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My mother, a shiatsu masseuse who attended weekly women's consciousness-raising groups for twenty-four years, didn't own makeup. Only thirty years my lifetime ago, our mothers were "burning their bras" and picketing Playboy , and suddenly we were getting implants and wearing the bunny logo as supposed symbols of our liberation. How had the culture shifted so drastically in such a short period of time? What was almost more surprising than the change itself were the responses I got when I started interviewing the men and - often - women who edit magazines like Maxim and make programs like The Man Show and Girls Gone Wild.

This new raunch culture didn't mark the death of feminism, they told me; it was evidence that the feminist project had already been achieved.

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We'd earned the right to look at Playboy ; we were empowered enough to get Brazilian bikini waxes. Women had come so far, I learned, we no longer needed to worry about objectification or misogyny.

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Instead, it was time for us to join the frat party of pop culture, where men had been enjoying themselves all along. If Male Chauvinist Pigs were men who regarded women as pieces of meat, we would outdo them and be Female Chauvinist Pigs: women who make sex objects of other women and of ourselves.

When I asked female viewers and readers what they got out of raunch culture, I heard similar things about empowering miniskirts and feminist strippers, and so on, but I also heard something else. They wanted to be "one of the guys"; they hoped to be experienced "like a man.

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I tried to get with the program, but I could never make the argument add up in my head. How is resurrecting every stereotype of female sexuality that feminism endeavored to banish good for women? Why is laboring to look like Pamela Anderson empowering?

In telling her wayward family tale, Peppe manages deadpan humor, an unerring eye for the absurd, and poignant compassion for her utterly overwhelmed parents. While her feisty resilience and candor will inevitably remind readers of Jeannette Walls or Mary Karr, Peppe's wry insight and moments of tenderness with family and animals are entirely her own.

Helen Peppe began writing stories, mostly about animals, on scraps of butcher paper when she was knee-high to a horse. All of her furry characters lived happily ever after. As a student, she wrote short stories and personal essays while working as a professional photographer specializing in horses and dogs.

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She lives near Portland, Maine, with her husband, Eric, her children, four dogs, four rescued rabbits, four guinea pigs, and two destructive kittens. Reviews Review Policy.

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They reacted through derision, positive identification — proclaiming themselves to be MCP — and sexually twisting the whole expression. For example, the comic Avengers presented a caricature of the feminist movement.

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The end result? Riggs lost.

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Some of those movies were openly antifeminist, such as Women in Revolt , produced by Andy Warhol. The blond pink sow is the opposite of her love interest, Kermit the Frog: she is egocentric, feminine and quite promiscuous. Yet over time, the evolution of her character — excessive, eccentric and transgressive — transformed her into a figure of change. From to , the use of the porcine metaphor in the cultural battle between feminists and antifeminists pushed the limits of the associations between pigs and sex.

The continuous references to violent sexual behaviours and pigs gradually made the use of such terms more and more frowned upon, especially in popular culture in the United States.