Sociological Images

Yesterday NPR reported that Wisconsin is considering repealing its ban on margarine in private businesses and public buildings. What is that all about!? This old post offers some great historical context.

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(Mound of Butter, by painter Antoine Vollon.)

Grass fed cows tend to produce milk that, when made into butter, has a slightly yellow color.  When margarine was invented as a butter substitute and they began producing it for U.S. consumption in the late 1880s, one marketing problem was its color.  The vegetable-based product has a clear, white-ish color and looks something like lard; many people found it unappetizing.  So the margarine people wanted to dye margarine yellow.

The dairy industry rightly saw margarine as a threat and they lobbied politicians both to outright ban margarine or to ban dying it to look like butter.  The federal government imposed a two cent per pound tax on the product in The Margarine Act of 1886 (the tax was quintupled in 1902).  Many states, especially dairy states, made dying margarine illegal (e.g., New York, New Jersey, and Maryland).  By 1902, “32 states and 80% of the U.S. population lived under margarine color bans.”

The ad below is for “Golden Yellow” margarine and specifies that it is “ready to spread” in 26 states (more text transcribed below):

It also speaks to the laws under which Kraft was allowed to sell margarine.  The text reads:

Yellow Parkay is now sold in these states:

Alabama, Arizona, Arkansas, Colorado, Florida, Georgia, Indiana, Kansas, Kentucky, Louisiana, Maine, Maryland, Massachusetts, Mississippi, Missouri, Nebraska, New Jersey, New Mexico, North Carolina, Oklahoma, Rhode Island, South Carolina, Tennessee, Texas, Virginia, West Virginia, Washington, D.C.

In other markets, the same delicious Parkay is sold in the time-saving Color-Kwik bag…

…and uncolored in the regular economy package.

Now, wherever state laws permit, millions are enjoying Parkay packaged in quarter-pound sticks… golden yellow, golden good, ready for the table.  (If legislation in Congress as we go to press were approved, the present tax on yellow margarine would be removed and we could offer yellow Parkay at no extra costs).

In some states, margarine manufacturers would sell margarine in plastic bags with a small bead of dye that the buyer had to knead into the spread (“Color-Kwik bags”).  This practice continued through World War II. If you judge by this ad, it was quite a good time:

Over time, as supply and demand for butter and margarine ebbed and flowed alongside federal rules and penalizing taxes on margarine, the popularity of each ebbed and flowed too.  Then, in 1950, margarine was apparently the “the talk of the country” and President Truman put an end to the oppression of margarine, in part because the National Association of Margarine Manufacturers had begun to build enough power to compete with dairy associations.  Wisconsin, the cheese state, was the last anti-margarine state hold out (till 1967), but it continued to forbid margarine in public places (unless requested; as of Sept. 2011).

By 1957, sales of margarine exceeded those of butter. Margarine still outsells butter today. And, in a bizarre reversal, butter manufacturers now regularly dye butter yellow.

(Imperial Margarine, by painter Robert Kimball.)

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All that said, here is an excerpt from Audre Lorde’s The Uses of the Erotic in which she uses the bead of dye in the bag of margarine as a metaphor for sexuality:

During World War II, we bought sealed plastic packets of white, uncolored margarine, with a tiny, intense pellet of yellow colloring perched like a topaz just inside the clear skin of the bag.  We would leave the margarine out for a while to soften, and then we would pinch the little pellet to break it inside the bag, releasing the rich yellowness into the soft pale mass of margarine.  Then taking it carefully between our fingers, we would knead it gently back and forth, over and over, until the color had spread throughout the whole pound bag of margarine, thoroughly coloring it.

I find the erotic such a kernel within myself.  When released from its intense and constrained pellet, it flows through and colors my life with a kind of energy that heightens and sensitizes and strengthens all my experience.

Sources: Vintage Ads, Found in Mom’s Basement, Britannica, Margarine.org, and FoodReference.

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Lisa Wade is a professor of sociology at Occidental College. You can follow her on Twitter and Facebook.

I love a newborn elephant as much as the next person, probably quite significantly more, but must we get all stupid and say that she likes pink? Must we, Zooborns? Really? Sigh.

Sent in by Chloe Angyal at Feministing. Thanks Chloe!

Pink, by the way, has only been associated with female humans for the last 60 years or so, and only in parts of the world.  See, for example, our posts on a vintage Father’s Birthday card and advice for mothers. (And, while we’re at it, this art project is pretty stunning.)  I’m pretty sure elephants, even girl ones, are indifferent.

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Lisa Wade is a professor of sociology at Occidental College. You can follow her on Twitter and Facebook.

An extended version of this post also appeared at Ms.

Lindsey B. alerted us to a newly published paper in the Journal of Marketing Research suggesting that the current approach to raising awareness of breast cancer hurts more than helps.  You might have noticed, just maybe, I mean if you’ve been paying attention, that breast cancer has become associated with the color pink.

