfreedomsthatarebrandedasprogressive,yetcontinually

celebratehegemonicfemininityastheidealforwomen.Withinthissocialand

culturalcontextyoungwomenarepositionedasflexible,individualizedsubjects

“weightedtowardscapacity,success,attainment,enjoyment,entitlement,social

mobilityandparticipation,”capableofunfetteredsuccessinthemarketplace

throughhardworkanddedication(McRobbie,2009,57).

Thefashionandbeautyindustriesarecentraltopostfeministfemininity,and

womenareencouragedto“choose”toadheretothenormsdictatedbythemin

ordertomarkoneselfasanambitious,empowered,andadesirablesubject

(McRobbie,2009).AccordingtoMcRobbie(2009)then,itisnotmaleretribution

butinsteadthefashionandbeautysystem,whichbecomesthenewauthoritative

regime,encouragingwomentounderminetheirsupposedthreattomenbasedon

theirnewwage‐earningpowerandvisibilityinthepublicspherethroughan

excessive,seemingly“ironic”displayofnormativefemininemarkerssuchaspencil

skirts,stilettos,andcorsettops.Femininityisconsequentlynaturalizedonthe

femalebody,whichbecomesthesiteofidentityand“self”forwomeninthese

postfeministdiscourses(Gill,2007,GillandScharff,2011,Tincknell,2011).

PostfeminismexistsintandemwithwhatscholarssuchasRalinaJoseph

(2009)calls“post‐race”logic,whichpositsthatracismhasbeeneradicatedthrough

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thecivilrightsmovementandconsequently,racenolongermattersasanidentity

category.Post‐race,alsoreferredtoas“colorblindrhetoric,”amongstotherterms,

hasbeenthoroughlyanalyzedbycriticalracescholars,whoarguethatthese

discoursesareproblematicbecausetheynegatetorecognizetheveryrealhistoryof

racismwhichcontinuestoaffectpeople’slives,merelymaskinginequalitiesthrough

denialofinequalities,ratherthanactivelyworkingtodismantlethem(Crenshaw,

1997,Bonilla‐Silva,2003,Collins,2005,Joseph,2009).

NeoliberalismalsostructurestheculturalcontextinwhichBanksdevelops

herbrand.LisaDuggan(2003)arguesthatneoliberalismisnota“unitarysystem”

buta“complex,contradictoryculturalandpoliticalprojectcreatedwithinspecific

institutions,withanagendaforreshapingtheeverydaylifeofcontemporaryglobal

capitalism”(70).Neoliberalismischaracterizedbyprivatization,deregulation,a

celebrationofindividualism,arejectionofthesocialwelfaremodelofstate

governance,anditprivilegeschoice,individualresponsibility,freedom,self‐

improvement,andpersonalempowerment.AsscholarssuchasRosalindGilland

ChristinaScharff(2011)andMcRobbie(2009)argue,neoliberalismisnotgender

neutral,butinsteadproducesspecificgenderedsubjectivities,ofteninaccordance

withpostfeministdiscourses,thatconfirmnormativegenderperformances.Itisthis

aspectofneoliberalismthatIamparticularlyinterestedinexploringhereinrelation

toBanks.

WhileIcannotprovideacomprehensiveanalysisofpostfeminism,post‐race

rhetoric,andneoliberalismhere,theyprovideasignificantculturalcontextfor

analyzingBanksasacelebrityfigure.Indeed,intheintroductiontoIntheLimelight

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andUndertheMicroscopeSuHolmesandDianeNegra(2011)arguethatthe

discursivecirculationofwomeninthecontemporarycelebritylandscapewarrants

moreattentionfromfeministscholars,particularlywithregardstohowdiscourses

ofpostfeminismintersectwiththesubjectofcelebrityandthegenderingoffame.

AliceMarwickanddanahboyd’s(2011)understandingofcelebrityisusefulhere.

Theytheorizecelebrityasan“organicandever‐changingperformativepractice

ratherthanasetofintrinsicpersonalcharacteristicsorexternallabels”and

involvingthe“ongoingmaintenanceofafanbase,performedintimacy,authenticity

andaccess,andconstructionofaconsumablepersona”(140).Byemployingthe

conceptofcelebrityinthisway,wecanaskhowpostfeministdiscoursescontribute

toourunderstandingoffemalecelebritiesandthewaysthatfemalecelebrities

consciouslyperformandnegotiatetheirstartexts.

ScholarssuchasJoseph(2009)andAmyAdeleHasinoff(2008)haveargued

thatBanksfunctionsasbothapostfeministandpost‐racecelebritywithina

neoliberalculture,embodyingandcelebratingherpositioningasa“post‐identity

everywoman”whoisabletotranscendthebarriersofgender,race,andclass

throughanempoweredattitudeanddiligentworkethic.Joseph(2009)arguesthat

Banks’positioningas“color‐neutral”andempoweredratherthanfeministremainsa

structuringdimensionofhercelebrity.Despiteoneortwooccasionswhereshehas

covertlychallengedthesepost‐discourses,Joseph(2009)maintainsthatBanksis

ultimatelycontainedbythem.Likewise,Hasinoff(2008)arguesthatBanks’reality

televisionprogramAmerica’sNextTopModelcontinuallypromotesaneoliberal

racialvisibilitythat“requiresaprofoundblindnesstocurrentandhistoricalracial

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injustices”(326).ThisresearchprovidesanimportantcontextforlocatingBanksas

embodyingbothpostfeministandpost‐racialdiscoursesandwillserveasthe

foundationuponwhichmyanalysisisbuilt.

WhilescholarssuchasSusanBordo(1994)havedemonstratedhowwomen

havealwaysbeenassociatedwiththebodywithintheWesternmind/bodydualism,

postfeministdiscourseshavefurtheremphasizedthisconnection,promotingthe

bodyastheprimarysiteoffemininity(Gill,2007).AsKimAllen(2011)notes,this

hasbeenespeciallytruewithincelebrityculture.Shearguesthatthefemale

celebritybodyhasincreasinglybecomeasiteof“punitivesurveillance,”centralto

theconstructionofone’s“authentic”selfhood(151).Allen(2011)maintainsthat

thishascreatedadoublebindforfemalecelebritieswhoarerewardedfor“staying

truetooneself,”yetarealsorequiredtoperformanaccepted,hegemonic

postfeministfemininity,consequentlycomplicatingtheperformanceofan

“authentic”celebrityselfhood.

