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Boys don't cry... Do boys really don't cry?

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Boys don't cry... Do boys really don't cry?

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Mira el emotivo mensaje de Lionel Messi en su despedida del Barcelona

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Presten especial atención a los siguientes minutos:
4:09

4:57 - “mentalmente no estoy preparado, no tuve ni tiempo de hacer el duelo de mi padre”

11:04 “solamente quiero ser padre, hijo, marido, y hermano”

14:21 “no era el mismo Carlitos, … si no estas bien en lo mental en lo físico se te hace muy difícil”

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You can take the superhero out of her costume, but you can never take away her superpowers. #justdoit

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You can take the superhero out of her costume, but you can never take away her superpowers. #justdoit

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This story is part of a group of stories called

Serena Williams stunned fans at the 2018 French Open when she stepped onto the court in a catsuit. Black with a red waistband, the full-length bodysuit looked striking on Williams, a new mom; she was likened to a superhero in the ensemble.

But the catsuit won't be welcome at Roland Garros again. While fans and the media praised the look, French Tennis Federation president Bernard Giudicelli said in a Tennis Magazine interview published Friday that it won't be back.

"I think we sometimes went too far," he said. "The combination of Serena this year, for example, it will no longer be accepted. You have to respect the game and the place."

The catsuit ban led to considerable backlash in the days since it was announced. Williams herself weighed in and said she was not upset by the decision.

But Giuidicelli's comments ignore the history of the game: Tennis has long been a sport where athletes' fashion choices have been the source of conflict. Male and female players alike have toed the line when it comes to the dress codes imposed on them, and others have boycotted tournaments altogether because of the required attire. Throughout the history of professional tennis, the trends of the times have influenced player dress. This makes Serena Williams's Wakanda-inspired catsuit no more disrespectful of the sport than what tennis stars have worn on the court for more than a century.

Fans defended the catsuit because health factored into why Williams wore it

The idea that Williams disrespected the sport by wearing the bodysuit outraged fans because the tennis star explained that she wore the ensemble both with her health in mind and to inspire mothers. Williams has a history of blood clots and developed one after giving birth to her daughter, Alexis, in September via C-section. She dedicated her Black Panther-inspired catsuit to " all the moms out there that had a tough pregnancy."

"I've had a lot of problems with my blood clots," she said at the French Open. "God, I don't know how many I've had in the past 12 months. I've been wearing pants in general a lot when I play, so I can keep the blood circulation going."

While the ban on such ensembles is still unofficial, Giudicelli's remark led to backlash. When asked about the catsuit ban, Williams, however, downplayed his remarks.

"I think that obviously the Grand Slams have a right to do what they want to do," she said.

But for some members of the public, the matter didn't seem so simple. The suggestion that Serena Williams doesn't respect the game came across as a microaggression. One of the rare black women to dominate tennis, Williams has faced criticism throughout her career for not looking like the women who've traditionally played the sport. Her hair, body, and fashion choices have routinely been scrutinized, often with an undercurrent of race, sex, and class bias.

The Victorian era gave us tennis whites

One reason Giudicelli's decision to ban Williams's catsuit has raised eyebrows is because, unlike Wimbledon and its all-white dress code, the French Open has traditionally been a tournament where players can express themselves through fashion. In fact, in 1990 when tournament organizers considered the all-white route, Andre Agassi, known for his colorful ensembles, took offense.

"Somebody doesn't like me," he said. "The idea is to make tennis enjoyable for people. Why don't they take a survey? Instead of asking some old guy behind a desk."

Tennis whites only became a phenomenon because of Victorian notions of class and hygiene. The sport first caught on in class-conscious Victorian England, where white clothing was associated with wealth and privilege. The lower classes, who worked with their hands, couldn't wear the color without getting dirty. Victorians also believed that wearing white allowed athletes to sweat with little notice, although women tennis players dressed in a manner that prevented them from real physical exertion.

"When Victorian women played tennis in the 1880s and 1890s, they were wearing their street clothes, which included heavy undergarments like corsets, bustles, and petticoats, and voluminous skirts that grazed the ground," fashion historian Keren Ben-Horin told Allure.

