Jenn F. found herself faced with a “Lucky Taco” at the end of her meal at a Mexican restaurant. It contained the following wisdom: “Paco says, ‘A bird in hand can be very messy.'”
The Lucky Taco is, of course, a “Mexican” version of the Chinese fortune cookie with which most Americans (at least) are familiar. Jenn also sent the link to the company that makes them, the Lucky Cookie Company, and they have two other versions, the Lucky Cannoli and the Lucky Cruncher (meant to be, respectively, version inspired by Italians and the “tribal” [their term, not mine]). Behold:
So this company took the Chinese fortune cookie and re-racialized it…. three times over. Is this is an appropriation of Chinese culture?
The fortune cookie isn’t Chinese. As best as can be figured out, it’s Japanese. But, in Japan, the fortune cookie wasn’t and isn’t like it is in the U.S. today. It’s larger and made with a darker batter seasoned with miso (instead of vanilla) and sprinkled with sesame seeds. This is a screenshot from a New York Timesvideo about its history:
This drawing is believed to depict Japanese fortune cookie baking in 1878:
According to the New York Times, it was Japanese-Americans in California who first began making and selling fortune cookies in the ’20s. Many of them, however, served Chinese food. And Chinese-Americans may have picked up on the trend. Then, when the Japanese were forced into internment camps during WWII, Chinese-Americans took over the industry and, voila, the “Chinese fortune cookie.”
So the “Chinese” fortune cookie with which we’re all familiar isn’t Chinese at all and is certainly of American (re-)invention. So, insofar as the Lucky Taco, Lucky Cannoli, and the Lucky Cruncher are offensive — and I’m pretty sure they are — it’ll have to be for some other reason.
Tony Piro, at Calamaties of Nature, has a great cartoon exposing how commodified forms of rebellion can be quite expensive. I cut out the last panel so the cartoon would fit better, view the whole strip here.
When tokens of resistance can be bought and sold, rebellion becomes something you purchase and perform. The irony is that this, as Piro points out, can actually connect you even deeper to the very structures you want to resist.
The thing about our time is that we just might value individuality more than at any other point in the history of human life and, yet, at the same time, we have more capacity to mass produce goods and ideas than ever.
Enter: the marketing of mass-produced individuality. That is, the new Sex Pistols-themed Mastercard. Now available at virginmoney.com/virgin/credit-cards/rebellion.
Now that is a URL of the times.
Their slogan? “Bring a bit of rebellion to your wallet.”
I know almost nothing about punk music but I know that the Sex Pistols were foundational and that the message of the music was anti-establishment. So, the appearance of the band on credit cards with an APR of 18.9% is, sociologically speaking, hilarious.
Hey, maybe you can buy a replica of a famous punk musician’s guitar with it! It comes pre-stressed, so it totally looks like you play it a lot and probably treat it like shit because who the fuck cares. And it also comes with some stickers that look vaguely anarchical and you can make it your own depending on which stickers you choose and where you put them!
Sociologist Brady Potts wrote a post about this guitar a few years ago. He asked: “What can we unpack from this guitar?” And wrote:
Pretty much the history of modernity. You start with “the guitar” – an instrument traditionally produced by artisans called luthiers. But this particular style of guitar – the Fender Telecaster – is the first commercially successful mass-produced solidbody electric guitar. (Henry Ford:Driving::Leo Fender:Rocking.) Introduced in 1950 as the Esquire… assembled on a factory line from mass-produced interchangeable parts, sold in stores and catalogs, heard most often via media and broadcast for most music consumers, the 1966 Fender Telecaster is truly a Modern guitar.
And now you can buy it with a Sex Pistols credit card. Nope, looks like they’re sold out. Sorry, you’ll just have to buy your identity somewhere else.
An article at Scientific American draws attention to the environmental cost of the commodification of flowers as a symbol of love. Carolyn Wheelan writes:
[Roses] are… fragile and almost always flown to the U.S. from warmer climes in South America, where roughly 80 percent of our roses take root; to warm the hearts of European sweethearts, they are most often imported from Africa. They are then hauled in temperature-controlled trucks across the U.S. or the Continent and locked up overnight in cold boxes before their onward journey to the florists of the world… sending the roughly 100 million roses of a typical Valentine’s Day produces some 9,000 metric tons of carbon dioxide (CO2) emissions from field to U.S. florist.
When flowers aren’t shipped in to cooler climates, they must be grown in greenhouses, like the Yuzhny Greenhouse Farm in Russia pictured above. Some flower farms take the form of vast arrays of greenhouses that use energy to maintain a microclimate out of synch with the climate in which they are situated.
The SciAm article does a good job of pointing out that not all flower farms are equal and there are lots of more and less environmentally- and socially-conscious choices.Fair trade, worker-conscious, organic, and otherwise environmentally-friendly flower companies claim to offer an alternative. Florverde, for example, advertises its flowers as “for the earth, for the workers, for you”:
In her now-classic books The Sexual Politics of Meat and The Pornography of Meat, Carol Adams analyzes similarities in the presentation of meat products (or the animals they come from) and women’s bodies.