Inthissense,femalecelebritiesthatappeartoocontrived,artificial,orphony,

especiallyifitmanifestsontheirbodiesthroughexaggeratedplasticsurgeryfor

example,areoftenpubliclyridiculedfortryingtoohardand“notbeingthemselves.”

Thenegativepressattention,includingaPeoplecoverreading“AddictedtoPlastic

Surgery,”publishedinearly2010inreferencetorealitystarHeidiMontagafterit

wasreportedshehad10plasticsurgeryproceduresinoneday,isarecentexample

ofthisdisciplining(Garcia,2010).However,femalecelebritiesarerequiredto

performapostfeministfemininitycharacterizedbyhegemonicmarkerssuchasa

tall,slim,hairlessbody,long(oftenblonde)hair,clear(usuallywhite)skin,

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manicurednails,andareexpectedtobefashionedinexpensive,trendyfeminine

clothesandaccessories.Whilethereisclearlylaborinvolvedinmoldingone’sbody

tothisstandard,aswellasaraceandclasscomponentthatpositionswealthy

whitenessaslinkedtothisidealizedfemininity,Allen’s(2011)argumentimplies

thatthelabormustremaininvisibleornaturalized,makingtheperformanceof

postfeministfemininityappearnaturalandauthentictocertainindividuals(Weber,

2009).

Twopointsareparticularlyrelevanttomyfollowingdiscussion.Firstly,itis

importanttoemphasizethatforwomenandgirls,authenticityislocatedinthe

body,reaffirmingthebodyascentraltofemalecelebrity.Thishascertainlybeenthe

casewithBanks,whosepromotionofherbodyasbrandhasshapedherstartext,

evenafterretiringfrommodelingin2005.Joseph(2009)argues,“Banks’body,and

morespecificallyherbreasts,remainstarringcharactersinhermanymedia

appearances.Banksisrarelywithoutalow‐cut,décolletage‐emphasizingoutfit,as

herbreastsareindeedamajorsignifieroftheTyrabrand”(240).Banks’“booty”has

alsobecomesomewhatprominentinherbrandidentitysincea2007episode

where,afteratabloidmagazinecalledherfat(endnote1),Banksretorteddefiantly

onhertalkshow,telling“allthosewhohavesomethingnastytosaytomeorother

womenwhoarebuiltlikeme:kissmyfatass!”(Joseph,2009).Iwillreturnlaterin

myanalysistothewaythatBanks’promotionofherbody,specificallyherbreasts,

buttocks,andhairassignifiersofherauthenticityascelebrityisperformedand

circulated.

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Second,Allen(2011)emphasizesthatitistheselfasindividualwhois

celebratedwithinthisdiscourse,aligningwithalargerneoliberalprojectthat

privilegesself‐improvementasameansto“reveal”aninner,authenticself(Allen,

2011,Weber,2009).AsBrendaWeber(2009)arguesinherbook,MakeoverTV:

Selfhood,Citizenship,andCelebrity,the“after‐body”intelevisionmakeovershowsis

alwayspresentedasone’strueself,whichhasbeen(finally!)freedfromone’spast

badchoicesandpoorbodilydiscipline.Despiteviewerswatchingthecontestant’s

transformationandthelaborinvolvedinthisprocess,theauthenticityofthe“after‐

body”isneverquestionedandisnotunderstoodasperformed,butas“natural”

(Weber,2009).Thus,thistensionthatIhavebeendiscussingasindicativeofa

postfeministculture,canalsobeseenasaresultofapopularcultureincreasingly

dominatedbytheneoliberalvaluesofindividualism,choice,anddiscipline.

Celebrity,NewMedia,andNeoliberalism:InterrogatingIntersections

Newmedia,includingsocialnetworkingsitessuchasFacebook,Twitter,

YouTube,andeasy‐to‐usebloggingplatforms,areindicativeofwhatHenryJenkins

(2006)calls“participatoryculture,”amediaculturecharacterizedby“users”that

engageinbothconsumptiveandproductivepractices.Thesenewopportunitiesfor

audienceparticipationhasfosteredthepersonalizationandindividualizationof

media,whereuserscan“customorder”theirmediabasedontheirownneedsand

interests(BurgessandGreen,2009).Thus,newmediahasbecomeasignificantsite

fortheproductionofindividualidentities,tastes,anddisplay,andhasledmany

scholarstounderstandnewmediaasofferingademocraticpotentialunlike

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previousmediums(Jenkins,2006,boyd,2008,Castells,2009).Forexample,the

Internethasbeencelebratedasrelativelyaccessibleandeasy‐to‐use,forallowing

userstobecomeproducers,andforitsflexiblearchitecture(Banet‐Weiser,2011).

Accordingtothisperspective,newmediafostersinteractivity,participation,

production,andcreativeidentity‐makingthatarecentralcomponentsoftoday’s

web.Whilechallengeshavebeenmadetothisperspective,suchasworkon

surveillancebyMarcAndrejevic(2007),thefreedomandindividualagency

extendedtowebusersremainsadominantthemeinculturalstudiesscholarshipon

newmedia.

Therehasbeenlittleattentionpaidbynewmediascholarstothewaysin

whichpostfeministandneoliberalvaluesaremanifestonline.Existingwork,

however,drawssomeinterestingconnectionsbetweenpostfeminist,neoliberal

valuesandnewmedia.Forexample,LaurieOuelletteandJulieWilson(2011)argue

thatratherthanallowingfornewidentitysubjectivitiesandpleasureforwomen,

convergencecultureoftenfacilitatesaformofneoliberalcitizenshipthatmerely

repackagesandpromotestraditionalgenderedaffectivelabor.Likewise,Sarah

Banet‐Weiser(2011)arguesthatnewmediaplatformssuchasYouTubefunctionas

spaceswhereneoliberalbrandculture,Web2.0interactivity,andpost‐feminism

merge,creatinga“contemporaryinteractivesubjectwhorealizesherindividual

empowermentthroughandwithintheflexible,openarchitectureofonlinespaces”

(278).Thesimilarlogicsandidealsofpost‐feministandneoliberalsubjects,

includingindependence,capability,andempowerment,complementtheneoliberal

culturalspaceoftheweb,whereindividualsareawardedforinnovativepublic

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performancesthroughviralcirculation,monetarycompensation,andperhapsmost

importantly,celebrity.

