Black Girls as Clickbait. #TEDxEast Subscribe. Like. Share!!

The politics of respectability implies that recognition of Black humanity has to be “earned” by Black people by engaging in puritanical behavior as approved by White supremacy…behaviors that Whites themselves don’t have to engage in to “prove” humanity because of White privilege; they’re always viewed as “the default human.”
~~ Trudy @GradientLair

Recorded May 2, 2016 at City Winery in NYC

TEDxEast How to Twerk: Restigmatizing Black Girls as Clickbait

Non-Consensual Sharing of Sexual Media

Seriously, what the fuck is “non-consensual sex?” There is no such thing. Sex is something that happens when the parties involved are all consenting. Rape isn’t sex, it’s an act of violence, and if there’s no consent it’s rape.
— Jos Truitt, Feministing

Child sexual exploitation can occur through the use of technology without the child’s immediate recognition; for example being persuaded to post sexual images on the Internet/mobile phones without immediate payment or gain. In all cases, those exploiting the child/young person have power over them by virtue of their age, gender, intellect, physical strength and/or economic or other resources. — National Society for the Prevention of Cruelty to Children.

Should We Blame Girls Under 13 for Self-Produce Twerking Videos?

This is the question I have been trying to answer and explore after collecting hundreds of videos of young black girls twerking. Non-consensual sharing of content does not necessarily apply…if the content was self-produced, right? But what about if it’s produced by a child?

The definition of Child Sex Exploitation (CSE) includes: “When sexual exploitation happens online, young people may be persuaded, or forced, to:

  • send or post sexually explicit images of themselves
  • take part in sexual activities via a webcam or smartphone
  • have sexual conversations by text or online.”

The third bullet generally applies to what happens below YouTube videos of black girls under 13 who twerk, but the abusers are members of an invisible audience. They often and easily hide their true identities and the practice of exploiting minors goes without much interruption. If these girls were adults, they’d be blamed for posting images of themselves, but can we accuse children the same way?

This video is about revenge porn. It was uploaded to YouTube by Broadly. Broadly is VICE’s new women’s interest channel, with a focus on original reporting and documentary video. Hmm. I wonder if they can help me get my findings out to the world.

I am exploring the arenas of online sexual exploitation of adults and children to see how I can position the work I am doing as non-consensual for children and sex exploitation (i.e., a digital seduction of minors) even if they self-produce the content. It is particularly the sexual conversations that happen below twerking videos by black children, or black girls, that seems like it should qualify as sexual exploitation. Men and boys in invisible audiences sexually groom girls to take off more clothes, leave their phone numbers for girls to call, and talk about girls in these videos as if they are sex toys/objects for their online sexual pleasure and shaming amusement, no matter how young. This is process is much more apparent below the videos of marginalized girls of color. The stigmas and stereotypes the general public accepts about, for instance, black girls is being reproduced without interruption to YouTube audiences in an unfettered fashion while everyone but the girl profits.

Most viewers feel justified in further marginalizing and stigmatizing even an 8-year old. The invisibility of their audience members’ identity seems to allow them to do the opposite of what they’d hopefully avoid if it were face-to-face and kids’ guardians were present. Gives a whole different take on The Invisible Man for black girls who are exploited by networked individuals in networked publics.

How do we protect marginalized girls from digital seduction?

And what are the implications for marginalized youth whose online content (images and videos), whether deemed sexual-exploited images or self-objectifying content,  will continue to be shared long after the sexual abuse of invisible audiences has stopped but remains as digital shadows along with the portable and persistence of their self-produced content. Will employers distinguish so easily between effects of the persistent and portable media vs. the unintended consequences of lil’ black girls’ online behaviors?

Watching this content to study and research harm to minors and children is no walk in the park either. I am starting to read the work of Judith Reisman in the article “Picture Poison: Viewing Pornography for a Living Can Be Deadly” (Salvo Magazine, Autumn 2009). Last year, my colleague Aimee Meredith Cox, whose book Shapeshifters: Black Girls and the Choreography of Citizenship (which you should run out and buy) asked me how I am dealing with the emotional impact of studying the sexually exploited aspects of this content. I’d never really asked myself that question before. It’s like living with PTSD being a black woman in America. You live with abuses like it’s a norm for most people. And it is for many black women. So it hit home when it really started to realize that I might be dealing with child pornographic images in this research.

Why continue doing this?

