Problematic Girl Quotes

Johnny Cash had all of the same talents and problems as Elvis - a poor upbringing in the rural South exposure to gospel music throughout his childhood a penchant for drug abuse...they had the same sort of influencing experiences but Johnny' Cash's problematic relationship was with his father not his mother. If he had had the mommy issues that Elvis had instead of a compelling need to prove himself to his father, he wouldn't have been the badass man in black, the guy in Folsom Prison watching the train roll by. Elvis was a lot of things but even with the karate and the gunplay he was more unstable than badass.

You’re showing young girls that you don’t have to be thin to be beautiful, many a freshly body positive women’s mag editor has started off an interview with me, causing my pelvic floor to seize up in a fit of fury. No, I correct them, I’m showing young girls that you don’t have to be beautiful to matter. The thinking that women of all shapes and sizes can be beautiful is still hugely problematic, because it is predicated on the idea that the most important thing a woman has to offer the world is her appearance.

Is the love interest a problematic, obsessive, walking red flag that belongs in prison? Yes. Would he chase you through the woods, blow your back out and tell you to take it like a good girl? Also yes. But would he steal your panties? Watch you sleep? Mark your name into his chest? Kill for you, then treat you like a princess? I think you know the answer to that. And you know what? Us girlies are proud to call his red flags green.

Leakage is unconscious. We all measure the world against our own bodies. That said, leakage is a problematic idea, at a time when historically erased identities are trying to represent themselves through their own truths. My attempt to see you will always risk blurring you with me.

Girls like Mia and Shanice draw important connections between their desire to learn and their inability to do so in chaotic learning environments. Across the country, Black girls have repeatedly described “rowdy” classroom environments that prevent them from being able to focus on learning. They also described how the chaotic learning environment has, in some cases, led to their avoidance of school or to reduced engagement in school. In other situations, girls described contentious and negative interactions between teachers and students as the norm. In today’s climate of zero tolerance, where there are few alternatives to punishing problematic student behavior, the prevailing school discipline strategy, with its heavy reliance on exclusionary practices—dismissal, suspension, or expulsion—becomes a predictable, cyclical, and ghettoizing response.

We talk about how many women were raped last year, not about how many men raped women. We talk about how many girls in a school district were harassed last year, not about how many boys harassed girls. We talk about how many teenaged girls got pregnant in the state of Vermont last year, rather than how many men and teenaged boys got girls pregnant. So you can see how the use of this passive voice has a political effect. It shifts the focus off men and boys and onto girls and women. Even the term violence against women is problematic. It's a passive construction. There's no active agent in the sentence. It's a bad thing that happens to women. It's a bad thing that happens to women, but when you look at that term violence against women, nobody is doing it to them. It just happens. Men aren't even a part of it! Jackson Katz, Ph.D., from his Ted talk "violence against women: it's a men's issue

It is hard to overstate how problematic the transfer of anger, as a resource, from girls to boys and from women to men is - not only to us as individuals but to our society. This transfer is critical to maintaining white supremacy and patriarchy. Anger remains the emotion that is least acceptable for girls and women because it is the first line of defense against injustice.

Golden Girl?" he asks. "Definitely a Rose," I reassure him. It's his favorite show, and we've often debated over what category most people fall into. Blanches are fun seekers, Roses are harmless. Sophias are know-it-alls, and Dorothys are problematic.

The imaginable had always been problematic. When I was a child the feel of things went into me: deep, narrow, intense. The grittiness of the street, the chalk-white air of the drugstore, the grain of the wooden floor in the storefront library, the blocks of cheese in the grocery-store refrigerator. I took it all so seriously, so literally. I was without imagination. I paid a kind of idiot attention to the look and feel of things, leveling an intent inner stare at the prototypic face of the world. These streets were all streets, these buildings all buildings, these women and men all women and men. I could imagine no other than that which stood before me. That child’s literalness of the emotions continued to exert influence, as though a shock had been administered to the nervous system and the flow of imagination had stopped. I could feel strongly, but I could not imagine. The granite gray of the street, the American-cheese yellow of the grocery store, the melancholy brownish tint of the buildings were all still in place, only now it was the woman on the couch, the girl hanging out the window, the confinement that sealed us off, on which I looked with that same inner intentness that had always crowded out possibility as well as uncertainty. It would be years before I learned that extraordinary focus, that excluding insistence, is also called depression.