Thecelebrityculturecreatedaroundnewmediaissignificant,asboth

“average”citizenshopingtobecomecelebritiesandcelebritiesthemselvesutilize

onlinespacestomakevisible,promote,control,andrebrandtheirpublicimage.

AmyShieldsDobson(2008)notesthatpost‐feminist“girlpower”narrativesrelyon

whatSusanHopkins(2002)calls“celebritypower”tocreateandupdateone’simage

asempoweredandincontrolofone’sselfonline.Dobson(2008)concludesthat,“In

commodified,‘celebrified’girlpowerculture,beingaproductin‘highcirculation’is

theultimateachievement”(127).Theselfasacommodifiedproduct,thenbecomes

indicativeofasavvybusinesssense,aconfidenceinone’sphysicalappearanceand

ultimately,atrue,authenticselfthatisrelatabletopotentialviewersandfans.

ScholarssuchasAnitaHarris(2004),Dobson(2008),andWeber(2009)

haveallarguedthatcontemporarymediacultureoftenreliesonconfessional

narrativesthatservetoreveala“trueself”oranauthenticidentity,oftentheclimax

ofarealitytelevisionshoworasuccessfulcamgirlcareer.Indemarcatingatrueself

viaconfessional,theseperformancescanbeunderstoodascreatingindividuals

withinalargermatrixofpower(Foucault,1978).Authenticitythen,becomes

intertwinedwithbothstar‐makingandindividualization,asWeber(2009)arguesin

relationtomakeovertelevisionshows.ToWeber(2009),therevealofan

individual’sauthentic“innercelebrity”merelymakesvisiblewhat’salreadythere

andchallengesthecommonly‐heldbeliefofcelebrityasbeingfake,inauthentic,and

unnatural.

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Whileauthenticityhashistoricallybeenasignificantissueinattemptingto

understandstardomandcelebrityinthefilm,music,andmorerecentlytelevision

industries,scholarssuchasSuHolmesandSeanRedmond(2006),AliceMarwick

anddanahboyd(2011)andElizabethEllcessor(2012)haverecentlyarguedthat

theconcepthasbecomeevenmoreimportant–andcomplex‐inournewmedia

environment.Ellcessor(2012)arguesthat,“Internet‐basedfamedependsonthe

authenticityofastar’sself‐representationandonthenotionofintimacy,

experiencedthroughthepossibilityofinteractionratherthansimplefamiliarity”

(51).Inthissense,authenticitybecomesmadeevidentthroughanewsetof

standards,whichincludeillusionsof“liveness,”interactivity,apossiblelackof

mediagatekeeperssuchaspublicists,andspontaneitythatsupposedlyallows

celebritiesto“disclosea‘real’versionofthemselvesthatreinforcestheirpersonas”

(59).

Thus,byemployingtheconceptofauthenticityhereandanalyzingBanks’use

ofit,Iamnotsuggestingthatthereisanykindof“real”Banksthatwecanactually

knowthroughheronlinemedia.Instead,Iaimtobetterunderstandthewaythat

Banks’performstheconceptofauthenticityinbothapostfeministculturalcontext

thatprivilegesauthenticityasanecessaryqualityforfemalecelebritiesandanew

mediaenvironmentthatoffersdistinctivelynewopportunitiestoperformit.This

paperistheninformedbyapoststructuralistunderstandingofidentity,which

suggeststhatauthenticityitselfisnotinherentandstatic,butissociallyconstructed,

contextual,andperformed(Marwickandboyd,2011).

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Theabovediscussionsuggeststhatnewmediaenvironmentsandformats

requireanewconceptualizationofcelebrity,whereadesireforauthenticity,

constantaccess,andinteractivitybecomebedrocksforthesuccessfulcelebrityin

contemporarypopularculture.AliceLeppertandJulieWilson’s(2011)workon

LaurenConradbeginstomapConrad’sstartextwithinthisculturallandscape,

howevertheirdiscussionofherinrelationtohernewmediapresenceremains

limitedandfocusedonMTV’sbrandingofConradonline,ratherthanConrad’sown

onlineinitiatives.Iaimtofurtherinterrogatethisonlinespaceglossedoverby

LeppertandWilsonbyfocusingmyanalysisonBanks’onlineendeavorsand

examineBanks’ownagencyinproducingandcirculatingherimagevianewmedia.

Itisimpossibletoknowwhetherornotitisthecelebrityinquestionwhois

activelytweeting,posting,andcommentingonline.Ellcessor(2012)maintains,

“Newmediaforms,suchasTwitterandothersocialmedia,encouragethenotion

theyareimmediateandauthentic,buttheyareatbaseasynchronous,mediated

formsofcommunicationthatcanbeeasilyfalsified(66).”However,sheremindsus

thatwhentheperceivedtraitsofacelebrityareenactedinthe“seeminglyauthentic

andsociallyconnectedcontextofonlinesocialmedia,theyceasetobeperceivedas

performances(whichmayormaynotbetruthful)andbecomeunderstoodas

evidenceofbackstagebehaviouranda‘true’personality”(Ellcessor,2012,60).

Consequently,Iamsuggestingthatbecauseofthewaythatsocialmediais

commonlyunderstoodasinherentlyauthenticwithinthepublicimagination,itmay

notmatterifitisactuallyBanksbehindthecomputer,aswearemeanttoreadher

onlinepresenceasauthentic(Marwickandboyd,2011).WecanthenlooktoBanks’

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presenceonherwebsiteandsocialmediaplatformsasevidenceofherdesiredstar

text,whichisthefocusofmyanalysis.