Stefano Puntoni and his colleagues found that when women were exposed to gender cues, like the color pink, they were less likely than women who had not been primed with a gender cue to think that they might someday get breast cancer and to say that they’d be willing to donate to the cause.  Pink, in other words, decreased both their willingness to fund research and the seriousness with which women took the disease.

Puntoni explains this finding with a common psychological tendency. When people are faced with a personal threat, they tend to subconsciously go on the defensive.  In this case, when women are exposed to information about breast cancer at the same time that they are reminded that they, specifically, are vulnerable to it, they subconsciously try to push away the idea that they’re vulnerable and that breast cancer is something that they, or anyone, needs to worry about it.

Cross-posted at Scientopia.

In March we posted a set of greeting cards: a pink and a blue one congratulating new parents on a girl and a blue respectively.  The cards pictured exactly the same baby, revealing the way in which we gender infants before there are any discernable signs of sex (outside of the genitals).  Since then we’ve received two more examples of the phenomenon.  The first, sent in by Christine, is from FailBlog:

The second is for a (pointlessly gendered) hygiene kit at Walmart, sent in by Laura Confer:

The use of exactly the same baby just tickles me.  The marketers know that babies look like, well, babies.  We aren’t “opposite sexes,” especially at six months old.  But the sex of the child is very important to adults.  So they use color cues to make the consumer feel like they’re choosing the “right” or the “cutest” item.  But they can use any child — girl or boy — to sell the item… because that’s not what it’s actually about.

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Lisa Wade is a professor of sociology at Occidental College. You can follow her on Twitter and Facebook.

We have posted in the past about pre-World War II uses of the swastika as a symbol of good luck, a meaning that the Nazis’ appropriation of the swastika makes nearly inconceivable today. Matthieu S., who teaches anthropology at Vanier College in Montreal, sent in another example, a scan of a postcard he owns that was printed in the 1920s. The postcard, meant for a dad’s birthday, also includes pink-tinted flowers — evidence of a time when pink was considered a perfectly appropriate color for men and boys:

World War II and the atrocities of the Nazi party obviously significantly changed interpretations of both the formerly-benign swastika and the color pink. Pink wasn’t abandoned altogether, as the swastika was, but the Nazi’s use of pink to label gay and lesbian prisoners led pink to be stigmatized as effeminate and, thus, an inappropriate color for men…and over time it instead became the epitome of symbols of femininity.

I’ve argued that the visual aids used in computer programs designed to help us learn new languages are ethnocentric, generic, and uninformative.  Since then, I have been working on an alternative to these images, compiling a database of culturally organized images called the Culturally Authentic Pictorial Lexicon (CAPL).

What strikes me as both a student and a professor of language and culture is that the visual world differs so greatly across cultures and even minor differences are telling in how we organize and perceive our world. Color is one of the easiest ways to find differences in cultures. I have previously discussed the linguistic and cognitive differences of color, but now I want to show some simple examples of color in culture through analysis of various postal systems.

In China, the postal system uses a deep hunter green:

(source)

In Japan, it is a bright red, much like England.

England:

(source)

Japan:

(source)

In Germany, it is a bright yellow (think DHL):

(source)

In Russia, it is a lighter but similar shade of the deep postal blue in the U.S.

Russia:

(source)

The U.S.:

(source)

This example of postal systems is an easy way to illustrate how color becomes one of the central ways to communicate and, although the same message is shared across cultures, the path to that message varies through color.

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Michael Shaughnessy is an Associate Professor of German and Chair of Modern Languages at Washington & Jefferson College.  In addition to German language, literature, and culture, he has a professional interest in educational technology, especially the authenticity of multimedia imagery.  His book German Pittsburgh (Arcadia Publishing) highlights the contributions of German speaking immigrants to our area.

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The new “manned-up” VW Beetle is in the news again and J. Dawn Carlson, a PhD Candidate at UC Berkeley, asked us to write about it.  We covered it in July of 2010, but figured this was a good excuse to revisit the post.

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The VW Bug was introduced in 1938 for economical, powerful, fast, and sustained driving on the German Autobahn.  Later it jumped shores and became an icon of the California surfer lifestyle:

(source)

The New Beetle, however, introduced in 1998, quickly became associated with women because of its bubbly body and pastel colors and built-in flower vase (note: readers suggest it always had a flower vase):

(source)

Feminized products, however, don’t sell well with men (or some women) because femininity is stigmatizing.  Accordingly, the Beetle is re-vamping its image; it’s getting a “sex change” for 2011.  Brit S. pointed us to a story in the Anaheim Examiner detailing this surgery.  Jim Cherry writes:

New Beetle is about to get a testosterone injection. A mean-looking chopped top, 200 H.P. motor, widened stance, and a larger interior will transform the quintessential chick car into a rock-hard rock star.

So being mean-looking, wider, and larger (with a Porsche engine) are all equated with masculinity, a characteristic that will supposedly improve the cars appeal to men (and non-girly women).  Here’s what the new testosterone-injected Beetle will look like (in red, of course):