And against whom is this censorship directed? By way of answer, think back to the big subcultural debates of 2011 – debates about how gritty fantasy isn’t really fantasy; how epic fantasy written from the female gaze isn’t really fantasy; how women should stop complaining about sexism in comics because clearly, they just hate comics; how trying to incorporate non-Eurocentric settings into fantasy is just political correctness gone wrong and a betrayal of the genre’s origins; how anyone who finds the portrayal of women and relationships in YA novels problematic really just wants to hate on the choices of female authors and readers; how aspiring authors and bloggers shouldn’t post negative reviews online, because it could hurt their careers; how there’s no homophobia in publishing houses, so the lack of gay YA protagonists can only be because the manuscripts that feature them are bad; how there’s nothing problematic about lots of pretty dead girls on YA covers; how there’s nothing wrong with SF getting called ‘dystopia’ when it’s marketed to teenage girls, because girls don’t read SF. Most these issues relate to fear of change in the genre, and to deeper social problems like sexism and racism; but they are also about criticism, and the freedom of readers, bloggers and authors alike to critique SFF and YA novels without a backlash that declares them heretical for doing so. It’s not enough any more to tiptoe around the issues that matter, refusing to name the works we think are problematic for fear of being ostracized. We need to get over this crushing obsession with niceness – that all fans must act nicely, that all authors must be nice to each other, that everyone must be nice about everything even when it goes against our principles – because it’s not helping us grow, or be taken seriously, or do anything other than throw a series of floral bedspreads over each new room-hogging elephant. We, all of us, need to get critical. Blog post: Criticism in SFF and YA

Afghanistan is a story of patriarchy, in a raw form. In that, it is also a story of Western history, with elements of the lives our foremothers and forefathers led. By learning about an ill-functioning system in Afghanistan, we can also begin to see how most of us—men and women, regardless of nationality and ethnicity—at times perpetuate a problematic culture of honor, where women and men are both trapped by traditional gender roles. Because we all prefer those roles—or maybe because it is how we were brought up and we know of nothing else.

We talk about how many women were raped last year, not about how many men raped women. We talk about how many girls in a school district were harassed last year, not about how many boys harassed girls. We talk about how many teenaged girls got pregnant in the state of Vermont last year, rather than how many men and teenaged boys got girls pregnant. So you can see how the use of this passive voice has a political effect. It shifts the focus off men and boys and onto girls and women. Even the term violence against women is problematic. It’s a passive construction. There’s no active agent in the sentence. It’s a bad thing that happens to women. It’s a bad thing that happens to women, but when you look at that term violence against women, nobody is doing it to them. It just happens. Men aren’t even a part of it! —JACKSON KATZ, PH.D., FROM HIS TED TALK “VIOLENCE AGAINST WOMEN: IT’S A MEN’S ISSUE

Go on like this and you’ll never get used to yourself or anything else,’ his mother had warned him more than once. ‘You’ll always be reinventing the wheel.’ Then, as if aside to a third party: ‘And my God, won’t that be as tiring for you as it is for everyone who has to deal with you.’ In revenge for assessments of this kind, Shaw had quickly learned to skip-read his own experience, maintaining through adolescence only the most lateral relationship with its problems. A short attention span had helped: if for a month or two he liked motorcycles, by Christmas it was horses. He didn’t meet girls. He didn’t make friends. With university behind him, he’d found himself able to skirt most events and encounters, problematic or not, by cataloguing them under ‘sketchy and uninterpretable’ even as they occurred. When he actually took in the things that happened to him, the work was done somewhere else, somewhere deep, if he had anywhere like that: his surface focus – indeed his entire personality – always seemed to be taken up somewhere else.

And - just as with winning the lottery, or becoming famous - there is no manual for becoming a woman, even though the stakes are so high. God knows, when I was 13, I tried to find one. You can read about other people's experience on the matter - by way of trying to crib, in advance, for an exam - but I found that this is, in itself, problematic. For throughout history, you can read stories of women who - against all odds - got being a woman right, but ended up being compromised, unhappy, hobbled or ruined, because all around them, society was still wrong. Show a girl a pioneering hero - Sylvia Plath, Dorothy Parker, Frida Kahlo, Cleopatra, Boudicca, Joan of Arc - and you also, more often than not, show a girl a woman who was eventually crushed. Your hard-won triumphs can be wholly negated if you live in a climate where your victories are seen as threatening, incorrect, distasteful, or - most crucially of all, for a teenage girl - simply uncool. Few girls would choose to be right - right, down into their clever, brilliant bones - but lonely.