“TheRealMe”:PerformingAuthenticityonTyra.comandYouTube Bankslaunchedheronlinecampaign,BeautyInsideOut(B.I.O.)infall2009,

alongwithherrebrandedwebsite,Tyra.com.Thefirstpublicinitiativeofthe

campaignwasthe“FiercelyReal”teenmodelingcompetition,allowing“plussize”

teenagerstocompeteonBanks’talkshowinordertowinthetitleofthe“Fiercely

Real”modelwinner,amongotherincentives.OnhersiteBanks’writes,“theterm

‘Plus‐sized’modelssoundssuperoldfashioned…soI’mchangingtheterm‘Plus‐

sizedandmakingit‘FiercelyReal’!”Thepicturesfromthefinalshootwereposted

onBanks’websiteandthefirstFiercelyRealwinner,SheridanWatson,a“17year‐

old,size14,fierceteenfromNewJersey”was“crowned”inMarch2010.

Fromtheoutset,Banks’B.I.Ocampaignappearstobeaprogressive,feminist

approachtobodyimageandmediarepresentation.Afterall,feministresearchfrom

thepastthirtyyearshasdemonstratedtheharmfuleffectsofunrealisticmedia

imagesontheconfidenceofgirlsandwomen(Bordo,1993,Kilbourne,1999).

However,Banks’missionisclearlyacommercialone.Inherdiscussionofthe

‘FiercelyReal”competitionshewrites,

TheaveragesizeofawomaninAmericaisasize14…It’smymissiontoexpandthedefinitionofbeauty.Toshowunique,atypical,fiercelyreal,quirky,clumsy,five‐headedgirlsthroughallofmymanymediaprojectsandbusinesses.SowatchoutforwhatIhaveinstorenext!

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WhileBanksdoesinvitegirlstomakeaB.I.O.pledgeonherwebsiteastohow

they’regoingtorallyagainst“unrealistic”mediaimages,Banks’projectappearsto

bemoreaboutherowncelebritypersonaandher“manymediaprojectsand

businesses”thanaboutfeministpoliticsperse.

Thisbecomesparticularlyevidentinthelanguagethatsheusestodiscussthe

campaign.Thereisaglaringabsenceofanyreferencetofeminismorthelong

historyofworkbyfeministstocombatunrealisticimagesofwomenandgirlsinthe

media.ThereisalsonomentionofthemanyorganizationsthroughouttheUnited

Statesandtheworldthatarecurrentlylobbyingformorepositiverepresentations

ofwomennotjustintermsofbodysize,butalsointermsofrace,ethnicity,

sexuality,class,ability,andotheridentities.WhileitwouldmakesenseforBanksto

usetheconnectivitythatthewebofferstolinktootherrelatedfeministprojects

withthehopesofformingabroadcoalitionofmediaactivists,shespecifically

choosesnotto.Thus,Banks’projectexistsinisolationfromfeministmediaactivism

andisinsteadrepresentedasthebrainchildofBanksasanindividualmentorand

businesswoman.

Thisindividualizedapproachalignswithneoliberalandpostfeministvalues

whichcelebratetheindividualasthesitewherecapacity,freedom,andchangeare

enacted.AccordingtoMcRobbie(2009),thissenseof“femaleindividualism”has

replacedthecollectivestrategiesoffeminismpolitics,andiseasilyacceptedby

mainstreamsocietybecauseitisnon‐threateningtoaneoliberaleconomicand

socialsystem(16).Indeed,Banks’“femaleindividualism”complements

contemporaryculturalnormsthroughitsdisassociationfromfeminismandits

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embracingofempowerment,agency,choice,andentrepreneurialspirit

disconnectedfromstructuralinequalities.Byadoptingthisapproach,Banks

achievesadelicatebalance,ensuringherbrandisbothnon‐controversialforawide

audience,yetseeminglymodern,positive,andfunforheryoungfans.

Bankscontinuallyreliesonthewords“fierce”and“real”throughouther

discussionsoftheB.I.O.campaign.Theword“fierce”isaninterestingchoicefor

severalreasons.WhileBankshasrecentlyappropriatedtheterm,thewordhasa

longerhistorywithinqueercommunitiestodescribe“anythingexceptional”(Queers

UnitedBlog,2009).Gaymenofcolor,suchasAmerica’sNextTopModeljudgeand

runwaycoachMissJAlexander,wereprimarilyresponsibleforintegratingitinto

thefashionindustry,whereitshiftedtobecomeamoremainstreamword.

Consideringitshistoryasawordfromthemargins,Banks’relianceon“fierce”raises

severalinterestingimplications.First,itpotentiallyalludestoherownmarginalized

positionasablackwomaninamediaindustrydominatedbywhitemen,aswellas

themarginalizedpositionofher“fiercelyreal”sizedteenmodelsinanindustry

dominatedbythin,whitewomen.Second,itpotentiallyalliesherwiththequeer

community,whereshehasbeenrecognizedwiththe2009ExcellenceinMedia

AwardfromtheGay&LesbianAllianceAgainstDefamation(GLADD).Shealso

employsseveralopenlygaymenonherTopModelteam,andhasfeaturedseveral

lesbianandonetransgenderedcontestant(endnote2).

Butdespitethepotentialchallengetodominantwhiteheterosexualnorms

carriedbytheterm,Banksdoesnotuse‘fierce’inoppositional,resistant,orpolitical

ways,adoptingthewordasawaytodemonstrateherownindividualauthenticity

19

ratherthancallattentiontostructuralinequalitiesfacedbyAfricanAmericansand

queerpeople.Thisisevidentnotonlythroughherlackofacknowledgmentofpower

relationsthatprivilegecertainbodies,butalsothroughthewaysheemploysthe

wordtomerelypromoteanormativewhite,femininegenderperformance

celebratedintheBeautyInsideOutcampaign.Forexample,inMarch2010Banks

writesonTyra.comthat,“Thisweekisallaboutbeingnatural.Real.Therealyou.”