In the 1900s, women tennis players wore "floor-length skirts, stockings, and long-sleeved tops," according to Allure. But as the decades went on, new fashions dictated what they wore. That meant flapper-inspired tennis attire in the 1920s, and, later, '50s-style cardigans and '60s mod.

In the first half of the 20th century, tennis fashion was not without controversy. Skirt lengths shortened, and American tennis player Gertrude Moran faced backlash for wearing a skirt that revealed a pair of lace shorts underneath. Because of the shorts, she was accused of bringing "vulgarity and sin into tennis."

What happened to Moran signaled the kind of treatment other women players would face in the years to come. Despite the criticism she received, Moran is considered one of tennis's early fashion icons.

A white catsuit makes headlines at Wimbledon

Serena Williams's catsuit may have caused a sensation at the 2018 French Open, but it wasn't the first time Williams had worn a catsuit during competition. She also wasn't the first woman tennis player to wear a full-length bodysuit during a Grand Slam contest. During the first round of the 1985 Wimbledon tournament, tennis star Anne White heeded organizers' all-white rule but defied tradition by wearing a white catsuit instead of a tennis skirt. White's opponent, Pam Shriver, insulted White's spandex suit, calling it the "most bizarre, stupid-looking thing I've ever seen on a tennis court." Wimbledon officials apparently agreed and told White not to wear it again to the tournament.

But off the court, the 5-foot-11 White won praise for her unconventional fashion choice. Pony, the sportswear company that provided the ensemble, promoted it as the "Perfect 10 White," and commentators noted that while the average woman could not get away with wearing the bodysuit, White's long and lean body made her the exception.

As one tennis retailer put it, "It's attractive, but you have to be built like Anne White is built to wear it. And the rest of the world is not."

Seventeen years later, when Serena Williams wore a short catsuit to the 2002 US Open, she received a significantly different response. Unlike White, she wasn't praised as an enviable example of femininity in the suit but instead was slut-shamed, body-shamed, and generally demeaned.

The outfit was described in the press as "clinging," "ultra-risqué," "curve-clutching," and leaving "little to the imagination," according to Jaime Schultz's 2005 essay "Reading the Catsuit," which appeared in the Journal of Sport & Social Issues. Other media outlets pointed out Williams's "bulging muscles" and "defensive-back physique." And Washington Post fashion critic Robin Givhan described her as " a working girl of a different sort," calling the catsuit "trashy."

Why did the response to Williams in a catsuit differ markedly from White in one? The former's race and body type certainly played a role in the remarks, as did class - hence the idea that the Compton-raised Williams dressed in a "trashy" way. Throughout her career, Williams has been subjected to various microaggressions - from spectators, other athletes, and members of the press.

Serena and Venus Williams have been dogged by bias throughout their career

For 14 years, Serena Williams boycotted the Indian Wells tournament. Her decision to skip the event stemmed from her experience there in 2001. At that time, not only were she and her sister Venus Williams booed by spectators, they were also subjected to n-word taunts, her father and then-coach, Richard Williams, told USA Today. One man even remarked, "I wish it was '75; we'd skin you alive," he said. Williams ended her boycott of the tournament in 2015, but Indian Wells is hardly the only event where she's faced bigotry.

The Williams sisters have repeatedly been compared to animals, characterized as "savage," or as "pummeling," "overwhelming," and "overpowering" their white rivals, Vox pointed out last year. Sometimes, fellow athletes have joined in on such attacks of Serena and Venus. Anna Kournikova reportedly said of the Williamses, "I hate my muscles. I'm not Venus Williams. I'm not Serena Williams. I'm feminine. I don't want to look like they do. I'm not masculine like they are." In addition, Chris Evert said that the Williams sisters ' "athletic ability and raw aggression make it hard for the women who aren't Amazons to compete with them."

But Caroline Wozniacki stands out as the most egregious offender. During a 2012 exhibition match, the tennis star padded her breasts and bottom in ridicule of Williams's physique. As she has with Giudicelli's criticism of her catsuit, Williams downplayed Wozniacki's mockery, saying, "I don't think she meant anything racist by it." She and Wozniacki were reportedly friends.

