"[W]hen Lacy auditioned for the Oakland Raiderettes a year ago, she made the squad. And the Raiderettes quickly set to work remaking her in their image. She would be known exclusively by her first name and last initial — a tradition across the NFL, ostensibly designed to protect its sideline stars from prying fans. The squad director handed Lacy, now 28, a sparkling pirate-inspired crop top, a copy of the team’s top-secret “bible” — which guides Raiderettes in everything from folding a dinner napkin correctly to spurning the advances of a married Raiders player — and specific instructions for maintaining a head-to-toe Raiderettes look. The team presented Lacy with a photograph of herself next to a shot of actress Rachel McAdams, who would serve as Lacy’s “celebrity hairstyle look-alike.” Lacy was mandated to expertly mimic McAdams’ light reddish-brown shade and 11/2-inch-diameter curls, starting with a $150 dye job at a squad-approved salon. Her fingers and toes were to be french-manicured at all times. Her skin was to maintain an artificial sun-kissed hue into the winter months. Her thighs would always be covered in dancing tights, and false lashes would be perpetually glued to her eyelids. Periodically, she’d have to step on a scale to prove that her weight had not inched more than 4 pounds above her 103-pound baseline.
Long before Lacy’s boots ever hit the gridiron grass, “I was just hustling,” she says. “Very early on, I was spending money like crazy.” The salon visits, the makeup, the eyelashes, the tights were almost exclusively paid out of her own pocket. The finishing touch of the Raiderettes’ onboarding process was a contract requiring Lacy to attend thrice-weekly practices, dozens of public appearances, photo shoots, fittings and nine-hour shifts at Raiders home games, all in return for a lump sum of $1,250 at the conclusion of the season. (A few days before she filed suit, the team increased her pay to $2,780.) All rights to Lacy’s image were surrendered to the Raiders. With fines for everything from forgetting pompoms to gaining weight, the handbook warned that it was entirely possible to “find yourself with no salary at all at the end of the season.”
Like hundreds of women who have cheered for the Raiders since 1961, Lacy signed the contract. Unlike the rest of them, she also showed it to a lawyer.
ON JAN. 22, Lacy T.’s attorneys filed a lawsuit in Alameda County Superior Court alleging that the Raiders fail to pay their cheerleaders minimum wage for all hours worked, withhold pay until the end of the season, require cheerleaders to cover their own business expenses, don’t provide lunch breaks and impose fines for minor infractions — all of which, according to the suit, constitute violations of the California Labor Code.
The provocation was unprecedented. When pro football’s first cheerleaders took the field in the 1920s, rah-rahing on the sidelines was a volunteer position, usually occupied by local high school and college cheerleaders interested in performing on a bigger stage. But as TV began to outpace radio, more and more teams stocked their sidelines with flashier — although still unpaid — performers. In 1972, Cowboys GM Tex Schramm upped the game. He’d seen Bubbles Cash, an artificially augmented local stripper, make the news after cameras caught her shimmying in the stands with a stick of cotton candy, and he wanted similar assets at his games. So he replaced his cheer director — a local high school teacher — with a Broadway choreographer, dismissed his squad of coed teenagers to make way for a team of (barely) legal women in stomach-baring tops and began paying them a meager salary. By 1976, they’d become a trademark part of a franchise. That year, Super Bowl X marked not only the end of the Cowboys’ season but the beginning of modern professional cheerleading: 73 million viewers watched as one cheerleader turned to the camera and winked, launching the Dallas Cowboys Cheerleaders as bankable stars of team-approved posters, calendars, public appearances and reality TV. These weren’t just cheerleaders; they were what Schramm called “atmosphere producers.”
But even as collective bargaining has caused players’ salaries to skyrocket, cheerleaders are still treated with the expendability of borrowed college students. Of the 26 teams that employ cheerleaders, only Seattle publicly advertises that it pays its squad an hourly minimum wage. The tenuous position of NFL cheerleaders is exacerbated by the fact that six teams don’t fork out any cash for squads. The Packers occasionally employ the services of a local collegiate squad. Other teams, such as the Lions, Browns and Giants, rely on unofficial squads willing to finance themselves through public appearances and calendar shoots for the opportunity to dance in a high-profile setting.”
The nearly four-year drought in southeast Colorado has been compared to the Dust Bowl. Such comparisons are no longer exaggerations, they are accurate descriptions. The drought has dried up pastures, blown in tumbleweeds that pile into tall hills, and brought in intense dust storms that strip the area of topsoil. (Photos by RJ Sangosti/The Denver Post)
Isn’t that interesting.
Tumblr emailed me to tell me they deleted my post calling out the dude who sent me a rape threat.
But hasn’t banned the dude who sent me a rape threat, even though I reported him.
I guess Tumblr just wants to make their site safer for people who send rape threats than those who receive them.
I guess it’s not considered harassment to send rape threats, but if you name the person who sends you rape threats, you are harassing them.
Signal boost the fuck out of this. Let’s make tumblr’s moderation team feel fucking ashamed for letting this happen. Let’s fucking make them question their worth and ability and place in the world and make them feel like the utter sacks of fucking shit they are until they fucking fix this and every case like this.
Via The Independent:
An evocative YouTube video featuring Banksy, Idris Elba and alternative rock band Elbow has been released as part of a global vigil to mark the third anniversary of the crisis in Syria.
The charity video tribute, which is just over a minute-and-a-half long, brings one of graffiti artist Banksy’s most iconic stencils to life - set against a haunting backdrop of heartbreak and bloodshed.
His girl with a heart balloonartwork, which he has recreated for the #WithSyria campaign, is reworked in the guise of a young Syrian refugee.
She holds on to the balloon as it rises over the civil war-torn country, passing buildings destroyed by bombs and children kneeling next to the bodies of the dead.
As she ascends, she is joined by other children and adults, each holding on to a red balloon. British actor Idirs Elba provides the voiceover, asking those watching to “stand with Syria”.
I need to remember to buy this.
I need feminism because there are men who deem it acceptable to tell me I deserve to be raped and killed simply because I call myself a feminist.
Is this really a time to be cutting unemployment, welfare, and other assistance for those who are having a tough time getting work?