Shecontinuestoinstructhervisitors,

Youseethepicturesonthecoverthisweek?I’mbarelywearinganymake‐upandIgottherealhairgoin’on(witharelaxerofcourse)…Sostoptryingtopleaseeveryoneelsebybeingaslavetolotsofmake­upthisweek.Walkaroundwithyourheadheldhighandshowoffthatfabulousskin.OfcourseIdon’texpectyoutogotoschoolorworkwithnomake‐up,butmaybeonaSaturdayouttothegrocerystoreyoucouldkeepyourfreshfaceandjustaddsomeclearlip‐gloss!Thinkofitasawaytotheinneryou.TellmehowYOUgetunmasked!Fierce&Love,Tyra(boldemphasisinoriginaltext)

Banks’contradictoryprescriptionsforbeautyheremustbeanalyzedin

relationtoheraudience.Bysuggestingtoherteenagegirlfansthat“beingaslaveto

lotsofmake‐up”isnottheonlyoptionforgirls,Banksispresentinganideathat

contradictsmanyofthemediamessagesthatgirlsreceiveaboutnormativefeminine

beautypractices.Iamsuggestingthatwhilethisactioncanbereadasbothresistant

andprogressive,Banks’agencyislimitedbyherneedtocontinuallyappealtoa

broadaudienceofgirlsthatmaynotbereceptivetoacompleterejectionofbeauty

norms.Thus,thepotentiallyresistantmessageofrejectingmakeupisrecuperated

throughhersuggestionstogomake‐upfreeonSaturdaysortojustwearclearlip

gloss.

20

WhileBanks’suggestionto“addsomeclearlip‐gloss”maysendthesignalto

bemorenatural,italsoimpliestheimportanceofstillbeingadequatelyfeminine

andassumesthatonehasclearlip‐gloss,thatitispartofeverygirl’smake‐up

essentials.Furthermore,herdisclaimerthatofcourseshedoesn’t“expectyoutogo

toschoolorworkwithnomake‐up”maintainstraditionalideasaboutfeminine

beauty‐thatintheformalpublicsphere,womenmuststillbeclearlyfeminine.In

otherwords,despitecomingclosetoofferingaresistantstanceagainstdominant

beautynorms,Banksultimatelyendsupenforcingnormativefemininityasamust

forthosewomenandgirlswantingtobesuccessfulinthemarketplace,andBanks

continuallypresentsthisperformanceoffemininityasanaturalandinnatequality

ofbeingfemale.

TheaccompanyingpicturesofBanksandher“FiercelyReal”modelwinner

thatflashcontinuouslyonherwebsitealsoreflecttraditionalnotionsoffeminine

beauty:theireyesandlipsaremadeup,theirhairissleeklystyled,theirskin

airbrushedtoflawlessperfection.WhileWatson’sbodyisindeedlargerthanBanks’,

herproportionsmirroraperfecthourglassfigureanditappearsasthoughshe

doesn’thaveanyexcessbodyfat.Butperhapsmoststrikingisthebrightlighting

shiningdownonthetwowomen.AlthoughbothBanksandWatsonareblack,their

skinappearstobealmostwhiteandtheirfeaturesconformtowhitestandardsof

femininebeauty,mostnotably,sleek,straighthair.

DespiteBanks’rhetoricaboutlovingandembracingyour“real”body,Banks

isknownforalwayswearingahairweaveandhavingherhairrelaxed.Her

commentabove,thatshe’s“gottherealhairgoin’on(witharelaxerofcourse)”

21

indicatesthatherhairrelaxerisnon‐negotiable,anassumedpartofher“real”

beauty.Banksfurtheremphasizesthiscontradictorylogiconthepremiereofthe

fifthseasonofTheTyraShow,whereshegarneredwidespreadmediaattentionfor

revealingher“real”hairon‐air,tellingherfans,“Iwantedtoshowtherealme,I

wantedtoshowtherawme.AndIjustgotoutoftheshower–beatthefacefirstof

course,y’all‐andcameouthereonthisstage,andthisisme,y’all!”Thenextday,

Banksmadeheadlineswithherrevelation,withcelebrityglossiescoveringthe

“story.”ThevideoofBanks’reveal,marketedbytheCWasoneofthe“Top10Tyra

Show”moments,continuestocirculateonYouTubeasamuchcommentedonclip.

WhileBanks’discoursepositionsherbodyas“real”and“natural”withinboth

oftheaboveexamples,acloserexaminationofBanks’mediatedimagerevealsher

simultaneouspromotionofaveryspecific,traditionallyfemininebeautythatmust

beactivelyconstructedandmaintainedthroughbeautyproductsandmaintenance

routines.Forexample,whenrevealingher“real”hairBanksnotesthatdespitejust

gettingoutoftheshower,she“beatthefacefirstofcourse,y’all.”Inotherwords,a

fullfaceofmakeupwasanunquestionednecessityforsteppingontothestage,

despitethethemeoftheepisodebeingallaboutnaturalness.

Furthermore,whileBanksmaybeweave‐free,herhairisstillchemically

relaxed,conformingtothelongstandingtraditionofAfricanAmericanhair

straighteningandsignifyingthatBanks’hairdiscourseisclearlyaboutissuesof

racializedbeauty(Walker,2007).ButBanksrefusestoframeitassuch,instead

positioningherhairrelaxingasapersonalchoice,equivalenttoputtingonlip­

glossandaffirminganeoliberalpost­raceproject,whereblackwomenare

22

entitledtochoosewhethertorelaxtheirhair,divorcedfromthebroader

politicalandsocialimplicationsthatthisdecisionmayimply.Thus,Banks’

“real”selfisstillacarefullyconstructedperformanceofan“appropriate”,contained,

non‐threateningblackfemininity(Banet‐Weiser,1999).

Whilethisnon‐threateningblackfemininityiscomfortablyapoliticalinit’s

conformingtowhitebeautystandards,Banks’performancecontinuallyreaffirms

herauthenticblackness,whichisnecessaryforhercommercialappeal.Forexample,

BankswillofteninterjectwhatSusanDouglas(2010)calls“BlackSpeak”intoher

performances,suchaswhenshetellstheaudienceatherrealhairepisodethatshe,

“beattheface,ofcourse,y’all”(148).WhileBanksdoesnotoftenmakeexplicit

referencetoherselfasablackwomanintermsofasocialpositionwithinhegemonic

powerrelations,thesemomentsassureBanks’viewersthatsheis,indeed,

authenticallyblack.This“aura”ofauthenticblacknessiscentraltoBanks’

presentationofher“realself”,whichultimatelymaintainsherhighmarketvalue

(Benjamin,1984,Allen,2011).

InherdiscussionofOprah,Douglas(2010)arguesthatcode‐switching

between“standardwhiteEnglish”and“BlackSpeak,”“notonlymarksherselfascool

andauthenticbutalsoincludesthewhiteaudienceinherhipcommunity”(148).

