Republicans’ sexist anti-Hillary buttons aren’t even original

Body-snarking trinkets appear at the California GOP convention

Topics: Hillary Clinton, GOP, Body Wars, Tea Party, Julia Gillard,

Republicans' sexist anti-Hillary buttons aren't even original (Credit: republicanmarket.com/photo collage by Salon)

If you’re going to be petty, misogynistic jackasses, could you guys at least be a little original about it?

During the California Republican Convention this weekend, San Francisco Chronicle’s Carla Marinucci tweeted that “popular buttons at @CAGOP convention already take on @hillaryclinton #2016 in a big way… Ouch!!” The photo showed a row of buttons, one of which nostalgically read “I still hate Commies even after they changed their name to Liberals,” and another, which more provocatively declared, “KFC Hillary Special: 2 Fat Thighs, 2 Small Breasts… Left Wing.”

Aside from the fact that the sentiment is the grossest form of body snarking – reducing a woman, yet again, to her parts – it gets bonus idiocy because it’s already been done. This past summer, Australia’s Liberal National Party managed to tell the gag first and even more offensively, by whimsically placing on the menu of a fundraising dinner a Julia Gillard Kentucky Fried Quail: “Small Breasts, Huge Thighs & a Big Red Box.” Imagine what it must be like to be the person who saw that story and thought, “Oho, that’s rich! America needs this! Fire up the button press!”

The California GOP isn’t represented by every sexist piece of crap some yahoos want to peddle in its name, and it’s good news that reporter Marinucci later said that “Less than hour after we 1st tweeted, appears offensive #Hillary buttons gone from #cagop. Many here also appalled.” But in the two days since Marinucci first revealed the buttons – two days in which the story has been picked up on HuffPo, Jezebel and Talking Points Memo — the California GOP social media team has not issued any apology or statement of disapproval over the incident — not in its Twitter stream, not in its Facebook page, not on its Web page. It appears no one has officially come forward to say, “This wasn’t us, but it’s still unacceptable.” In their defense, though, they have been very busy blaming Obama for the government shutdown. 



Pathetic and derivative as the buttons are, they offer a peek into a certain kind of conservative mind: the angry as all hell kind. Last week, Democracy Corps released the results of a recent focus group with Republicans, and reported, “the base thinks they are losing politically and losing control of the country – and their starting reaction is ‘worried,’ ‘discouraged,’ ‘scared,’ and ‘concerned’ about the direction of the country – and a little powerless to change course.” And as Daily Kos put it, “That isn’t just the sign of a minority party headed toward permanent minority status, but one that is snarling, wounded and backed into a corner.” When you’re enraged and afraid, you’re going to retreat to the most obvious attacks you can think of – putting down a woman’s looks, trolling on her body. And then being cowardly and calling it a joke.

If you’d like to order up a few of your own, the Hillary Kentucky Fried button appears to come from a site called Republican Market. If you prefer, the vendor also offers it as a bumper sticker, unless you’d rather the “Happiness is Hillary’s Face on a Milk Carton.” The site sells a wide variety of merchandise for the flair-oriented conservative lunatic, including buttons with such messages as “Send the illegals back and send the Liberals with ‘em” and “President Barrack? Oh BUMMER!” [sic] Funnily enough, in the lower left-hand corner of that original photo of the buttons Marinucci tweeted, there’s a peek at another button that reads “A Womans…” Though the rest is cut off, it appears to be  another item from Republican Market. The full text says “[sic] A Womans Place Is In The House, The Senate and the Oval Office.” A woman in the Oval Office, you say? The sexism, unoriginality and punctuation disasters of the company and its customers aside, it seems they’re pushing at least one message plenty of Democrats agree with.

Mary Elizabeth Williams

Mary Elizabeth Williams is a staff writer for Salon and the author of "Gimme Shelter: My Three Years Searching for the American Dream." Follow her on Twitter: @embeedub.

