I don’t know for sure what holidays are like at your house, but if they resemble holidays at my house, and most houses in the US, women do almost all of the holiday preparation: decorating, gift buying and wrapping, invitations, neighborhood and church activities, cooking, cooking, more cooking, and cleaning.
Holidays are moments in the year when women, specifically, have extra responsibilities. I distinctly remember my own beloved stepmother telling me — stress making her voice taut — that she just wanted everyone to have a nice Thanksgiving. She would work herself silly to do and have all the right things so that everyone else would have a good time. Multiple this by 10 at Christmas.
This Bed, Bath, & Beyond ad, sent in by Jessica E. and Jessica S., reminded me of the crazy workload that accompanies holidays for women:
Alone with the responsibility of making a holiday for everyone else, the woman manages to mobilize technology and goods from BB&B to make it happen. Ironically, the text reads: “When you need a hand with holiday entertaining,” but actual human help in the form of hands is absent. Apparently it’s easier for women to grow five extra arms than it is to get kids and adult men to pitch in.
Anyhoo, be a peach and give your mom a hand this holiday season.
Pre-prepared frozen meals pre-dated the Swanson “TV dinner,” but it was Swanson who brought the aluminum tray — previously only seen in taverns and airplanes — into the home.
They were motivated by opportunity and necessity. The necessity went something like this, or so the story goes: After the 1953 Thanksgiving holiday, Swanson found themselves up to their ears in turkey. They had overestimated demand, and there they were, with 260 tons of frozen turkey and the next bird holiday 364 days away. So, they slapped together a frozen turkey dinner, with peas and mashed potatoes, and held their breath.
The opportunity was the meteoric rise of living room television sets. In 1950, only 9% of American households had TVs. By 1953, 45% of households had one. The next year, that number would rise to 56%. Swanson’s overstock of turkeys occurred at exactly the same moment that owning a television became the new hot thing. So, Swanson tied their advertising directly to TV watching, inventing the phrase “TV dinner.”
Rumor is that Swanson wasn’t optimistic, but the dinners outsold their expectations. They planned to sell 5,000 turkey TV dinners that first year, in 1954, but they ended up selling 10 million.
So, if you celebrate Thanksgiving and are eating a TV dinner tonight instead of a whole bird, know that you, too, are part of a true American tradition.
A study published in 2001, to which I was alerted by Family Inequality, asked undergraduate college students their favorite color and presented the results by sex. Men’s favorites are on the left, women’s on the right:
The article is a great example of the difference between research findings and the interpretation of those findings. For example, this is how I would interpret it:
Today in the US, but not elsewhere and not always, blue is gendered male and pink gendered female. We might expect, then, that men would internalize a preference for blue and women a preference for pink. We live, however, in an androcentric society that values masculinity over femininity. This rewards the embracing of masculinity by both men and women (making it essentially compulsory for men) and stigmatizes the embracing of femininity (especially for men).
We might expect, then, that men would comfortably embrace a love of blue (blue = masculinity = good), while many women will have a troubled relationship to pink (pink = femininity = devalued, but encouraged for women) and gravitate to blue and all of the good, masculine meaning it offers.
That’s how I’d interpret it.
Here’s how the authors of the study interpreted it:
…we are inclined to suspect the involvement of neurohormonal factors. Studies of rats have found average sex differences in the number of neurons comprising various parts of the visual cortex. Also, gender differences have been found in rat preferences for the amount of sweetness in drinking water. One experiment demonstrated that the sex differences in rat preferences for sweetness was eliminated by depriving males of male-typical testosterone levels in utero. Perhaps, prenatal exposure to testosterone and other sex hormones operates in a similar way to “bias” preferences for certain colors in humans.
Important lesson here: data never stands alone. It must always be interpreted.
One of the first things other academics ask me is “why are you interested in toilets?”
For the vast majority of people, the biological function of waste excretion is an after thought, an activity that nobody wants to talk about, and often times, the mere thought of talking about shit grosses them out. I, however, am fascinated by the human and political dimensions of human waste and the challenges that solving the global sanitation crisis presents. More than excrement itself, I’m interested in a holistic view of sanitation (waste disposal, transportation, removal, treatment and reuse). This interest stems primarily from my training as a chemical engineer, my work experience as a sanitation engineer and researcher, and my interest from my doctoral studies in understanding the politics of policy intervention.
Contrary to what one might think, toilets are political. Owning a toilet will become a necessary prerequisite for politicians to run for office in Gujarat, India. The new Prime Minister of India, Shri Narendra Modi, has made ending open defecation and increasing access to toilets one of his campaign promises and a crucial component of his political and public policy agenda. Modi’s “toilets first, temples later” has been seen as a strong statement in favor of increasing toilet and latrine access in India.