She particularly draws attention to sexualized fragmentation — the presentation of body parts of animals in ways similar to sexualized poses of women — and what she terms “anthropornography,” or connecting the eating of animals to the sex industry. For an example of anthropornography, Adams presents this “turkey hooker” cooking utensil:
Adams also discusses the conflation of meat/animals and women–while women are often treated as “pieces of meat,” meat products are often posed in sexualized ways or in clothing associated with women. The next eleven images come from Adams’s website:
For a more in-depth, theoretical discussion of the connections between patriarchy, gender inequality, and literal consumption of meat and symbolic consumption of women, we highly encourage you to check out Adams’s website.
This type of imagery has by no means disappeared, so we’ve amassed quite a collection of our own here at Sociological Images.
IndianFeminist sent in this example from India for a Mango flavored drink called Slice. “The brand ambassador,” our reader writes, “is Katrina Kaif, undoubtedly India’s most popular actress.” The ad puts her inside the bottle and merges her with the liquid, then offers her as a date.
An ad I found for I Can’t Believe It’s Not Butter turns Spraychel into a female politician:
Blanca pointed us to Skinny Cow ice cream, which uses this sexualized image of a cow (who also has a measuring tape around her waist to emphasize that she’s skinny):
Mustard and ketchup make up a “sexy” woman (from Las Vegas Living):
Are you hungry for some lovin’, er, lunchin’? Do you have an all-American appetite for chick(en)s? Or are you secretly ravenous for pig? We think we might have just the thing to satisfy your lust for breast, thigh, and rump:
Amanda C. sent in this sign seen at Taste of Chicago:
Dmitiriy T.M. sent us this perplexing Hardee’s French Dip “commercial.” It’s basically three minutes of models pretending like dressing up as French maids for Hardees and pouting at the camera while holding a sandwich is a good gig:
Dmitriy also sent us this photo of Sweet Taters in New Orleans:
Jacqueline R. sent in this commercial for Birds Eye salmon fish sticks:
Crystal J. pointed out that a Vegas restaurant is using these images from the 1968 No More Miss America protest in advertisements currently running in the UNLV campus newspaper, the Rebel Yell. Here’s a photo from the protest:
Last week we saw a range of responses break out in reaction to this video: “F-Bombs for Feminism: Potty-Mouted Princesses Use Bad Word for Good Cause.”
Some commenters fell immediately into the “cursing = bad” camp and are offended by the language, but for those not turned off, the other initial reaction seems to be glee. There’s an “I can’t believe they’re saying that!” kind of catharsis that accompanies watching little girls drop f-bombs all over the place and show some righteous rage over the injustices they are bound to face due to gender inequity. What seems less present in the general reaction, and concerns me the most, is how these girls — and these causes — are fundamentally being leveraged by a T-shirt company.
For years I’ve written about what I call “fauxpowerment” — the “rah-rah, you go girl,” feel-good phrases and gestures that are meant to pump girls up with confidence or a newly varnished sense of self-esteem (often enough through a makeover) but, in fact, undermine any real confidence building as these messages reinforce that girls’ looks are paramount or that a quick, pink band-aid slapped over a deep wound makes everything better. For those in the Girls’ Studies community or who work at well-developed programs designed just for girls, these attempts are not only insultingly facile, they are understood to be downright harmful and counterproductive. Worst of all is seeing corporations leverage girls for commercial purposes, a tradition, maddeningly, that seems ongoing. That’s the category in which I would put the “Potty-Mouthed Princesses” advertisement — what it fundamentally is.
FCKH8, the company behind the ad, initially responded positively to my queries about their intentions, what charities they are donating proceeds of each sale to, and if the girls in the video were tightly scripted or had any input into the video, but I have not heard back again. I hope to update this post if I do. On their home page they cite their mission as being a “for-profit T-shirt company with an activist heart and a passionate social change mission: arming thousands of people with pro-LGBT equality, anti-racism and anti-sexism T-shirts that act as ‘mini-billboards’ for change.”
Their T-shirt slogans are meant to be provocative, and in some cases, it seems, also plagiarized, as the Feminist Majority Foundation has had an ongoing “This is What A Feminist Looks Like” campaign since 2003, with President Obama in the shirt on their 2009 cover. More recently, FCKH8 came under fire for allegedly exploiting the events in Ferguson to sell their antiracism gear.
A quick look on the FCKH8 website reveals they barely sell T-shirts in children’s sizes. So, why use child-models in what is essentially an ad? The answer seems painfully obvious. Anxiety about girls is pervasive in American society, if manifested through various channels. The value of seeing girls, in princess costumes no less, letting loose about the gendered inequities they face, never mind parade across the screen asking which one of them will inevitably be raped in her lifetime, is designed to shock. FCKH8 is tapping into a cultural zeitgeist by putting girls in princess costumes and then breaking with stereotype by having them swear up a storm and shout out their fury, complete with very adult-like, fed-up gestures and the waved middle finger.