I am pursuing this work because many people on the front lines of the #BlackLivesMatter or the #BlackGirlsMatter movements are not always dealing with online abuse, especially of girls. Conversely, we also need the #BlackGirlMagic hashtag movement to counter the perpetual negativity of fighting for freedom from gross forms of discrimination, incarceration, and out and out crimes against black people that no one is considered at fault or any injuries are rarely repaired. Think #Flint.

Theorizing the Web, Day 1: cache flow & code queering & racial standpoints & magic & music & concrete dust

Thanks for this run down of various talks! It was a great conference!

leftover words

'The concrete is great here' - @craigdesson ‘The concrete is great here’ – @craigdesson

Theorizing the Web has been fascinating, but a bit of a shock to the system after AdaCamp. TtW is gloriously DIY, which has a lot of benefits: it’s particularly great to see an academic(ish) conference that’s open to activists and artists, and not hideously expensive to attend. I did miss the efforts AdaCamp went to in building a safe and inclusive space (including having a clear photo policy, pronouns on badges, and marked walkways for accessibility) – TtW has an anti-harassment policy, which is a great start, but I’d love to see a few more active steps around publicising and extending this policy.

As usual with events like this, I’ve tried to summarise a few of my notes for those who couldn’t make it (and Future Me), but I strongly suggest you check out the program, tweets, and livestream for…

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YouTube’s 10th Anniversary!! April 23, 2005 – 2015

People are more likely to search for specific books in which they are actively interested and that justify all of that effort of reading them. Electronic images and sounds, however, thrust themselves into people’s environments, and the messages are received with little effort. In a sense, people must go after print messages, but electronic messages reach out and touch people. People will expose themselves to information in electronic media that they would never bother to read about in a book.    ~~ Joshua Meyrowitz, “The Merging of Public Spheres,” No Sense of Place: The Impact of Electronic Media on Social Behavior, Oxford University Press (1985).


On February 14th, 2005, YouTube was founded by Chad Hurley, Steve Chen and Jawed Karim, who formerly worked for PayPal. The first video Me at the Zoo was uploaded and published on April 23, 2005. From that moment on everything changed for video online. No more waiting forever for videos to upload on dialup connections or other. YouTube allowed video to be easily stored and shared and you could comment on others’ user generated content. You could post for free on the platform. The first viral video on YouTube was the Hey Clip by Israeli YouTuber Tasha and her best friend dancing in her bedroom lipsyncing a birthday wish to her boyfriend to the sounds of The Pixies. Stay tuned and there’ll be a great bonus for the real YouTube fans at the end.



The Hey Clip video has been viewed over 34 million times. My data collection of 800+ videos of over 1000 girls has collectively only 43 million views. Imagine over 600+ Superdome stadiums to full seating capacity, in either case. Black girls are lip syncing but with the narratives of their booty popping — kinetic orality that tops MIley Cyrus’s tail with no tale.


The YouTube Massive

Today, YouTube has over 300 hours of video uploaded every minute. That’s 5 hours uploaded every second of the day. It gets over 1 billion unique visitors a month. It is a massive archive, popular culture network, a TV, a how-to service, a community of creators, and, of course for many a risky graveyard full of future nightmares waiting to happen. The digital persistence of video means our personal media will linger on well past the shelf life of our adolescence (chronological or otherwise), including the stupid jokes, pranks and aggressive acts of hatred or sexism that we once thought was merely funny or might go viral. MIllions of those moments did not.

We all probably gave up lots of personal ID markers that might allow a future college or prospective employer to search and never tell on Google. (Aside: I also learned last night that Google Trends now can filter searches to YouTube videos.) We may lose a prospective and a future job ten years from now for something we did 10 years earlier. A 72-year old Canadian high school drama teacher, who made in film 40 years before YouTube ever existed, was terminated from a position she held for years because of the online publicity of her experience 50 years earlier. It was made public online last June 2014. We are all not ready for the persistent, searchable nature of the contents of the world’s largest video archive and the second-most popular search engine in the world. You can run but you won’t be able to hide. Yes, the Bedroom Intruder is for real, yo!!  It’s Google!


YouTubeSpaceNY Kids


Last night, I attended an event at YouTubeSpaceNY on the new YouTube Kids app. I learned A LOT. Got a number of new ideas for my channel and getting the word out about the CSI work my students and I have been doing around my 800+ twerking videos. That’s 150 hours watched of black girls twerking from the “privacy” of their bedrooms on YouTube. 150 years after the 13th Amendment…but that’s a story for another post.  I hope my students and I will make a video tomorrow in honor of the 10th anniversary and upload it as I can bet lots of YouTubers will be vlogging about it in some way or manner.