Traditionally, the needs of ethnically diverse consumers had been met by smaller companies—the equivalent, in movie terms, of independent filmmakers. In the seventies, Shindana introduced two Barbie-like fashion dolls: Malaika, taller and stouter than Barbie; and Career Girl Wanda, about three-quarters as tall as Barbie and as proportionately svelte. But in 1991, when Mattel brought out its "Shani" line—three Barbie-sized African-American dolls available with mahogany, tawny, or beige complexions— there could be no doubt that "politically correct" was profitable. "For six years, I had been preaching these demographics—showing pie charts of black kids under ten representing eighteen percent of the under-ten population and Hispanic kids representing sixteen percent—and nobody was interested," said Yla Eason, an African-American graduate of Harvard Business School who in 1985 founded Olmec Corporation, which makes dolls and action figures of color. "But when Mattel came out with those same demographics and said, 'Ethnically correct is the way,' it legitimatized our business." Some say that the toy industry's idea of "ethnically correct" doesn't go far enough, however. Ann duCille, chairman of the African-American Studies Program and an associate professor of English at Wesleyan University, is a severe critic. After studying representations of race in fashion dolls for over a year, she feels that the dolls reflect a sort of "easy pluralism." "I'm not sure I'd go so far as to say I'd rather see no black dolls than see something like Shani or Black Barbie," she told me, "but I would hope for something more—which is not about to happen." Nor is she wholly enamored of Imani and Melenik, Olmec's equivalent of Barbie and Ken. "Supposedly these are dolls for black kids to play with that look like them, when in fact they don't look like them. That's a problematic statement, of course, because there's no 'generic black kid.' But those dolls look too like Barbie for me. They have the same body type, the same long, straight hair—and I think it sends a problematic message to kids. It's about marketing, about business—so don't try to pass it off as being about the welfare of black children." Lisa Jones, an African-American writer who chronicled the introduction of Mattel's Shani dolls for the Village Voice, is less harsh. Too old to have played with Christie—Barbie's black friend, born in 1968—Jones recalls as a child having expressed annoyance with her white classmates by ripping the heads and arms off her two white Barbie dolls. Any fashion doll of color, she thinks, would have been better for her than those blondes. "Having been a little girl who grew up without the images," she told me, "I realize that however they fail to reach the Utopian mark, they're still useful.

The girls were riveted by Georgia’s lecture on the importance of sports bras and the dangers of the uni-boob, double busting, slippage, unsightly bulges, and my personal favorite, head lighting. I thought she made valid points and I would never have guessed that bouncing boobs were so problematic.

Most people aren’t “good” or “bad,” “woke” or “bigoted.” The majority of us just exist in a gray area, trying to make the right decisions and to cover our tracks when we make the wrong ones. It’s survival of the fittest, really. And sometimes, the most socially aware can be the most problematic of them all.

There are so many roots to the tree of anger that sometimes the branches shatter before they bear. Sitting in Nedicks the women rally before they March discussing the problematic girls they hire to make them free. An almost white counterman passes a waiting brother to serve them first and the ladies neither notice nor reject the slighter pleasures of their slavery. But I who am bound by my mirror as well as my bed see causes in colour as well as sex and sit here wondering which me will survive all these liberations.

You might have a crush on a rock star. You might have a crush on a teacher or your cousin or your friend's big brother.

I was too busy being a problematic teen in 2002 to pay any attention that kind of shite.

I know that this would be a fantasy for many women—to find yourself in a big bed in a fancy hotel room with both a handsome man and a beautiful girl available for your enjoyment. But from a matter of sheer logistics, I quickly discovered that three people engaging in sexual exploits at the same time can be both a problematic and arduous situation. One never quite knows where to put one’s attention, you see. There are so many limbs to organize! There can be a great deal of: Oh, pardon me, I didn’t see you there. And just when you’re getting settled into something nice, somebody new shows up to interrupt you. One also never quite knows when it is over. Just when you think you’re done with your pleasure, you find that somebody out there isn’t yet done with theirs, and back you go, into the fray.

The greater a school’s proportion of students of color, the higher the likelihood that punitive exclusionary discipline will be used in response to student behaviors deemed disruptive and problematic.

The more I talk to students," Freitas says, "the more the culture of hooking up seems really problematic for them. Both young women and young men are seriously unhappy with the way things are; they're really ambivalent about the sex they're having. According to everything they see in pop culture, they're supposed to be having a great time; but it's rare that I find a young man or a young woman who says hooking up is the best thing ever. In reality it seems to empty them out.

The story of Olive Oatman is problematic because there is a large distinction between “the story” and “the facts.” In 1857, a minister named Royal B. Stratton published his widely popular novel The Captivity of the Oatman Girls, which was heavily biased with Stratton’s own anti-Indian prejudice. This book was so popular that for years it shaped the narrative about Olive Oatman, and has ever since clouded the actual truth of the story. Stratton paints the Mohave, who Oatman lived with for five years, as being savage heathens and Oatman their slave. This key assertion was repeated by Oatman later in her life and is the basis of her heroic tale of survival. However, there is much evidence to suggest that Oatman lived harmoniously, equally, and lovingly with the Mohave during her years in captivity.