ThisisalsotrueofBanks,whosemainstreamappealincludesadiverseaudienceof

primarilyteenagegirlsandyoungwomen.AccordingtoHeleneA.Shugart(2007),

thisconfirmationofauthenticityoftenbecomesimportantforcelebritiesofcolorin

ordertomaintainacrossoverappealtoamainstream–read,white–audience.

“Authenticblackness”becomesindicativeofa“whitefascination”withanddesire

23

forblackexpressionwhichWattsandOrb(2002)argue,servestoensureits

availabilityforcontainment,commodificationandconsumption.

Inotherwords,whitegirls–akeytargetdemographicforadvertisers‐can

comfortablyenjoyBanks’BlackSpeakassomethingcoolandedgy,whiletheirown

whiteprivilegegoesunchallengedandwhitehegemonicfemininityissecuredasthe

desirednorm.Thus,aperformanceofauthenticblackness,orauthenticotherness,is

notaliability,butoftenanecessityfornon‐Whitecelebritiesthataimtogainalarge,

mainstreamfollowingoffans,aswe’vewitnessedinthecaseofOprahandJennifer

Lopez(Douglas,2010,Beltran,2007,Shugart,2007).Conveniently,this

performancealsoworkswithinthelogicofpost‐racialdiscourse,framingracial

markersasedgy,ethnic,marketableaccessoriestoamainstreamaudiencecraving

somethingalittledifferent,whilepositioningBanksherselfasa“successful

Everywoman”,albeitonewhojusthappenstobeblack(Douglas,2010).

ByconductingherB.I.O.Campaignonline,Banksdrawsontheparticipatory

capacityofsocialnetworkplatformstoreachouttohergirlfans,encouragingthem

tojoinherinhercampaign.Indeed,theparticipationofherfansisnecessaryfor

manyofherprojects,suchasthe“FiercelyReal”modelingcompetition,whichrelies

ongirls’photosubmissionsandactiveparticipationinthecontestbyposting

advertisementsforitontheirsocialnetworkingprofilesandloggingontoBanks’

sitetocommentonthewinner.Baseduponthisparticipatoryelement,Iam

suggestingthataseeminglymorepersonalandintimaterelationshipisbuilt

betweenBanksandherfans,onethatpositionsBanksasanaccessibleonlinefriend,

reaffirmingherimageassomeonewhoisreal,authentic,andgenuine,ratherthana

24

superficialpersonaonaTVscreenormagazinepage.ItisthisabilityofBankstobe

seenas“real”bypostingpersonalizedmessages,constantlycirculatingnewcontent,

andevenrespondingtofan’srequestsonhermessageboard,thatservesto

maintainhercurrentfanbaseandrelevanceinpopularculture.

“WelcometoaRevolution”:CelebratingIndividualityontypeF.comand

Twitter

InApril2011Bankslaunchedhernewestonlineendeavor,typeF.com,a

comprehensivewebsitedevotedtofashionandbeauty.Visitorstothesiteare

greetedwithapop‐upmessagefromBankswarningyouto“getreadytojoinin

revolutionizingtheworldoffashionandbeauty”withBankspromising,“typeF.com

continuesmygoalofexpandingthedefinitionofbeauty.”Thesiteissimilartomost

otherbeautyandfashionwebsites,offeringblog‐stylepostsonthelatestfashion

trends,newestmake‐upandhairtricks,celebritystyle,andbeautyproducts.Banks

attemptstodifferentiateherselffromthisoversaturatedmarketbyappealingtothe

logicofindividualbeauty.AccordingtothisperspectivepromotedbyBanks,every

womanisuniqueandshouldnothavetoconformtoonenarrowstandardof

physicalbeauty,butinsteadembraceone’sownbeautythroughuniquepractices

andproductscateredtoeachindividual.AsBankssaysinherintroductoryblog

post,

Likemanypioneeringwomenbeforeme,includingAriannaHuffington,IbelieveIhavebotharesponsibilityandtheopportunitytogivewomenanewviewofthemselves.Foralongtime,thefashionworlddefinedmy"type."IwanttodefinewhattypeofwomanIam.Idon'twantafeweditorstodictatemystyle;Iwantittobemorepersonal.Makingthingsmorepersonalalways

25

makesthemmorepowerful.

Thus,visitorsareencouragedtocreatetheirownpersonalizedprofilewherethey

willbegiventipstailoredtotheirownbeautyandfashionneeds,tipsbasedontheir

perceived“type”whichwillsupposedlyhelpthembetternavigatethecomplex

ritualsoftheworldofbeautyandfashiondemandedbypostfeminism.

Banks’rationalizationofthesite’smissionshiftsherownpositionfroma

televisionexpert,whodispensesadvicewithlittleinteractionwithhersubject,to

anonlinetrailblazingguide,someonewhoisarealfriend,atrustedconfidante

lookingoutforherfan’sbestinterests,andharnessingthebestuseoftechnologyto

doso.Thus,Banksclaimstomobilizeherownbodyandexperiencesintheservice

ofhelpingherfansdealwiththeirownbodyinsecurities.Sheblogs,

Inthemodelingbusiness,Idefinitelywasatype.That’showthebusinessworks(Iamhappythatmytypejusthappenedtobeonewithcurveswheremosthadnone!).Butnow,Istrivetobreakmystereotype,everyday.IhopeIcanempowerwomentobreaktheirs.Whenanyonetellsyouwhat"type"ofpersontheythinkyouare,itispersonal.Let'sdecideourowntypenomatterhowfierce,fabulous,funorfeistyitmaybe.

SimilartoBanks’framingofherB.I.O.campaign,Banks’rhetoricofthe

individualontypeF.comoperatesthroughthedelicatecontradictionIelaboratedon

previously:thecelebrationofareal,authenticindividualbeautywhilealso

promotingtraditionalstandardsoffemininityandbodilymaintenance.Forexample,

aFebruary27,2011blogposttitled“HowtoCoveraRaisedScarontheFace”by

GlendaTaylorstates,

Realbeautycomesinallshapesandsizes,andyes,eveninfacialscars.Whileyoucanminimizetheappearanceofaraisedscarwithmakeup,don'tletthe

26

Ms.Perfectinsideyoutellyouthatyou'reanythinglessthanfabulousifyoudon't.Hidethescaronlyifitboostsyourself‐confidence,thentellthatshallowtwittotakeahike.Baby,you'rethebomb!

