violence

Democratic members of the US House of Representatives sat in on the floor of the House, demanding recorded votes on gun control measures. Rep. John Lewis (Georgia) made the speech that launched the effort, and was framed at the center of most of the photos; after all, he has an unrivaled record for participating in such efforts that dates back to the sit-in movement of 1960.

Click image to watch the video:

They’re grandstanding, hoping to the play to the crowd by violating the norms and rules of the House where, under normal circumstances, a member of the minority party can’t do much on matters of policy. Appealing to the public is their best shot to get a vote, but it’s not a very good one; and it’s extremely unlikely that anything gun control advocates in the House want could win majority support in that body. The members sat on the floor in the well of the House, likely the most comfortable surface Rep. Lewis has ever protested on, without much fear of arrest or violence. The presiding officer, always from the majority party, adjourned the session, turning off CSPAN’s cameras – seeking to deny Democrats the audience they seek. But the protesters are livestreaming on a variety of social media. It’s not quite so easy to control the flow of images and information anymore.

The Democratic revolt in the House is yet another response to the mass shooting in Orlando, which once again reminded Americans – and their representatives – that it’s very easy for dangerous people you don’t like to get powerful weapons. The sit-in is also an attempt to escalate the political conflict and make more of the generally fleeting moment of public attention that follows such a tragedy. We’ve all seen it many times before: a mass shooting captures public attention and sets the agenda, but only briefly, and a familiar political ritual plays out: Advocates of gun control hold vigils and make speeches; advocates of gun rights mostly stay silent on matters of policy, and offer thoughts and prayers for the victims and their families. And the moment passes.

In normal political life, when  everyone isn’t talking about guns all the time, the gun rights side of the debate enjoys a substantial advantage, particularly visible in the National Rifle Association, which deploys more money, more active membership, and calls upon more well-positioned allies than its opponents, who come and  go. Gun control advocates have been “outgunned, outmanned, outnumbered, outplanned” (to quote Hamilton).

Since the tragic massacre of school children in Newtown, Connecticut, gun control advocates have been building organizations and  an infrastructure for action. They have been better able to exploit the moment of a massacre, and less willing to allow their opponents to stall until concern passes.

Last week, Senator Chris Murphy, who previously represented Newtown in the House, staged a filibuster of sorts in the Senate, monopolizing the floor while standing, not sitting, and talking about the need for action. In the upper house, a Senator can hold the floor as long as he can stand and talk. Most Democrats, and a couple of Republicans, joined Senator Murphy for part of 15 hours, offering sympathetic questions and taking up some of the talking. The leadership agreed to hold votes on four gun control bills, and Murphy stopped talking. The next day, the Senate rejected all of them.

Movement on policy? Not so much, and not so fast, but all of this sets up further contest in the November elections.

Meanwhile, other advocates are prospecting another strategy that operates with different rules and on an alternative schedule. Parents of some of the massacred students at Sandy Hook Elementary School have filed a product liability suit against Remington Arms, the company the  manufactures and markets the AR-15 Bushmaster, the weapon used in the mass murder. (See Evan Osnos’s report at The New Yorker.) By pursuing their argument about deceptive marketing, they hope to publicize the workings of the arms industry, contributing to a political debate that’s only slowly emerging. America offers many outlets for people to try to organize for change, none of them very easy or fast.

Nothing gun control advocates have tried has affected national policy for more than twenty years. As public concern and political resources grow, however, they keep trying to innovate new approaches, hoping that something works before the next time.

David S. Meyer, PhD, is a professor of sociology and political science at the University of California, Irvine. He blogs at Politics Outdoors, where this post originally appeared, and where he offers comments on contemporary events informed by history and the study of social movements. 

Police brutality is a problem in US criminal justice. Police-worn body cameras are one potential “remedy” to these violent encounters, but they have both benefits and drawbacks. The cameras may increase transparency and improve police legitimacy, promote legally compliant behavior among both police officers and citizens; enhance evidence quality that can improve resulting legal proceedings; and deter officers’ use-of-force. Conversely, body-worn cameras could create privacy concerns for the officer and the citizenry and place a large logistical and financial burden on already cash-strapped law enforcement agencies.

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This issue is so timely that research is only now starting to see publication, but we do have some early insights. The first observational studies examining the use of police-worn body cameras were carried out in England and Scotland. They found rates of citizen complaints dropped after body cameras were introduced. Preliminary results from an experimental study in Phoenix, Arizona also suggest that the use of body cameras reduces both self-reported and official records of citizen complaints.