Although their bodies have drawn unwelcome attention in adulthood, Serena and her sister were often mocked because of their hair as teens. For styling their hair in beaded braids, once a popular style for African-American girls, the sisters were subjected to cruel jokes and criticism about their look. A tennis official penalized Venus Williams when some of her beads slipped out during competition, saying they had caused a disruption.

Having her appearance dissected, ridiculed, and criticized has not been easy, Serena Williams has admitted. She said she even felt insecure because her older sister, also subjected to vicious attacks on her appearance, is leaner.

Given the intense and racialized scrutiny of her appearance throughout her career, Williams's measured response to criticism of her catsuit is not surprising. She's experienced this kind of shaming since adolescence, and women tennis players have had their appearances picked apart since the start of the game.

Williams is certainly not the only tennis player who's refused to play it safe sartorially, but the persistent criticism she's faced arguably recalls the game's elitist roots more than any other athlete has. A working-class Brit was never supposed to rise to the top of the sport, let alone a black girl from Compton. Yet motherhood, medical problems, and the microaggressions that have trailed her since her start in the game have not made Williams falter.

Fans surprised that she doesn't appear outraged by Giudicelli's callout of her catsuit are likely overlooking how much she has already overcome in her career. But she is talented and self-possessed enough to know that whether she's in a catsuit, a skirt, or a dress on the court, she'll persevere.

"Everything will be okay," Williams assured fans after Giudicelli announced the catsuit ban. And her distinguished career in the face of pervasive attacks on her professionalism, appearance, and upbringing leaves little doubt that she's right.

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The Serena Williams catsuit ban shows that tennis can't get past its elitist roots

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This story is part of a group of stories called Serena Williams stunned fans at the 2018 French Open when she stepped onto the court in a catsuit. Black with a red waistband, the full-length bodysuit looked striking on Williams, a new mom; she was likened to a superhero in the ensemble.

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Nicki Nicole, Nathy Peluso, Cazzu, Tini y María Becerra encabezan los primeros puestos.

En la actualidad los hombres siguen siendo los más exitosos en la industria de la música pero cada vez hay más mujeres en los primeros puestos. En la lista de los 20 artistas argentinos más escuchados en el mundo a través de Spotify, 15 son solistas o bandas formadas por varones y 5 son cantantes femeninas.

En los cinco primeros puestos aparecen nombres de la escena actual y de ambos géneros - Bizarrap, Nicki Nicole, Khea, Paulo Londra y Nathy Peluso -, en cambio en décadas anteriores solo hay hombres: Soda Stereo, Enanitos Verdes, Andrés Calamaro y Los Auténticos Decadentes.

Nicki Nicole: nació en Rosario y tiene 20 años. Su ascenso fue veloz y su mayor éxito al momento es "Mamichula", single grabado con Trueno que cosecha 255 millones de visitas en YouTube. En Spotify tiene 9 millones de oyentes mensuales y es la segunda artista más escuchada en el mundo, donde solo la supera Bizarrap.

Nathy Peluso: tiene 26 años, nació en Luján y se crió entre Buenos Aires y España. Desde hace algunos años vive en Barcelona y en 2017 comenzó a lanzar sus primeras canciones. Tiene editados dos discos, Esmeralda de 2017 y Calambre de 2020. Es una de las cinco artistas argentinas más escuchadas en el mundo a través de Spotify.

Cazzu: Tiene 27 años y nació en Jujuy. Se dedica a cantar desde muy chica: pasó por el folclore, la cumbia, el rock y el reggaetón. Su primer lanzamiento Maldade$ y la colaboración con Khea y Duki en el tema "Loca" fueron su puntapié inicial. Trabajó con Bad Bunny, Natti Natasha, Rauw Alejandro, Sech, Nicki Nicole y Lali. Tiene tres discos: Maldade$, Error 93 y Una niña inútil.

Tini Stoessel: Comenzó su carrera artística de la mano de la actuación con Violetta. Hoy tiene 23 y desde 2016 se dedica a lanzar sus propias canciones. Su colaboración con María Becerra y Lola Índigo en "High" impulsó a las tres artistas a millones de escuchas.