Most of my students were 8 years old 10 years ago. Many of the videos in my data collection that most concern us are 8 year olds. So we might make a video about what kinds of things you were doing at 8 compared to now online. In the meantime, enjoy this exclusive YouTube Spotlight video. It describes the community part of YouTube to a “T”.


Happy Anniversary YouTube and the YouTube Nation!!


YouTubeKids Cupcakes

Ten years ago was a big year online and it was also a big year in the history of twerking. Hurricane Katrina hit New Orleans in Dec of 2005. Much to commemorate with the #blacklivesmatter campaigns that might not have been possible in the way they have been without online video and social media platforms.

And just for a treat, the first black viral YouTube star Tay Zonday! We love our black people to be stuck in a stereotype. This is like the Don’t Worry Be Happy of YouTube. Enjoy!


So now, for the bonus!!

The presentation from last night’s YouTubeSpaceNY event about the new YouTube Kids App. This content should appeal to you hard-core YouTubers or up-and-coming vloggers, esp. those interested in the family and kid-friendly spaces of YouTube. Click on the pic on the YouTube Anniversary to access the bonus content.

YouTube Kids PPT

We Die Black not Human: Screening ‪Social Death #blackgirlsmatter

Social death [from Wikipedia] is the condition of people not accepted as fully human by wider society. Used by sociologists like Zygmunt Bauman and historians of slavery and the holocaust to describe the part played by governmental and social segregation in that process.[1][2] Examples of social death are:

“If we are to be honest with ourselves, we must admit that the “Negro” has been inviting whites, as well as civil society’s junior partners, to the dance of social death for hundreds of years, but few have wanted to learn the steps. They have been, and remain today – even in the most anti-racist movements, like the prison abolition movement – invested elsewhere. This is not to say that all oppositional political desire today is pro-white, but it is usually anti-Black, meaning it will not dance with death.”
Frank B. Wilderson III


In class Monday, I shared that these deaths at the hands of the police are numbing my ability to cry it’s happened so much throughout my life since childhood. A naive Puerto Rican/ Dominican male whose been pretending he can get by in the class was gleeful and said “awesome!” after I shared that yet another man was shot dead by the cops on video. Stunned, I asked what was so awesome about it. He naively shared, as Darnell L. Moore, points out in the repost below, that this time would actually prove something. His naive public declaration does more harm to others and himself than he knows. It speaks to a problem I face in higher ed among students and faculty who resist that race/racism intersectionally affects them. This young man said in class weeks back that he doesn’t identify with race or ethnicity ; he doesn’t identify as Dominican or Puerto Rican. He’s American. More power to his right to self identify but his reaction was utterly clueless about not only the history of capturing such abuse on video and the lack of effect it has on structural/state violence but also the very thing I talked about in my TEDx talk on self worth being directly shaped by how others view us as racialized and gendered subjects, as organisms living in an environment.

This numbness in the moment it’s happening leaves me reducing individual lives lost to a nameless black man. I never shared his name Eric Harris was somebody’s son, somebody’s love of their life, somebody’s guardian as well as all his not so favorable acts and connections. It’s why we stand indivisible behind #blacklivesmatter with all who join us.

Tulsa Sheriff’s Office Robert Bates, 73, shot to death suspect Eric Harris in Oklahoma after pulling out his gun instead of his taser, all captured on cop cam. An arresting officer whose knee pinned the head of the violently assaulted man to the concrete said point blank “F*ck your breath!” as the wounded man gasped in shock at being shot and gasping for his last breaths of his life.

‪#‎ericharris‬ ‪#‎trayvonmartin‬ ‪#‎renishamcbride‬ ‪#‎rekiaboyd‬ ‪#‎michaelbrown‬ ‪#‎walterscott‬
Who sat in awe for the last breaths of these human being? Who helped them as they lay suffering without compassion? We die black and not human is on all our screens lately. The fourth screen handheld and mobile and the big screen that bears Oscar’s dead body but not Oscars. #oscargrant #12yearsaslave #passingstrange

It’s only at films mediated by a screen that individuals who are marked as oppressed groups of color are allowed to see ourselves as human in public. At least that’s how it feels.

For me as a child 40 years ago, this began first at home, watching television. First, it was the film “Cornbread, Earl and Me” (1975) with young actor Larry Fishburne when I was in junior high. I remember only the dead son not the surviving mother. Or “Cooley High” (1975). “Boyz in the Hood” when I was pursuing my doctorate.