The first experimental evidence concerning use-of-force comes from a large study in the Rialto, California Police Department, and the results should encourage advocates of body cameras. The study randomly assigned particular police shifts to wear body cameras (the “treatment”). Police shifts in the treatment condition are associated with reduced use-of-force and citizen complaints against the police were significantly reduced. Shifts in the control condition, in contrast, saw roughly twice as much use-of-force as the treatment condition.

The research so far suggests that body cameras are a promising way to reduce unnecessary use of force.

Ryan Larson is a graduate student studying the sociology of crime at the University of Minnesota. His research interests extend to statistics, sport, and media. He writes for and is on the Graduate Editorial Board of The Society Pages. This post originally appeared at There’s Research on That! 

Over at Politics Outdoors, sociologist and political scientist David Meyer has argued that Trump is a charismatic leader. The idea comes from Max Weber, widely seen as a founding father of sociology, who argued that there are three types of authority: traditional, legal, and charismatic. Traditional authority derives its power from custom, legal from bureaucracy, and charismatic from cult of personality.

Weber argues that charismatic leaders are seen as somehow superhuman, exemplary, or ordained. They are different than the average human with exceptional qualities that can be depended upon to ensure that everything they do will be right. It is because Trump is a charismatic leader that he can say “trust me” and give few details as to his priorities or policies, even on something as serious as foreign conflict. It’s why he can say, when asked who he’s consulting: “I’m speaking with myself, number one, because I have a very good brain and I’ve said a lot of things.”

His followers don’t need to know what he might do or who he might listen to because they believe in him, not what he stands for. That’s why it makes sense to them to pledge allegiance to Trump instead of the flag.

Meyer adds that charismatic leaders are especially attractive during “turbulent times.” “[F]ew people would be willing throw in with someone who obviously lacks all of the qualities for the job he seeks,” Meyer writes, “unless times were truly desperate.” This is part of why Trump’s constant emphasis on inept politicians, broken policies, and the threat of terror and immigration works in his favor. Even his slogan, “Make American Great Again,” ominously implies that we are no longer great.

Charismatic authority is also, paradoxically, unstable. While followers tend to believe their leader to be infallible, the moment they no longer believe so, his power has vanished. At that time, movements either fall apart or find a charismatic successor. If Trump stumbles enough to reveal a weakness, and his supporters are willing to see it, this particular anti-establishment movement could disappear and more quickly than one might think. Unless, of course, they find someone who can step into Trump’s shoes.

Cross-posted at Pacific Standard.

Lisa Wade, PhD is an Associate Professor at Tulane University. She is the author of American Hookup, a book about college sexual culture; a textbook about gender; and a forthcoming introductory text: Terrible Magnificent Sociology. You can follow her on Twitter and Instagram.

Yesterday was Super Sunday here in New Orleans, the one day each year that the Mardi Gras Indian tribes come together to be seen by the wider community. The tradition dates back to at least the mid-1800s, belonging to the African American population of New Orleans. Today there are over two dozen Mardi Gras Indian tribes.

Here’s a snippet from my Instagram (click to watch with sound):

A video posted by Lisa Wade (@lisawadephd) on Mar 20, 2016 at 11:16am PDT

Indian tribes mask together groups, often family and pseudo-kin. It used to be an all-male activity, but now women are heavily involved (as “big queens” to the male “chiefs”), and children make regular appearances. Their tough faces are part of the performance, as one of the most well-known mottos of the Indians is “Won’t bow, don’t know how.” These are some of my photos:

Originally the intent was to honor the local Native Americans who took in and rescued escaped slaves in the mid-1700s, though they probably took some inspiration from the “Wild West”-style entertainment that was popular at the time. Until the ’60s, tribes sometimes engaged in violent conflict, but today they encounter each other in order to perform ritualized non-violent conflict resolution, fighting only over who is “prettiest.”

With the exception of Super Sunday, when the Indians go out, it’s not a show. It’s a tradition by and for their own communities and one has to be “in the know” to know where to see them. They’ve been largely left out of tourist attraction-type activities for this reason, and because they’re almost entirely African American and New Orleans has only recently embraced it’s multicultural history and present as part of its appeal.

Still, their elusiveness makes them tourist-resistant and even Super Sunday doesn’t attract many tourists because the event is rescheduled at any hint of rain (because, feathers).

Sociologically speaking, there are lots of fascinating directions to go from here — including the intersection of power, cultural borrowing, and the evolution of artistic vernacular — and I’ll try to get to them in future posts.