More Related Stories

Featured Slide Shows

  • Share on Twitter
  • Share on Facebook
  • 1 of 11
  • Close
  • Fullscreen
  • Thumbnails

    Ten spectacular graphic novels from 2014

    Beautiful Darkness by Fabien Vehlmann & Kerascoët
    Kerascoët's lovely, delicate pen-and-watercolor art -- all intricate botanicals, big eyes and flowing hair -- gives this fairy story a deceptively pretty finish. You find out quickly, however, that these are the heartless and heedless fairies of folk legend, not the sentimental sprites beloved by the Victorians and Disney fans. A host of tiny hominid creatures must learn to survive in the forest after fleeing their former home -- a little girl who lies dead in the woods. The main character, Aurora, tries to organize the group into a community, but most of her cohort is too capricious, lazy and selfish to participate for long. There's no real moral to this story, which is refreshing in itself, beyond the perpetual lessons that life is hard and you have to be careful whom you trust. Never has ugly truth been given a prettier face.

    Ten spectacular graphic novels from 2014

    Climate Changed: A Personal Journey Through the Science by Philippe Squarzoni
    Squarzoni is a French cartoonist who makes nonfiction graphic novels about contemporary issues and politics. While finishing up a book about France under Jacques Chirac, he realized that when it came to environmental policy, he didn't know what he was talking about. "Climate Changed" is the result of his efforts to understand what has been happening to the planet, a striking combination of memoir and data that ruminates on a notoriously elusive, difficult and even imponderable subject. Panels of talking heads dispensing information (or Squarzoni discussing the issues with his partner) are juxtaposed with detailed and meticulous yet lyrical scenes from the author's childhood, the countryside where he takes a holiday and a visit to New York. He uses his own unreachable past as a way to grasp the imminent transformation of the Earth. The result is both enlightening and unexpectedly moving.

    Ten spectacular graphic novels from 2014

    Here by Richard McGuire
    A six-page version of this innovative work by a regular contributor to the New Yorker first appeared in RAW magazine 25 years ago. Each two-page spread depicts a single place, sometimes occupied by a corner of a room, over the course of 4 billion years. The oldest image is a blur of pink and purple gases; others depict hazmat-suited explorers from 300 years in the future. Inset images show the changing decor and inhabitants of the house throughout its existence: family photos, quarrels, kids in Halloween costumes, a woman reading a book, a cat walking across the floor. The cumulative effect is serene and ravishing, an intimation of the immensity of time and the wonder embodied in the humblest things.

    Ten spectacular graphic novels from 2014

    Kill My Mother by Jules Feiffer
    The legendary Pulitzer Prize-winning cartoonist delivers his debut graphic novel at 85, a deliriously over-the-top blend of classic movie noir and melodrama that roams from chiaroscuro Bay City to Hollywood to a USO gig in the Pacific theater of World War II. There's a burnt-out drunk of a private eye, but the story is soon commandeered by a multigenerational collection of ferocious women, including a mysterious chanteuse who never speaks, a radio comedy writer who makes a childhood friend the butt of a hit series and a ruthless dame intent on making her whiny coward of a husband into a star. There are disguises, musical numbers and plenty of gunfights, but the drawing is the main attraction. Nobody convey's bodies in motion more thrillingly than Feiffer, whether they're dancing, running or duking it out. The kid has promise.

    Ten spectacular graphic novels from 2014

    The Motherless Oven by Rob Davis
    This is a weird one, but in the nervy surreal way that word-playful novels like "A Clockwork Orange" or "Ulysses" are weird. The main character, a teenage schoolboy named Scarper Lee, lives in a world where it rains knives and people make their own parents, contraptions that can be anything from a tiny figurine stashable in a pocket to biomorphic boiler-like entities that seem to have escaped from Dr. Seuss' nightmares. Their homes are crammed with gadgets they call gods and instead of TV they watch a hulu-hoop-size wheel of repeating images that changes with the day of the week. They also know their own "death day," and Scarper's is coming up fast. Maybe that's why he runs off with the new girl at school, a real troublemaker, and the obscurely dysfunctional Castro, whose mother is a cageful of talking parakeets. A solid towline of teenage angst holds this manically inventive vision together, and proves that some graphic novels can rival the text-only kind at their own game.