Thepostthenproceedstoprovidestep‐by‐stepmakeupadviceforhowtocovera

facialscar,withsidebaradvertisementformakeupbrandslikeL’Oreal.Butwhile

thereareevencontradictorylogicsatworkwithinthissingleposting(acelebration

ofnotneedingtocoverupafacialscar,followedbyadviceonhowtocoverit,all

sandwichedbesideadvertisingforL’Oreal’snewfoundation)theopeningtoneis

celebratory,positive,andperhapsforsome,empowering.Itpresentsthebodyas

somethingtoembraceandfeelcomfortablein.

However,thisfeel‐goodlogicischallengedinablogpostdatedApril26,2011

byAntoniaBlythtitled“It’sGenetic:SkinCareTailoredtoYou:InheritYour

Mother’sWisdom–NotHerWrinkles”,whichinstructsreadersthat“dreaded

saggingandthinskin”canbeavoidedthrough“preventativecareandtheright

products.”Theblogpostgoesontodetailsevenstepsto“keepingyouyoung

looking”aswellasasidebarwarningreadersof“SignsofAginginYour20sand

30s.”Blogpostssuchasthisoneserveassomewhatofadisciplinaryrodshould

readersgettoocomfortableinacceptingtheirrealbodies:goneisthecelebratory

toneaboutthebody,replacedinsteadwithawarningaboutthenecessityof

femininebodilymaintenanceandunderscoringthenaturalagingprocessas

somethingthatshouldbeactivelyresistedthroughthepurchaseofproductsandthe

laborofbeauty.

27

IfBanksisreliantonpromotingconsumptivefashionandbeautypractices,

whydoesshecontinuetoutilizeadiscourseofauthenticityandacelebrationof

naturalbeautyaskeytoherstartext?Banks’emphasisontheimportanceof“real”

beauty–an“authenticbeauty”–isnecessaryinordertodeflectattentionawayfrom

hercarefullyconstructedperformancesoffemininebeauty.Asaformersupermodel

andthehostandcreatorofamodelingshow,Banksmustbecautioustoavoid

promotingdangerousandunrealisticstandardsofbeautytoheryoungfans,which

wouldnodoubttarnishherimageasrolemodelandknowledgeablebigsister,

imagesthatBanksactivelycultivatesonbothTyra.comandTypeF.com.The

messageofauthenticbeautyisunproblematictoavarietyofaudiences–hergirl

fans,theirmothers,andevenfeministcritics–becauseitseeminglypromotesloving

oneselfasonealreadyis.

ItisimportanttorecognizethatBanks’authenticbeautyalignswiththe

corporatebrandingofCoverGirlCosmetics,forwhomBanksisaformer

spokesperson.CoverGirlisamajorsponsorforTopModel,andthecosmetics

manufactureralsouseswordslike“natural”and“fresh”tosellitsproducts.Perhaps

inordertopreservethisrelationship,Banks’celebrationofunique,authenticbeauty

remainspurposefullyvague,andcertainlydoesnotdismissfemininebeauty

practices.Instead,Banksencouragesreaderstotweakthesepracticestobettersuit

theirownneedsand,likethemakeovershowsdescribedbyWeber(2009),to

merelyrevealtheirnaturalbeauty.

28

Banks’typeF.comprovidesaparticularlyrichexampleoftheuniquewaythat

onlinespaceallowsforthecirculationofneoliberalcelebrationsoftheindividual.

Banksacknowledgesthisinherfirstblogpost,writing,

Listeningtoandstudyingconsumershasgivenmeagreatappreciationforwhatproblemswomenarelookingtosolve.Theonlinefashionandbeautyspaceisfragmented,mostlybecausetherearesomanytypesofwomen.WeattypeF.comwillbeabletogivethemtailoredanswersbyusingFacebookasthepersonalizationplatform.Myintentionistocreateasite,andamovement,forandbasedonalltypesofwomen.

InthissensetypeF.comismorethanasolitarywebsite,butahubforalarger

networkoftheBankscelebritybrand,whichisextendedthroughTyra.com(now

onlyaccessiblethroughthetypeF.comwebsite),Facebook,Twitter,andYouTube

andisindicativeofthehypervisibilitythatscholarssuchasBanet‐Weiser(2011)

argueissymptomaticofapostfeministandneoliberalnewmediaculture.

Forexample,visitorstotypeF.comcanconnecttheirFacebookaccountsto

thesite,allowingforeasycirculationoftypeF.compostings,orchoosetofollow

typeF.comorBanksherselfonTwitter.Banks’personalTwitterfeedisindicativeof

apopulartrendamongstcelebritiestoboosttheirimageandincreasepublicity

throughconstanttweets,suchasinthecaseofCharlieSheen,whorecentlygarnered

overamillionfollowerswithintwenty‐fourhoursofopeningaTwitteraccount.

BanksoftenusesherTwitterfeed(connectedtobothtypeF.comandBanks’

Facebookpage)tomakemundanecommentsaboutherday,toconnectwithher

fans,ortofurtherpromoteherB.I.O.agenda.Forexample,anApril24,2011tweet

reads:“Page35NYPost2day.ActressAnaDeLaRegueraw/real1950’stypecurves.

Gorgeous!Checkitout!”WhileanApril30,2011retweetfromBanksconfirmsthat

29

shedoesfollowherfansonTwitter:“RT@britdomingue:@tyrabanksispretty

awesome#justsayinDoyoufollowfans?–YES!CONSIDERYOURSELFJUST

FOLLOWED!”ThesetypesofonlineinteractionshelptofurtherdevelopBanksasan

authenticcelebrityintouchwithherfans,whocanlearnwhatmovieBankswatched

lastweekendorwhatshe’seatingforbreakfastbyfollowingheronTwitter.Thus,

theseonlineplatformsareparticularlyusefulforBankswhohasnewavenuesto

developauthenticitythroughinstantlycirculatingmessagestwenty‐fourhoursa

day,sevendaysaweek.

ConclusionsandImplications:From‘Fierce’toFarce?