Lisa Wade, PhD is an Associate Professor at Tulane University. She is the author of American Hookup, a book about college sexual culture; a textbook about gender; and a forthcoming introductory text: Terrible Magnificent Sociology. You can follow her on Twitter and Instagram.

Law professor and critical race scholar Kimberlé Crenshaw developed the term” intersectionality” to draw attention to the way that all of our socially salient identities work together to shape the stereotypes that apply to us. The experience of being black, for example, is shaped by gender, just as the experience of being a man is shaped by race.

Once a person has internalized an intersectional lens, the old model — epitomized by the famous phrase “all the women are white, all the blacks are men” — can be jarring. It has a way of making certain kinds of people and their experience invisible. In the above case, women of color.

At this weekend’s debate, Bernie Sanders made exactly one of these jarring statements in response to an inquiry about “racial blind spots.”

When you’re white, you don’t know what it’s like to be living in a ghetto. You don’t know what it’s like to be poor. You don’t know what it’s like to be hassled when you walk down the street or you get dragged out of a car.

I imagine poor white people, middle class blacks, and women everywhere sat up and were like “What!?”

Author Joy Ann Reid noted on twitter that Sanders was conflating race and class, making poor white and middle and upper class black people invisible. Most African Americans are not poor and most poor people are white. She noted, as well, that white immigrants have lived in what we call the “ghetto” for much of American history.

I’ll add that one doesn’t need to be black to get hassled when walking down the street, as most women of all races can attest. Or, for that matter, how about being a feminine-presenting or gender queer man? And being dragged out of a car is something that happens to black people who are being accosted by the police, but also those who are being victimized by violent boyfriends or husbands.

Ironically, Sanders was saying that his racial blind spot was not being able to fully understand the black experience, but he revealed a different blind spot: intersectionality.

The comment starts at about a minute, twenty seconds:

Lisa Wade, PhD is an Associate Professor at Tulane University. She is the author of American Hookup, a book about college sexual culture; a textbook about gender; and a forthcoming introductory text: Terrible Magnificent Sociology. You can follow her on Twitter and Instagram.

On Mardi Gras mornings before dawn, members of the North Side Skull and Bones Gang prowl the streets. It’s a 200 year old tradition belonging to African American residents of the city. They first prowled in 1819.

Members of the gang dress up like ominous skeletons. At nola.com, Sharon Litwin writes:

Because the origins of the Gang were with working class folk who had little money for silks and satins, the skeleton suits are made from everyday items and simple fabrics. Baling wire (to construct the shape of the head) along with flour and water to bind together old newspapers, create the head itself.

Their message is to “warn [people] away from violence” — says the North Side Chief, Bruce “Sunpie” Barnes — especially young people, and especially gun and domestic violence. He explains:

The bone gang represents people… waking people up about what they’re doing in life, if they don’t change their lifestyle. You know. We’re like the dead angels. We let you know, if you keep doing what you’re doing, you’re gonna be with us.

Up before most residents, members of the gang cause a ruckus. They sing songs, bang on doors, and play-threaten their neighbors.

Here’s some footage:

Lisa Wade, PhD is an Associate Professor at Tulane University. She is the author of American Hookup, a book about college sexual culture; a textbook about gender; and a forthcoming introductory text: Terrible Magnificent Sociology. You can follow her on Twitter and Instagram.

Following the recent mass shooting in Charleston, South Carolina on June 17th, 2015 – a racially motivated act of domestic terrorism – President Barack Obama delivered a sobering address to the American people. With a heavy heart, President Obama spoke the day following the attack, stating:

At some point we as a country will have to reckon with the fact that this type of mass violence does not happen in other advanced countries. And it is in our power to do something about it. I say that recognizing that politics in this town foreclose a lot of those avenues right now. But it would be wrong for us not to acknowledge.

President Obama was primarily referring to gun control in the portion of his speech addressing the cause of attacks like this. Not all mass shootings are racially motivated, and not all qualify as “terrorist” attacks — though Charleston certainly qualifies.  And the mass shooting that occurred a just a month later in Chattanooga, Tennessee by a Kuwati-born American citizen was quickly labeled an act of domestic terrorism. But, President Obama makes an important point here: mass shootings are a distinctly American problem. This type of rampage violence happens more in the United States than anywhere else. And gun control is a significant part of the problem. But, gun control is only a partial explanation for mass shootings in the United States.