This is patriarchal hegemony at work. It shapes the algorithms of my memory. Even as a woman I remember all these scenes about the boys and men before I think of the character of Celie in Alice Walker story shot for the big screen by Spielberg — The Color Purple (1985) — which broke my heart when I first saw it on TV while pursuing my master’s degree. Or even Tyler Perry’s 2010 version of For Colored Girls which brought on sobbing tears but left out the realities that matter for black and brown women that were so eloquently represented on stage in Ntozake Shange’s original choreo-poem which I saw when I was in junior high. I don’t remember feeling any way about it then but the I later bought book in grad school? Genius!

Only in the dark, narrowly focused attention of screens mediated by actors distancing the reality from its lived moments did it seem that I/we were allowed the permission or the freedom to mourn publicly and to resist before social death. It was only in the personal space of a private or somewhat segregated theater that I could grieve quietly and publicly mourn and even laugh to resist the hegemony of what has come to always seems like a destiny for us black and brown folk–man, woman, and child. And then there’s us women who are black and brown and the girls.

The more hidden deaths not immortalized often screen–the cis and transgender females and little black girls like Aiyana Stanley-Jones–seem to always matter less to everyone but us black women and our allies. Even black female “actors” on TV, film and the news matter less; little black girls like Quevenzhané Wallis or the president’s daughters Sasha and Malia at Thanksgiving or Racheal Jeantel in court not yet 18 are denied humanity online and in public. ‪#‎blackgirlsmatter‬

Really makes me wanna holler, they way they do our lives, to paraphrase Marvin Gaye. A better quote from Zora Neale Hurtston hits the mark.

I have no separate feeling about being an American citizen and colored. It merely astonishes me. How can any deny themselves the pleasure of my company! It’s beyond me.

My presence in the classroom matters but I wish I was teaching more black students at CUNY how to be engaged and to ethnographically study this networked public crisis. ‪#‎admissionsmatter‬ ‪#‎CUNY‬

Hip Hop Generation Feminism: A Manifesto

The Crunk Feminist Collective

We are Hip Hop Generation Feminists.  We unapologetically refer to ourselves as feminist because we believe that gender, and its construction through a white patriarchal capitalist power structure fundamentally shapes our lives and life possibilities as women of color across a range of sexual identities.  We are members of the Hip Hop Generation because we came of age in one of the decades, the 1990s, that can be considered post-Soul and post-Civil Rights. Our political realities have been profoundly shaped by a systematic rollback of the gains of the Civil Rights era with regard to affirmative action policies, reproductive justice policies, the massive deindustrialization of urban areas, the rise and ravages of the drug economy within urban, semi-urban, and rural communities of color, and the full-scale assault on women’s lives through the AIDS epidemic. We have come of age in the era that has witnessed a past-in-present assault on our…

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“Slap her”: video objectifies girls, exploits boys, and trivializes domestic violence

As disturbing as the videos and comments I am studying on YouTube. Thanks Dr. Hains!

Dr. Rebecca Hains

A new anti-domestic-violence video created by the Facebook page is being widely shared because people find it heartwarming and touching.

I find it sickening.

The video’s description asks, “What happens when you put a boy in front of a girl and ask him to slap her? Here is how children react to the subject of violence against women.” What's your name?As the video begins, it seems promising. An off-camera male voice asks five charming young boys questions, one at a time:

  • “What’s your name?”
  • “How old are you”
  • “What do you want to be when you grow up?”
  • “Why?”

Thanks to this line of questioning, each boy is brought to life for the viewer. With a range of personal demeanors and interests, it’s easy for viewers to see each boy as a unique and lovely individual.

Then, each boy is visibly surprised when a tall, blonde, conventionally beautiful young girl joins them in front of the camera…

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New YouTube Kids App. Don’t Forget to Search for Their Digital Traces!

 Beauty was not simply something to behold; it was something one could do.”
Toni Morrison, The Bluest Eye


What an amazing week! I want to give you a little review what’s been going on in my academic life and what’s been happening in digital media land, esp. YouTube at the intersection of race, gender and adolescents online.  Since the beginning of the year, I’ve been rebranding how I talk about my digital ethnographic research. I’m recoding the 1000 videos I’ve collected that feature adolescent black girls (ages 13-17 and younger) broadcasting while they twerk from the “privacy” of their bedrooms in a participatory research project with my three intro to anthro courses. More on that soon.