ThroughoutthisdiscussionIhaveshownhowBankshasusedonlinespaceto

negotiatethecentralcontradictionofherstartext:herstrategytobeseenasareal,

natural,authentic,andaccessiblefriendtoherfansandhersustainedadherenceto

hegemonicfemininebeautynormsrequiringongoingbodilydisciplineandlabor.

ThisdilemmaisnotuniquetoBanks,butisacommontensionfortoday’sfemale

celebritiesthatBankshassuccessfullyheldincheck,inpart,viaheruseofnew

mediaplatforms(Allen,2011,Weber,2009).Iamsuggestingthen,thatmy

discussionpointstotheneedforanewconceptualizationoffemalecelebrity,one

thattakesintoaccounthowanewmediaculturalcontextsupportedbypostfeminist

notionsofempowermentandtheindividualistvaluesofneoliberalismprivileges

femalecelebritysubjectivitiesthatcanbereadasrealandauthentic,yetunableto

disruptthedominanceofhegemonic,whitefemininity.

30

AsIdemonstrateinthispaper,Banksmaintainsherauthenticityby

mobilizingafeminine,confessional‐likerhetoricthatismadehypervisiblethrougha

constantcirculationoftweets,blogpostings,andimages.Banks’constantrevealing,

whetherbloggingaboutcomingtotermswithherown“curvy”bodyorposting

photosofherselfsansmakeup,successfullyutilizesthe“flexible,openarchitecture

ofonlinespaces”asastrategytomaintainarealnessandclosenesswithhergirlfans

onplatformsthattheyfrequentintheireverydaylives(Banet‐Weiser,2011,278,

Ellcessor,2012).Theconfessionalhasbecomeapopularonlinepracticeoverthe

pastdecade,ascanbeseeninthepopularityofcam‐girlculture,onlinediariesand

journalslikeLiveJournal,andevenFacebookstatusupdates.Andwhilethe

confessionalhasalsobeenacentralcomponentofrealitytelevisionshows,itisthe

lackofintermediarysuchasaneditororastructuralfactorsuchasatimelimitthat

differentiatestheonlineconfessionalfromitstelevisioncounterpart.Individuals

are,atleastseemingly,incontroloftheirownonlineimageandcanbecelebratedas

such.Inthissense,Banks’useofwhatI’mcallingthe“virtualconfessional,”that

reliesonhypervisibilityandasenseofindividualagencygeneratesanauthenticity

thatotherfemalecelebrities,suchasKimKardashian,havefailedatmaintaining

(endnote3).

WhiletheparticipatoryandseeminglydemocraticfunctionsoftheInternet

mayappeartoofferfemalecelebritieslikeBanksincreasedagencyandperhaps

eventheabilitytochallengegenderandracebarrierstotheentertainmentindustry,

IquestionthisassumptionbasedonmyanalysisofBanks.Whileclaimingtooffer

herfansinsightintotherealher,Banksisabletonaturalizeandplacateherbrand’s

31

sustainedpromotionofhighlydisciplinedfemalebodiesthatconformtonormative

notionsofwhitefemininity.Banks’confessionalthenservesinmuchthesameway

asMichelFoucault(1978)conceptualizesit.Hervirtualconfessionalfunctionsasa

discipliningstructurethatlegitimizesherasanindividual,yetkeepshersafely

containedwithinthedominantpowerstructuresofpatriarchy,racism,andclassism.

Thus,thesenseofindividualagencythatgeneratesBanks’claimtoauthenticityis

seeminglylimitedbythediscursivepositionsofferedtoherwithinourpostfeminist

andneoliberalculture.Perhapsironically,itisthisrhetoricofindividualism,

empowerment,visibility,andauthenticitythathasallowedhertoseamlessly

translatehercelebrityonlineandnavigatethewebsosuccessfully.

Thereislittlescholarlyworkthatexaminestheintersectionofcelebrityand

criticalInternetstudies,anditismyintentiontobegintomapsomeoftherelevant

issueshere.UsingBanksasacasestudyitispossibletoseethewaysinwhichthe

dominantdiscoursesofbothneoliberalismandpostfeminismshapeandconstruct

thediscursivepositioningoffemalecelebrities,eveninaneraseeminglymarkedby

thefreedomofnewmediaplatforms.WhiletheInternetmayindeedmoreeasily

allowforcelebritieslikeBankstonegotiatethedemandsplacedonthem,suchas

theneedtobeauthenticyetconformtodisciplinedfemininity,itisessentialtobe

criticaloftheintersectionofnewmediaandtheproductionofneoliberaland

postfeministsubjectivities.Thus,Iamsuggestingthatmoreresearchbedone

examininghowthesediscoursessupportourunderstandingofnewmediaas

offeringindividualchoice,agency,empowerment,andauthenticity.

32

Acknowledgments

I’dliketothankDr.NhiLieu,Dr.JanetDavisandDr.MaryCelesteKearneyattheUniversityofTexasatAustinfortheirusefulcommentsonearlierdraftsofthispaper.AlsospecialthankstoMorganBlueforherkeeneditingeyeandinsightfulsuggestionstoimprovethispaper.Finally,I’dliketothankthereviewersfortheirusefulcommentsandconstructivefeedbackthroughouttheeditingprocess.Endnotes(1)This“scandal”eruptedafterphotosofBankswearinganill‐fittingswimsuitonabeachwereleakedinthepress.Severalcelebrityglossiesandtabloidmagazinespickedupthestory,chastisingBanksforgainingweightandcallingher“fat.”Interestingly,thisisoneofthefewtimesBankshasbeencoveredinthesetypesofpublications.(2)TheprogressivepossibilitiesofgayrepresentationonTopModelarguablyremainlimited,asgaymenarealreadyassumedtobeinterestedinfashionandstyle.Thus,Banksisnotnecessarilychallengingstereotypeswithqueerrepresentationonhershow.(3)Aftersheannouncedherdivorceafteronly72daysofmarriageandanestimatedtenmilliondollarweddingthatwasshowcasedonE!,realitystarKimKardashianwasharshlycriticizedinthepressforher“shammarriage”thatfurthercementedherpublicreputationasbeinginauthentic,andfame‐hungry(Peyser,2011).WorksCitedAalten,Anna.(1997)“PerformingtheBody,CreatingCulture”inEmbodied

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