In my own work I have emphasized that even if we have the technical capabilities to increase access to toilets, latrines and sanitation infrastructure, often times we see lack of progress because institutional, cultural, behavioral and societal barriers have been erected through time. I have shown that the behavioral determinants of sanitation governance are complex and multicausal, and also have multiple effects. Not having a toilet in your own home or easily accessible can lead to violence and physical/sexual assault. Lack of toilets affects women disproportionately and leaves them vulnerable to physical violence. Earlier this year I wrote about the complex linkages between menstrual hygiene management, access to toilets, and violence against women.
To end open defecation and increase sanitation access, we need a set of policy strategies that aren’t solely focused (individually) on cultural practices, or access to latrines, or poverty alleviation. All these factors must be tackled simultaneously.
World Toilet Day takes place on November 19th. This year finally the United Nations named World Toilet Day an official UN day, although for all the noise it has been making, we are WAY behind the target for the Millennium Development Goals. If we really want to end open defecation by 2025, as the UN indicates, we are definitely going to need a better approach. In my own research, I have found that institution- and routine-based strategies help increase access to sanitation. I have also argued that access to toilets can be used as a political manipulation strategy. We should be interested in the global politics of sanitation because the crisis is far-reaching and widespread.
Today, I encourage you to reflect on the fact that over 1 billion people defecate in the open because they lack the dignity of a toilet, and that 2.6 billion people don’t have access to improved water and sanitation sources.
Think about it. It IS political. Because we can’t wait to solve the global sanitation crisis.
Raul Pacheco-Vega, PhD is a professor of Resource Management and Environmental Studies with a specialty in the global politics of sanitation. You can follow him at raulpacheco.org, where this post originally appeared, and on Twitter and Facebook.
Tristan Bridges PhD and CJ Pascoe PhD on November 17, 2015
Robin Thicke’s song, “Blurred Lines,” achieved international recognition in 2013. But the lyrics were also heavily criticized as promoting sexual violence by celebrating “blurred lines” around sexual consent. Indeed, the song and video prompted an online photo essay in which women and men are depicted holding up signs with words they heard from their own rapists — some of which were almost direct quotes from Thicke’s song. The song received a great deal of negative and positive press all at the same time.
It’s not a new argument to suggest that many elements of what feminist scholars refer to as “rape culture” are embedded in seemingly pleasurable elements of pop culture, like songs, movies, and television shows. And Robin Thicke’s song served as an example to many of how we not only tolerate rape culture, but celebrate it and render it “sexy.”
Recently, Rebecca Traister discussed just how much rape culture even informs what we think of as “good sex” in her piece “The Game is Rigged.” In it, Traister challenges the notion that all consensual sex is good and shows just how messy the debate about what qualifies as “consensual” really is. In many ways, our national discussion around sexual assault and consent is taking up themes raised by feminists in the 1980s about what actually qualifies as consent in a society in which violence against women is considered sexy.
Compared with “Blurred Lines,” Justin Bieber’s newly released hit single, “What Do You Mean?” has been subject to less critique, though it reproduces the notion that women do not actually know what they want and that they are notoriously bad and communicating their desires (sexual and otherwise). In the song, Bieber asks the woman with whom he’s interacting:
What do you mean?
Ohh ohh ohh
When you nod your head yes
But you wanna say no
What do you mean?
The lack of clear consent isn’t just present in the song; it is what provides the sexual tension. It’s part of what is intended to make the song “sexy.”
Sexualizing women’s sexual indecision is an important part of the way rape culture works. It is one way that conversations about consent often over-simplify a process that is and should be much more complex. The song itself presents Bieber nagging the woman to whom he’s singing to make a decision about their relationship. But there are many elements suggesting that the decision she’s being asked to make is more immediate as well — not only about the larger relationship, but about a sexual interaction in the near future. Throughout the song, the click of a stopwatch can be heard as a beat against which Bieber presses the woman to make a decision while berating her for the mixed signals she has been sending him.
Bieber is presented as the “good guy” throughout the song by attempting to really decipher what the woman actually means. Indeed, this is another element of rape culture: the way in which we are encouraged to see average, everyday guys as “not-rapists,” because rapists are the bad guys who attack women from bushes (at worst) or simply get them drunk at a party (at best).