María Becerra: Es oriunda de Quilmes, tiene 21 años y su single "High" fue su primer gran éxito en las plataformas, que luego dio un gran salto cuando lo remixó con Tini Stoessel y Lola Índigo. Todavía no tiene discos de estudio, pero ya colaboró con cantantes como Cazzu, Khea, Duki y Rauw Alejandro.

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¿Quiénes son las 5 artistas argentinas más escuchadas en el mundo?

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En la actualidad los hombres siguen siendo los más exitosos en la industria de la música pero cada vez hay más mujeres en los primeros puestos. En la lista de los 20 artistas argentinos más escuchados en el mundo a través de Spotify, 15 son solistas o bandas formadas por varones y 5 son cantantes femeninas.

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‘The perception of change was more than the reality’

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‘The perception of change was more than the reality’

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In the past decade, only 11 percent of all work acquired by the country's top museums was by women.

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Installation view of "Women Take the Floor," at the Museum of Fine Arts, Boston. The show is an effort to dedicate more space to women's artworks. Only 4 percent of the art acquired by the museum between 2008 to 2018 was by women - 3,788 of 90,215 works. Credit... Museum of Fine Arts, Boston

Over the past decade, there has been a sense in the art world that gender equity was on the horizon: Emerging female artists were landing high-profile solo shows, museums were staging women-themed exhibitions, grants were being awarded to boost female artists, and long-neglected artists were being given overdue recognition.

This assumption of progress is being sharply challenged by new data showing that between 2008 and 2018, only 11 percent of art acquired by the country's top museums for their permanent collections was by women. And contrary to any hope that acquisitions of artworks by women are inching upward, the percentage remained relatively stagnant, according to the data, released on Thursday.

The new analysis was by Artnet, an art market information company, and "In Other Words," a weekly podcast and newsletter produced by Art Agency, Partners, an art advisory firm that was acquired by Sotheby's.

"The perception of change was more than the reality," said Julia Halperin, the executive editor of Artnet News and one of two lead authors on the report. "The shows for women were getting more attention, but the numbers actually weren't changing."

Over the past decade, just 29,247 works by female artists were acquired by 26 top museums in the United States, out of 260,470 total works. The barometer of achievement for female artists, experts agree, is not the number of solo and group exhibitions they are given, which are often less expensive and easier to mount, but direct purchases by the museum for their permanent collections, as well as donations.

The report, which included more than 40 interviews with curators, artists, collectors and dealers, suggests several reasons for the gender imbalance, including museum committees tasked with acquiring work that were often preoccupied with name recognition and wary of spending money on a female artist who didn't have a recorded reputation for selling at auctions. The bias of the collectors who donate works to museums is also at issue, as well as a longstanding bias toward male dominance in art history books.

"It's the idea of women artists being more of a risk, which seems to speak to a sort of institutional timidity," said Charlotte Burns, the executive editor of "In Other Words."

Of the roughly 5,800 female artists whose works were acquired, 190 women - or just 3 percent - were African-American.

The museums that provided data for the survey included the Metropolitan Museum of Art, the Smithsonian American Art Museum, the Museum of Contemporary Art in Chicago, the Los Angeles County Museum of Art, the Museum of Modern Art and the Solomon R. Guggenheim Museum. The researchers declined to release complete data including each museum's record on acquiring art by women.

According to the researchers' data set, the number of acquisitions of artwork by women peaked in 2009 at 3,462.

"We assume that, given the commonly held belief that women artists are amazing, that there had been much more growth," said Naima J. Keith, the vice president of education and public programs at the Los Angeles County Museum of Art, and a curator. "This should be the wake-up call. Maybe we haven't done enough."

The researchers also asked museums to report the gender parity in their exhibitions. From 2008 to 2018, according to their data, 14 percent of all exhibitions were either solo shows featuring female artists or group exhibitions in which the majority of artists were female. The number of exhibitions featuring female artists gradually climbed over the decade, more than doubling from 49 exhibitions in 2008 to 104 exhibitions in 2018. The research does not differentiate between large and small exhibitions, leaving open the possibility that the climbing number is not necessarily an indicator of significant change.