This weekend since Friday I have been attending the Eastern Sociological Association meeting here in New York City. It’s being held at the Millennium Broadway Hotel in Times Square. Any local New Yorker knows that how much we loath having to go to Times Square’s Tourist Trap. But because my friend (online and off-line) sociology professor Jessie Daniels (@JessieNYC) organized and is hosting a digital sociology mini conference it was well worth the trouble. And it’s been amazing. You can follow our live tweeting of the conference at #DigitalSociology on Twitter.

YouTube App Just for Kids Launched

This week YouTube announced a new app designed for kids and their gardens. It’s called  kids.

On February 23, 2015,  U2 launched a new kid-focused app for parents and guardians to download.  YouTube video advertising the new  access is pretty compelling. They also released a remarkable playlist of viral videos featuring kids titled Kids We Love.  It starts with of one my favorites  “Worry about yourself” featuring a little toddler in her car seat telling her dad to leave her alone, she can take care of herself. Many of the videos I’ve seen before. One is precious.  It’s called Kids play with paint a get it all over their faces. Reminds me of when I was that age.

Kyra-Kyra on the Wall/
Who’s the Fairest of Them All?

I was 4 or 5 years old staying at my Granny’s while my mother was at work. I’d been playing in my youngest aunt’s Avon powder … without permission. I’d been told not to play with my aunt’s makeup. I was having a ball with that powder puff imitating (or I thought mirroring) what I saw in a Warner Brothers’ cartoon.  I was too young to notice that I was different from the white female figure in the cartoon. The white powder became invisible, it disappeared on her skin. I had no idea that the Avon product betrayed my lie, and defined my otherness at the same time. My aunt’s tall dresser did not have a mirror attached so I never saw how I looked. When I heard my mother unexpectedly came in the front door after work, I jumped off a chair I had placed to reach her makeup and stood outsider my aunt’s room as if I had not been doing anything.  My mother, Ardell, asked me, “What have you been doing, Kyra??!!” I stood on the step and said “Nothing.” My little brown face was covered in white talcum powder and she still tells the story about how she tried not to laugh. Parents had a rough job before the Internet. Image telling a child to not watch YouTube. Or moreover, don’t upload any videos of yourself without my permission. Uh-oh!!!

From Dusty Faces to Digital Traces

Parents may be pleased with this but they also need to start search the YouTube archive for images of their kids by name. Even if videos are removed from a channel, they may still exist in the search archive. Check for the digital traces. They are not as obvious as the powder was on my brown face decades before digital video and mobile devices were tethered to today’s youth.

If I made the playlist for Kids We Love it would definitely include Princess973 or Princess Maji representin’ Jersey. Here’s her dancing to a remix of “Let it Go” from Frozen–clearly every parents favorite song they could stand not to hear one more time. Princess Maji is black girl genius!! She is much more incredible at dancing, if you asked me, than any of the kids represented in YouTube’s present playlist.

Privacy? (No!) Adversity? (You Bet!): Black Girls’ Bedroom Twerking

 “All have their worth and each contributes to the worth of the others.”
J.R.R. Tolkien, The Silmarillion

“Guileless and without vanity, we were still in love with ourselves then. We felt comfortable in our own skins, enjoyed the news that our senses released to us, admired our dirt, cultivated our scars, and could not comprehend this unworthiness.”
Toni Morrison, The Bluest Eye

Adverse Childhood Experience: Black Girls and YouTube

Dr. Nadine Burke Harris in pediatric care is one of my sheroes, esp. for children in communities of color who suffer high levels of childhood trauma including physical, emotional, or sexual abuse; physical or emotional neglect; parental mental illness, substance dependence, incarceration; parental separation or divorce; or domestic violence. 

Below I share her persuasive and passionate TED Talk that introduces viewers to the The Adverse Childhood Experiences Study.

As I wrote up a new abstract today about the re-segregation of black girls’ musical identities in the blurred public of YouTube, I am increasingly present to the emotional and cognitive impact of new media and digital video on the socialization of black girls’ adolescent brains and their views of how they see themselves differently than others. We must bring more of a sociological lens to our ethnographic and ethnomusicological study to help us all understand the social forces that do not empower online black girls’ value in their own eyes and perhaps more importantly in others. Their ecological fitness is at stake.

Seeing ourselves through Technology:
What Do Black Girls See?