The controversy over the ad in Bloomingdale’s 2015 holiday catalog urging readers to “spike your best friend’s eggnog when they’re not looking” shows that this kind of rape culture is also casually promoted in popular culture as well. But, the larger discourse that Bieber’s song plays a role in promoting is the notion that women do not know what they mean or want. Bieber plays the role of someone simultaneously pressuring her for sexual advance (“Said we’re running out of time”), helping her work through her feelings (“What do you mean?”), and demanding results (“Better make up your mind”). And, like the Bloomingdale’s advertisement, this is not sexy.
Indeed, the music video takes this a step further. Bieber is shown at the beginning paying John Leguizamo on a street corner and asking him to make sure “she doesn’t get hurt.” We later find out that John was paid to orchestrate a kidnapping of both Justin and the woman. Both are taken by men in masks, driven to a warehouse in the trunk of a car, and tied up. Justin is able to free them, but they are still in a room with their kidnappers.
They back up to a door that leads outside the building and see that they are one of the top floors. Justin turns to the woman, holds out his hand and asks, “Do you trust me?” She takes his hand and they both jump out of the building. They jump and fall to the ground, landing on a parachute pillow only to discover that the whole thing was a trick. The kidnapping was actually an orchestrated ruse to bring her to a party that they entered by leaping from the building away from the men who’d taken them. The men in masks all reveal themselves to be smiling beneath. She smiles at Justin, recognizing that it was all a trick, grabs his face, kisses him and they dance the night away in the underground club.
Even though the song is about feeling like a woman really can’t make up her mind about Justin, their relationship, and sexual intimacy, the woman in the video is not depicted this way at all. She appears sexually interested in Justin from the moment the two meet in the video and not bothered by his questions and demands at all. Though it is worth mentioning that he is terrorizing her in the name of romance, indeed the terror itself is a sign of how much he loves her — also a part of rape culture. This visual display alongside the lyrics works in ways that obscure the content of the lyrics, content that works against much of what we are shown visually.
Part of what makes rape culture so insidious is that violence against women is rendered pleasurable and even desirable. Thicke and Bieber’s songs are catchy, fun, and beg to be danced to. The women in Thicke’s video also appear to be having fun strutting around nude while the men sing. The woman in Bieber’s video is being kidnapped and terrified for sport, sure, but it’s because he wants to show his love for her. She’s shown realizing and appreciating this at the conclusion of the video.
Rape culture hides the ways that sexual violence is enacted upon women’s bodies every day. It obscures the ways that men work to minimize women’s control over their own bodies. It conceals the ways that sexual violence stems not just from dangerous, deviant others, but the normal everydayness of heterosexual interactions. And all of this works to make sexualized power arrangements more challenging to identify as problematic, which is precisely what makes confronting rape culture so challenging.
So, Star Wars is out with a new movie and instead of pretending female fans don’t exist, Disney has decided to license the Star Wars brand to Covergirl. A reader named David, intrigued, sent in a two-page ad from Cosmopolitan for analysis.
What I find interesting about this ad campaign — or, more accurately — boring, is its invitation to women to choose whether they are good or bad. “Light side or dark side. Which side are you on?” it asks. Your makeup purchases, apparently, follow.
This is the old — and by “old” I mean ooooooooold — tradition of dividing women into good and bad. The Madonna and the whore. The woman on the pedestal and her fallen counterpart. Except Covergirl, like many cosmetics companies before that have used exactly the same gimmick, is offering women the opportunity to choose which she wants to be. Is this some sort of feminist twist? Now we get to choose whether men want to marry us or just fuck us? Great.
But that part’s just boring. What’s obnoxious about the ad campaign is the idea that, for women, what really matters about the ultimate battle between good and evil is whether it goes with her complexion. It affirms the stereotype that women are deeply trivial, shallow, and vapid. What interests us about Star Wars? Why, makeup, of course!
If David — who also noted the inclusion of a single Asian model as part of the Dark Side — hadn’t asked me to write about this, I probably wouldn’t have. It feels like low hanging fruit because it’s just makeup advertising and who cares. But this constant message that women are genuinely excited at the idea of getting to choose which color packet to use as some sort of idiotic contribution to a battle of good versus evil is corrosive.
Moreover, the constant reiteration of the idea that we are thrilled to paint our faces actually obscures the fact that we are essentially required to do so if we want to be taken seriously as professionals, potential partners or, really, valuable human beings. So, not only does this kind of message teach us not to take women seriously at all, it hides the very serious way in which we are actively forced to capitulate to the male gaze — every. damn. day. — and feed capitalism while we’re at it.
This ad isn’t asking us if we want to be on the dark side or the light side. It’s asking us if we want to wear makeup or wear makeup. It’s not a choice at all. But it sure does make subordination seem fun.