    Ten spectacular graphic novels from 2014

    NOBROW 9: It's Oh So Quiet
    For each issue, the anthology magazine put out by this adventurous U.K.-based publisher of independent graphic design, illustration and comics gives 45 artists a four-color palette and a theme. In the ninth issue, the theme is silence, and the results are magnificent and full of surprises. The comics, each told in images only, range from atmospheric to trippy to jokey to melancholy to epic to creepy. But the two-page illustrations are even more powerful, even if it's not always easy to see how they pertain to the overall concept of silence. Well, except perhaps for the fact that so many of them left me utterly dumbstruck with visual delight.

    Ten spectacular graphic novels from 2014

    Over Easy by Mimi Pond
    When Pond was a broke art student in the 1970s, she took a job at a neighborhood breakfast spot in Oakland, a place with good food, splendid coffee and an endlessly entertaining crew of short-order cooks, waitresses, dishwashers and regular customers. This graphic memoir, influenced by the work of Pond's friend, Alison Bechdel, captures the funky ethos of the time, when hippies, punks and disco aficionados mingled in a Bay Area at the height of its eccentricity. The staff of the Imperial Cafe were forever swapping wisecracks and hopping in and out of each other's beds, which makes them more or less like every restaurant team in history. There's an intoxicating esprit de corps to a well-run everyday joint like the Imperial Cafe, and never has the delight in being part of it been more winningly portrayed.

    Ten spectacular graphic novels from 2014

    The Shadow Hero by Gene Luen Yang and Sonny Liew
    You don't have to be a superhero fan to be utterly charmed by Yang and Liew's revival of a little-known character created in the 1940s by the cartoonist Chu Hing. This version of the Green Turtle, however, is rich in characterization, comedy and luscious period detail from the Chinatown of "San Incendio" (a ringer for San Francisco). Hank, son of a mild-mannered grocer, would like to follow in his father's footsteps, but his restless mother (the book's best character and drawn with masterful nuance by Liew) has other ideas after her thrilling encounter with a superhero. Yang's story effortlessly folds pathos into humor without stooping to either slapstick or cheap "darkness." This is that rare tribute that far surpasses the thing it celebrates.

    Ten spectacular graphic novels from 2014

    Shoplifter by Michael Cho
    Corinna Park, former English major, works, unhappily, in a Toronto advertising agency. When the dissatisfaction of the past five years begins to oppress her, she lets off steam by pilfering magazines from a local convenience store. Cho's moody character study is as much about city life as it is about Corinna. He depicts her falling asleep in front of the TV in her condo, brooding on the subway, roaming the crowded streets after a budding romance goes awry. Like a great short story, this is a simple tale of a young woman figuring out how to get her life back, but if feels as if it contains so much of contemporary existence -- its comforts, its loneliness, its self-deceptions -- suspended in wintery amber.

    Ten spectacular graphic novels from 2014

    Through the Woods by Emily Carroll
    This collection of archetypal horror, fairy and ghost stories, all about young girls, comes lushly decked in Carroll's inky black, snowy white and blood-scarlet art. A young bride hears her predecessor's bones singing from under the floorboards, two friends make the mistake of pretending to summon the spirits of the dead, a family of orphaned siblings disappears one by one into the winter nights. Carroll's color-saturated images can be jagged, ornate and gruesome, but she also knows how to chill with absence, shadows and a single staring eye. Literary readers who cherish the work of Kelly Link or the late Angela Carter's collection, "The Bloody Chamber," will adore the violent beauty on these pages.

  • Recent Slide Shows

Comments

Loading Comments...