I am writing an article titled Mirrors, Monsters and Webcams about the ways in which girls learn to see/hear themselves through technology from the 1970s to now. I was thinking about how the policy of Desegregation affected me and my view of my self identity when I was an adolescent learning to fit my body into the latest dance in the mirror just outside my bedroom. A white woman about my age with whom I was sharing about this article reminded me how we 2nd generation television teen girls would dance with the TV screen, too.  I am making an argument for public/private and public/domestic spaces that hinges on an understanding of Segregation policies and early social media practices of radio and television in the 1970s.

The twerking videos I study of black girls who broadcast from the “privacy” of their bedrooms always make me think about how segregated that space–the bedroom–was and still remains for black girls’ dancing. In public settings there is more exposure to harm and the bedroom was a barrier to public groping but also an easy target for domestic abuse. Your closed door symbolized safety, temporary as it might have been. Having privacy was a key to adolescence. The webcam has changed how privacy works for everyone. But that change didn’t begin with Web 2.0.

The differences then and now are both complicated. It wasn’t simple when American Bandstand was broadcast into your family’s living room or bedroom (we had a TV in my mom’s master bedroom, too). It was uncomplicated when Soul Train blew its horn into the soundscapes of domestic life. Even my local show The New Dance Show with its host the Moonman in DC shaped how I wanted to perform my Self when I finally entered the public sphere. The private space of home back then also became a place for advertising the consumption of musical media to teens through radio and television. Parents began to lose more and more control before kids ever left their front doors. Today on YouTube it’s much more complicated with forms of segregation in mixed engagement that is both alarming and invisible to far too many. That’s what I am working out teasing out in my latest article.

You Betta Be In Before Dark!:
What is Public Safety on YouTube?

Adolescent play with strangers was rare when I was a kid. And parents tried to protect you by insisting you stay within shouting distance. The boundary was always marked by the onset of twilight. You better be home before it’s dark. Parents born before Desegregation in the South where I grew up knew or remembered that the general public was never save for dark-skinned folk. Daytime was dangerous, too. What was really a concern was the possibility of not being under a caring watchful eye when visibility decreased. What happens when being visible to strangers you meet online becomes the norm for adolescent girls of any color, but particularly for black girls?
Two days ago, I found a twerking video uploaded that same day by an 8 year old black (seemingly Afro-Brit) girl. YouTube’s age minimum is 13.  Her brother, who is recording the video and seemed a bit younger than her based on the sound of his voice and what frames he was capturing with a mobile webcam–he seemed fascinated with the technological capacities of the camera; with what it can do.
This adolescent 8 year old in contrast to her brother was all into the technology of her body–which is an important aspect of socialization for black girls historically and for young American girls in general. She was so into managing and performing the technology of twerking, of self-presenting herself like what she perhaps had seen before, that she seemed almost unaware of the implications of the camera. She was clear she would be made visible from its upload, I am sure. The video appears to be her channel with her actual name, which is mentioned in the performance by her brother. Her channel only has 2 videos. This video received over 600 views in less than one day. What’s more disturbing is the engagement below it. 3 comments, all by males, designed for “grooming” — like pimps and predators groom girls or boys for sexual abus — inviting her to expose or unclothe more of body. No comments per se about her dance.

I am sure you will find this as disturbing as I have.  I could say much more about this video and how YouTube is not monitoring it’s content for harm to minors. I could also talk about the appetite that the porn industry produces that leads young men and strangers to solicit hooking up with this girl.
Screen Shot from YouTube 2015-02-21 at 2.34.53 PM
Screen Shot from YouTube 2015-02-21 at 2.34.53 PM

Who Poisoned the Well in the First Place?:
YouTube’s Ecology meets Systemic Bias

Dr. Burke Harris’s talk speaks to learning how much adversity can harm children’s cognitive growth and emotional well-being not to mention their life chances and health well into their adulthood.  This is why my research matters so much.  I am trying to link the pleasure of messing around online for girls to the need for better digital media literacy and attention to not simply their social agency but their cognitive fitness in the most crucial years of their brain development. YouTube is not always the best environment for girls’ public health.
Dr. Burke-Harris states in her TED Talk, which I watched live last year:

I did a master’s degree in public health, and one of the things that they teach you in public health school is that if you’re a doctor and you see 100 kids that all drink from the same well, and 98 of them develop diarrhea, you can go ahead and write that prescription for dose after dose after dose of antibiotics, or you can walk over and say, “What the hell is in this well?” So I began reading everything that I could get my hands on about how exposure to adversity affects the developing brains and bodies of children.