The reaction FCKH8 has carefully cultivated is the drama that results from presenting such high contrasts — furious princesses calling out the system in which they are entrapped, flipping off the patriarchy, and angrily speaking out. The power of seeing this dramatized speaks to how coded and closed these systems are — “little girls” under most circumstances would hardly be allowed to swear with such abandon, if they even wanted to.
Is there something cathartic about hearing these injustices called out and denounced with anger? There is. For those furious about gender inequality it can be gratifying hearing these issues called out — when the adult women in the ad step forward. This isn’t how most girls under 10 would speak and the girls used, albeit likely paid models or actresses taking on a role, are props. While many commenters reported that their (usually teenage) daughters expressed delight at seeing girls let loose with things they cannot say — again a moment that reveals how girls are stifled — there is hardly any empowerment when the girls didn’t write these scripts themselves and are, fundamentally, co-opted into a purportedly radical company’s for-profit campaign through their “walking billboards” which work to questionable effect.
I‘ve always loved Peggy Orenstein’s coined phrase “empowertainment” — a moment when companies use a generic sense of “sisterhood” or a cheery pro-girl message to essentially sell products. The criticism of this practice is (necessarily) ongoing and FCKH8, a company that I’m certain will defend its practices as radical and empowering, is doing exactly this. In Andi Zeisler’s excellent round-up of the history of “femapowerment” or, as she coins it, “empowertising,” she calls out the companies that, beyond girls, are co-opting feminism — or their brand of it — to essentially sell products.
Criticism of the company has been swift, and wide, but the click-bait appeal of this video will probably outnumber its detractors. A few years back the video “Riley on Marketing” went viral as the outraged Riley decried the limitations imposed upon her by gendered marketing. There was nary an f-bomb in the mix. This was a real girl, speaking out unscripted about the injustices she knows. The authenticity in her voice and in her message garnered almost 5 million YouTube views and carries far more power than FCKH8′s gimmicky, egregious act.
While preparing a lecture on sex tourism, I ran across this video about men who have sex with female tourists in the Caribbean:
There’s a lot of interesting stuff going on there, no? I was fascinated by the female hotel owner who talks about the men “preying” on the female tourists, clearly placing the power in the hands the men who, she argues, use the female tourists for money but don’t really care about them. I tried to imagine someone talking similarly about female sex workers “preying” on foreign men’s need for affection and attention.
This might make for a great discussion about perceptions of sexual agency: how do gendered sexual norms, economic differences, and the different races and nationalities of the individuals involved affect how we think of their interactions and who we see as the victim?
In her chapter on sex tourism in Race, Ethnicity, and Sexuality), sociologist Joane Nagel discusses the role of racialized sexualities in making some groups attractive tourists looking for an ethnosexual adventure. In the Caribbean, dark-skinned men with dreads are particularly attractive to some female tourists because of stereotypes of Black men as extremely sexual and masculine, which plays into fantasies of being swept away by a strong, skilled lover. At the same time, White Western women may represent the possibility of a better life (through continued gifts of money even after the vacation is over) and sexualized adventures to the men they sleep with while on vacation. Nagel argues that these encounters generally reinforce, rather than challenge, existing racial and gender inequalities, since they play on stereotypes of sexualized Others as animalistic, primitive, and, in the case of men, as super-masculine (and super-endowed).
Then again, Nagel also questions whether any relationship between tourists and “local” men should count as sex work. The individuals involved don’t necessarily think of their interactions in those terms. And who is to decide if a particular situation is “sex tourism” as opposed to a “real” relationship? How does that assumption invalidate the possibility that Black men and White women might have real, meaningful relationships? Or primarily sexual relationships, but with both partners respecting the other?
Originally posted in 2009.
Gwen Sharp is an associate professor of sociology at Nevada State College. You can follow her on Twitter at @gwensharpnv.
Below is a remarkable commercial in which a white woman is told that if she buys Pampers, the company will donate vaccines to children in other countries. Thanks to Kenjus W. for the submission.
It is an example of “activism by purchase,” which we have discussed at length on this blog. Apparently Pampers will only help keep babies alive if you buy their product. How nice of them.
It’s also a fascinating example of the way in which white Westerners are seen as rescuing the rest of the world. This white mother with her white baby represent the West (erasing the diversity of people who live there). And she and her baby are counterposed to all the other mothers and their babies representing different racial groups (which are assumed to be coherent categories, even continents).
In the narrative of this commercial, all women are bonded by virtue of being natural nurturers of babies (and I could take issue with that, too), but the white Western woman is the ultra-mother. They may be sisters, but there are big and little sisters in this narrative. The babies run to her as if drawn to her ultra-motherhood and she treats them all, just for a moment, as if they were her very own.
Pampers wants you to think, of course, that when you buy a pack of Pampers, you are “helping” Other mothers and can save those Other babies.
This is just another manfestation of an old colonial belief, the white man’s burden, or the belief that white men had to take care of the rest of the world’s people because they were incapable of taking care of themselves.