There is general agreement that women artists are in a far better position today than in 1971, when Linda Nochlin wrote her landmark essay, "Why Have There Been No Great Women Artists?" in ARTnews magazine. Ms. Burns said that in recent years, with greater awareness of gender inequity in all fields, there had been a rush of press about art museums' efforts to increase the representation of female artists. But when Ms. Burns and Ms. Halperin reached out to museums for their institution's data on gender parity, they found that few - if any - of the institutions had kept track.

Museums are much more likely to highlight exhibitions and acquisitions that look good in a news release, Ms. Halperin added.

"No museum is going to say, 'Our fall program is majority male artists,'" she said. "But they would say, 'Our program is majority female artists.'"

According to the data that the researchers gathered through Artnet's Price Database, acquisitions of women-made art stagnated even as the auction market for work by women more than doubled between 2008 and 2018. The global market grew from $230 million to $595 million over that 10-year period, according to the data.

However, the sale of women's artwork in the global auction market comprises only 2 percent of the total market share, according to the researchers. And of that share, five female artists dominate the market, comprising nearly 41 percent of the total. Those top-earning female artists include Yayoi Kusama, Joan Mitchell, Louise Bourgeois, Georgia O'Keeffe and Agnes Martin. (Only Ms. Kusama is living.)

In doing this research, Ms. Burns and Ms. Halperin reasoned that some critics might argue that women are simply outnumbered by men in the fine art world. According to a Yale University study from 2017, however, the Yale School of Art reached gender parity in 1983, indicating that a gender divide in the field of art in general was not the likely source of current inequities.

Reaching gender parity in acquired work is likely to be more difficult at encyclopedic museums, which aim to represent art across history and geography. Those museums, which include the Metropolitan Museum of Art and the Art Institute of Chicago, have a mandate to collect across eras - not necessarily from certain demographics.

At the Museum of Fine Arts in Boston, only 4 percent of the art acquired between 2008 to 2018 was by women, or 3,788 out of 90,215 works acquired by the museum.

"Why, as a woman who has been working in this field for 20 years, is this shocking me so much?" said Nonie Gadsden, a senior curator at the museum.

Ms. Gadsden said that part of the problem is that only a fraction of their acquisitions are purchased by the museum; much is donated by collectors, and so relies on their personal purchases.

Ms. Gadsden said the museum is making a concerted effort to focus on art by women. This month, the museum cleared out the entire third floor of its Art of the Americas Wing and filled it with works by female artists dated between 1920 and 2020. The exhibition, called "Women Take the Floor," features about 100 female artists. (Most of the art was already part of their permanent collection.)

At one point in her career, Ms. Gadsden said she was skeptical about women-themed exhibitions because she feared that they tokenized female artists. Later she said she came to understand that these types of exhibitions could highlight overlooked artists whose important work was boxed out by dominant men. That is particularly true of female action painters like Helen Frankenthaler and Elaine de Kooning, who have a gallery in the new exhibition.

"By putting the women out there, we can bring attention to them without the known names sucking the air out of the room," she said. "If they were in a room with Jackson Pollock, everyone in the room would go to the Jackson Pollocks."

Among the museums that took part in the survey, smaller institutions tended to have made better progress toward gender parity, the researchers said. The Pennsylvania Academy of the Fine Arts, for example, collected 21 works by women in 2008. In 2018, they collected 288 works by women. That museum, Ms. Burns pointed out, made an explicit commitment to increasing representation of female artists.

In 2013, the museum sold from its collection a painting by Edward Hopper to start a fund focused on buying contemporary art by women and artists of color, who were underrepresented in their collection. The Hopper, "East Wind Over Weehawken," sold for $36 million.

With money from the sale, the museum was able to buy works by Wangechi Mutu, Toyin Ojih Odutola, Mickalene Thomas, Rina Banerjee, Elizabeth Okie Paxton, and Joan Brown.

Brooke Davis Anderson, the director of the museum at Pennsylvania Academy of the Fine Arts, said although the process of selling art from a collection, called deaccessioning, can be controversial, the museum continues to do it to make room for acquisitions - especially those by female artists.

