Sociological Images

Dieting is for women.

I mean we all know that dieting and women go together like peas and carrots.  We know this — collectively and together, even if we don’t agree that it should be this way – not because it’s inevitable or natural, but because we constantly get reminded that women should be on diets and dieting is a feminine activity.

@msmely tweeted us a fabulous example of this type of reminder.  It’s a reduced fat block of Monterey Jack cheese, re-named “Monterey Jill.”  There’s curvy purple font and a cow in pearls with a flower, in case you missed the message.  And, oh, on the odd chance you thought that this was about health and not weight, there’s a little sign there with a message to keep you on track: “Meet Jack’s lighter companion.”

So now we’ve gendered cheese and managed to affirm both the gender binary  (heavy vs. light), heterocentrism (Jack’s companion Jill), and the diet imperative for women.  And it’s just cheese people!  Cheese!

That is all.

Cross-posted at VitaminW.

In 2006, The Walt Disney Company bought the computer-animated feature film powerhouse Pixar.  This makes the lead of their most recent movie, Brave (2012), not just a princess, but a Disney Princess.  Merida is having a royal coronation at the Magic Kingdom this morning.

For her coronation, the princess has gotten a good ol’ Disney makeover. On the left is the new Merida (“after”) and on the right is the old Merida (“before”).  Notice any differences?

Here are the ones that I see:

• Sleeker, longer hair with more body
• Larger eyes and more arched eyebrows
• Plumper lips
• A thinner waist
• More obvious breasts
• An overall more adult and less adolescent appearance
• Lighter colored and more ornate gown
• A lower cut neckline that also shows more shoulder
• Perhaps most symbolically, her bow and arrows have disappeared in favor of a fashionable belt

We’ll add the new Merida to our always-growing collection of toys and logos that have received sexy make-overs.  You’ll love this Pinterest page, featuring a surprising set of newly sexy characters, including Care Bears, Polly Pockets, Holly Hobbie, Strawberry Shortcake, My Little Pony, Rainbow Brite, Cabbage Patch Kids, Dora the Explorer, and the Trollz.

Clearly depicting a sexual encounter between two women, this billboard — posted on Doheny Drive in Los Angeles — looks like it would undermine heteronormativity: an invisibility of same-sex sexual and romantic relationships.

In fact, I don’t think it does.  For one, the aim of the advertisement is to appeal to male consumers. The women’s appearance is in conformity with the demands of the hypothetical heterosexual male gaze.  They have long groomed hair and are wearing sexy lingerie and make-up. They are arching their backs and sticking out their busts and butts. The performance of male gaze-compliant femininity is clear, making the male viewer an implicit part of the advertisement.  This enforces heterosexuality and promotes heternormativity instead of undermining it.

Moreover – and stay with me here – that implicit male manifests himself symbolically in the shaft of the champagne bottle.  The woman’s hand gripping the bottle turns this image into a depiction of a threesome rather than a lesbian encounter. This billboard, then, reinforces heterosexuality instead of disrupting it.

Cross-posted at Osocio.

We’ve been covering the saga of Russian protest punk group Pussy Riot for over a year now. The feminist collective performed guerrilla musical protests around Russia against Vladimir Putin. One in particular, in a church, ended with members Nadezhda Tolokonnikova and Maria Alyokhina sentenced to two years imprisonment for “hooliganism motivated by religious hatred”. The human rights implications of this sentence attracted much worldwide attention, with Amnesty International and celebrities like Sting, Yoko Ono and Madonna speaking out for the women.

But something else happened. The “Free Pussy Riot” movement, with its iconic knitted balaclavas and provocative language, became a popular meme. The cause célèbre was even appropriated by the fashion industry.

Which is what makes this video by Blush lingerie an intriguing conundrum. While it legitimately promotes the freepussyriot.org fundraising site to help the women, it is also promoting a product using a woman’s sexuality as the bait:

On the first anniversary of the Pussy Riot concert in the Cathedral of Christ the Savior, the Berlin based Lingerie label blush supports the free pussy riot movement with a sexy protest march through icy Moscow (-15° C). Support Freepussyriot.org!

This is no Femen action, in which women’s bodies become weapons of protest. It is a commercial for sexy underwear that pays for its appropriation of a radical feminist cause by directing people to that cause.

Is this irony?

Tom Megginson is a Creative Director at Acart Communications, a Canadian Social Issues Marketing agency. He is a specialist in social marketing, cause marketing, and corporate social responsibility. You can follow Tom at workthatmatters.blogspot.com.

In an article titled “Egos Inflating Over Time,” psychologist Jean Twenge and her colleagues show that rate of narcissism among U.S. college students has risen significantly. Narcissism is a “positive and inflated view of the self.” Narcissists are attention-seeking extroverts who have a high opinion of their value, importance, and physical attractiveness. They feel entitled to admiration from others and may act aggressively if they don’t receive the attention they feel they deserve.

Twenge and her colleagues found a 30% increase in narcissism between 1979 and 2006; almost 2/3rds of college students in the mid-2000s were above the mean score reported in the early ’80s.

I can’t help but think of her research every time I see this commercial for the iPhone 5:

What strikes me is the message that every moment of our lives is so amazing that it would be a horrible shame to not share it with everyone:

We can share every second… a billion roaming photojournalists uploading the human experience, and it is spectacular…

And that we should feel entitled to the technological ability to share ourselves:

I need to upload all of me.  I need — no, I have the right — to be unlimited.

Wow. I mean, that’s some pretty serious self-importance there.