"When an art museum deaccessions work, the proceeds go right back into the collection," she said. "It makes it so evident to our community that we're a museum committed to artists working today."

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Female Artists Made Little Progress in Museums Since 2008, Survey Finds (Published 2019)

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In the past decade, only 11 percent of all work acquired by the country's top museums was by women. Send any friend a story As a subscriber, you have 10 gift articles to give each month. Anyone can read what you share.

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En este episodio: Las mujeres que cambiaron la historia del rock antes de que la palabra existiera. De "Mammie" Smith, la primer persona en grabar un blues, a Rosetta tharpe, la mujer que inició a Jerry Lee Lewis y grabó el primer verdadero rock and roll.
¿Cómo surgió el rock? ¿Quiénes lo fundaron? ¿Conoces a Rosetta Tharpe, Cordell Jackson y Memphis Minnie? ¿Y cuánto sabés de Aretha Franklin o Carole King? Mostras del rock es un podcast sobre rock. Pero muy poco común. Heroínas musicales que atravesaron muros sexistas, abrieron puertas y armaron caminos que llegan al presente.

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Mostras del Rock #01 | Donde todo comenzó: las listas raciales

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Listen to this episode from Mostras del Rock | Por Barbi Recanati on Spotify. En este episodio: Las mujeres que cambiaron la historia del rock antes de que la palabra existiera. De "Mammie" Smith, la primer persona en grabar un blues, a Rosetta tharpe, la mujer que inició a Jerry Lee Lewis y grabó el primer verdadero rock and roll.

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Lots of difficulties coming toghether...

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National Association of Independent Schools (NAIS)

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Kimberlé Crenshaw: What is Intersectionality?

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No existe una sola forma de ser varón ¿cuál es la tuya? - ACCIÓN FUNDACIÓN HÚESPED.

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No existe una sola forma de ser varón ¿cuál es la tuya? - ACCIÓN FUNDACIÓN HÚESPED.

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Los géneros son construcciones sociales. Desde la infancia, en la escuelas, en nuestras casas, con juguetes y películas, nos enseñan cómo deben comportarse los varones y cómo las mujeres. Esto incluye la ropa, los gustos, las formas de vivir las emociones, las formas de relacionarnos y los roles que asumimos. Todas estas condiciones se resumen en estereotipos de género. A partir de ellos, nuestra sociedad mantiene un consenso sobre una buena y una mala forma de ser varones y mujeres.

En cuanto a los varones, se nos ha enseñado que ellos no lloran, no tienen miedo y son fuertes. Que deben tener poder económico, ser líderes y racionales. Es decir, aquellos varones que cumplen con este ideal, entran en la categoría de buen varón. Mientras que aquellos que expresan emociones, se reconocen débiles y temerosos ponen en riesgo su condición de varón masculino.

A pesar del estereotipo masculino no existe una sola forma de ser varón. Visibilizar las distintas formas de vivir, sentir y expresar la masculinidad es parte de de-construir las ideas que tenemos sobre los géneros. Exponer y asumir que ser masculino no significa ser viril, ni heterosexual, ni estar siempre dispuesto a tener sexo también nos puede ayudar a mejorar la igualdad en el acceso a los derechos sexuales y reproductivos. En Argentina durante el año 2016, se registraron sólo 97 vasectomías y 12976 ligaduras tubarias en establecimientos públicos. A pesar de que este método anticonceptivo no afecta el deseo sexual del varón, no afecta la erección ni cambia el aspecto de los genitales, el acceso a este procedimiento es mucho menor en varones que en mujeres.

El acceso a la información, a educación sexual integral y al cuidado de la salud sexual y reproductiva también está mediado por las limitaciones que generan los estereotipos de género. Romper con estas barreras y visibilizar estas brechas es parte de favorecer el ejercicio de nuestros derechos.

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No existe una sola forma de ser varón ¿cuál es la tuya? - Fundación Huésped

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Los géneros son construcciones sociales. Desde la infancia, en la escuelas, en nuestras casas, con juguetes y películas, nos enseñan cómo deben comportarse los varones y cómo las mujeres. Esto incluye la ropa, los gustos, las formas de vivir las emociones, las formas de relacionarnos y los roles que asumimos.