Twenge and her colleagues argue that the increase in narcissism is related to the fact that American culture has increasingly celebrated individualism.  This is exactly the kind of message that they might point to as reflecting the cultural dimension of this personality shift.

Cross-posted at Montclair SocioBlog.

In the Pittsburgh of my youth many decades ago, Rolling Rock was an ordinary, low-priced local beer – like Duquesne (“Duke”) or Iron City. (“Gimme a bottle of Iron,” was what you’d say to the bartender.  And if you were a true Pittsburgher, you pronounced it “Ahrn.”).  The Rolling Rock brewery was in Latrobe, PA, a town about forty miles east whose other claim to fame was Arnold Palmer. The print ads showed the pure sparking mountain stream flowing over rocks.

That was then.  In the late 1980s, Rolling Rock started expanding – geographically outward and socially upward.  Typically, when ideas and fashions diffuse through the social class structure they flow downward. Less frequently, the educated classes embrace an artifact of working-class culture. But why?  Their conspicuous consumption (or “signalling,” as we now say) is saying something, but what ideas about themselves and the social landscape are they expressing with their choice of beer?

I had an e-mail exchange about that question with Keith Humphreys, who blogs at The Reality-Based Community.  He too grew up in western Pennsylvania, and we both recalled being surprised years later to see Rolling Rock as a beer of choice among young stock traders and other decidedly non-working-class people.  But we had different ideas as to what these cosmopolitans thought they were doing.  Keith saw it as their way of identifying with the working class.

Those of us who grew up near Latrobe, Pennsylvania are agog when upscale hipsters who could afford something better drink Rolling Rock beer as a sign of their solidarity with us.*

I was more skeptical.  I saw it as the hipsters (or before them, the yuppies) trying to be even more hip – so discerning that they could discover an excellent product in places everyone else had overlooked.  Rolling Rock was a diamond in the rough, a Jackson Pollock for $5 at a yard sale.  The cognoscenti were not identifying with the working-class. They were magnifying the distance.  They were saying in effect, “Those people don’t know what a prize they have.  But I do.”

I had no real data to support that idea, so I asked Gerry Khermouch, who knows more about beverage marketing than do most people.  His Beverage Business Insights puts out industry newsletters, and he writes for Adweek and Brandweek.  He’s also beverage buddies with the guys who changed Rolling Rock marketing.  Here’s what he said,

[F]ar from expressing solidarity with the working class, urban drinkers far afield regarded it as an upscale icon in much the way that Stella Artois has claimed today — a triumph of pure marketing.

One ad campaign in the 90s, “Subtle Differences,” aimed directly at the drinker’s connoisseur fantasies.  Here are two examples:

It’s the little nuances that make life more interesting. Rolling Rock uses slightly more malt than other domestic golden lagers for a refreshing taste that’s got a little more body, a little more bite. If you’ve noticed, we salute you.

Words like nuance were hardly an appeal to solidarity with the working-class.  Neither was the strategy of raising the price rather than lowering it.

To the marketers, the nuance, the malt, bite, and body didn’t count for much.  Their big investment was in packaging.  Instead of stubby bottles with paper labels, they returned to the long-necked, painted-label bottles with the mysterious “33” on the back. Apparently, the original packaging, the  “Old Latrobe” reference, and the rest added notes of working-class authenticity.

As for the actual beer inside those bottles, it may have once been what the ad copy said.  The brewers had tried to overcome the “watery” image from the beer’s early water-over-the-rocks imagery.  But when Anheuser-Busch bought the company in 2006, they closed the Latrobe brewery, and Rolling Rock became a watery, biteless product indistinguishable from the other innocuous lagers that dominate the US market.

* This was an aside in a post about the future of the marijuana market.  See also our post about the resurgence of Pabst Blue Ribbon.

Cross-posted at Hawkblocker.This Dove commercial for hair dye is just fascinating.  It features a woman talking about what color means to her.  She observes that color is sensual, drawing connections between certain colors and the feeling of a cool breeze, the sun on one’s skin, a taste on one’s tongue, and more.  She says colors are moods: blonde is bubbly, red is passionate. The voice-over explains that dying her hair makes life “more vivid” and makes her want to laugh and dance.  She does it to invoke these characteristics.

She then explains that she’s blind.  The commercial uses her blindness to suggest that hair dye isn’t about color at all.  It’s about the feeling having dyed hair gives you, even if you can’t see the color.  ”I don’t need to see it,” she says, “I can feel it.”

By using a woman who is (supposedly) blind, the commercial for hair dye uses the element of surprise to detach the product from the promise.  The sole purpose of hair dye is changing how something looks, but this ad claims that the change in appearance is entirely incidental.  Instead, dying one’s hair is supposed to make all of life more vibrant, every moment incredibly special, every pleasure more intense, and fill you to the brim with happy emotions.  It’s completely absurd.  Fantastically absurd. Insult-our-intelligence absurd.

And yet, it’s also exactly what nearly every other commercial and print ad does.  Most ads promise — in one way or another — that their product will make you happier, your life brighter, and your relationships more magical.  The product is positioned as the means, but not an end.   Most hair dye commercials, for example, promise that (1) if your hair is dyed to be more conventionally beautiful, (2) you will feel better/people will treat you better and, so, (3) your life will be improved.  This ad just skips the middle step, suggesting that chemicals in hair dye do this directly.

So, I’m glad to come across this utterly absurd commercial. It’s a good reminder to be suspicious of this message in all advertising.