Mass shootings are also almost universally committed by men.  So, this is not just an American problem; it’s a problem related to American masculinity and to the ways American men use guns.  But asking whether “guns” or “masculinity” is more of the problem misses the central point that separating the two might not be as simple as it sounds.  And, as Mark Follman, Gavin Aronsen, and Deanna Pan note in the Mother Jones Guide to Mass Shootings in America, the problem is getting worse.

We recently wrote a chapter summarizing the research on masculinity and mass shootings for Mindy Stombler and Amanda Jungels’ forthcoming volume, Focus on Social Problems: A Contemporary Reader (Oxford University Press). And we subsequently learned of a new dataset on mass shootings in the U.S. produced by the Stanford Geospatial Center. Their Mass Shootings in America database defines a “mass shooting” as an incident during which an active shooter shoots three or more people in a single episode. Some databases define mass shootings as involving 4 shootings in a single episode. And part of this reveals that the number is, in some ways, arbitrary. What is significant is that we can definitively say that mass shootings in the U.S. are on the rise, however they are defined. The Mother Jones database has shown that mass shootings have become more frequent over the past three decades.  And, using the Stanford database, we can see the tend by relying on data that stretches back a bit further.

Additionally, we know that the number of victims of mass shootings is also at an historic high:

We also produced a time-lapse map of mass shootings in the United States illustrating both where and when mass shootings have occurred using the Stanford Geospatial Center’s database to illustrate this trend over time:

Our map charts mass shootings with 3 or more victims over roughly 5 decades, since 1966. The dataset takes us through the Charleston and Chattanooga shootings, which brought 2015 to 42 mass shootings . The dataset is composed of 216 separate incidents only 5 of which were committed by lone woman shooters. Below we produced an interactive map depicting all of the mass shootings in the dataset with brief descriptions of the shootings.

In our chapter in Stombler and Jungels’ forthcoming book, we cull existing research to answer two questions about mass shootings: (1) Why is it men who commit mass shootings? and (2) Why do American men commit mass shootings so much more than men anywhere else?  Based on sociological research, we argue that there are two separate explanations – a social psychological explanation and a cultural explanation (see the book for much more detail on each).

A Social Psychological Explanation

Research shows that when an identity someone cares about is called into question, they are likely to react by over-demonstrating qualities associated with that identity.  As this relates to gender, some sociologists call this “masculinity threat.”  And while mass shootings are not common, research suggests that mass shooters experience masculinity threats from their peers and, sometimes, simply from an inability to live up to societal expectations associated with masculinity (like holding down a steady job, being able to obtain sexual access to women’s bodies, etc.) – some certainly more toxic than others.

The research on this topic is primarily experimental.  Men who are brought into labs and have their masculinity experimentally “threatened” react in patterned ways: they are more supportive of violence, less likely to identify sexual coercion, more likely to support statements about the inherent superiority of males, and more.

This research provides important evidence of what men perceive as masculine in the first place (resources they rely on in a crisis) and a new kind evidence regarding the relationship of masculinity and violence.  The research does not suggest that men are somehow inherently more violent than women.  Rather, it suggests that men are likely to turn to violence when they perceive themselves to be otherwise unable to stake a claim to a masculine gender identity.

A Cultural Explanation

But certainly boys and men experience all manner of gender identity threat in other societies.  Why are American boys and men more likely to react with such extreme displays?  To answer this question, we need an explanation that articulates the role that American culture plays in influencing boys and young men to turn to this kind of violence at rates higher than anywhere else in the world.  This means we need to turn our attention away from the individual characteristics of the shooters themselves and to more carefully investigate the sociocultural contexts in which violent masculinities are produced and valorized.

Men have historically benefited from a great deal of privilege – white, educated, middle and upper class, able-bodied, heterosexual men in particular.  Social movements of all kinds have slowly chipped away at some of these privileges.  So, while inequality is alive and well, men have also seen a gradual erosion of privileges that flowed more seamlessly to previous generations of men (white, heterosexual, class-privileged men in particular).  Michael Kimmel suggests that these changes have produced a uniquely American gendered sentiment that he calls “aggrieved entitlement.”  Of course, being pissed off about an inability to cash in on privileges previous generations of men received without question doesn’t always lead to mass shootings.  But, from this cultural perspective, mass shootings can be understood as an extremely violent example of a more general issue regarding changes in relations between men and women and historical transformations in gender, race, and class inequality.

Mass shootings are a pressing issue in the United States.  And gun control is an important part of this problem.  But, when we focus only on the guns, we sometimes gloss over an important fact: mass shootings are also enactments of masculinity.  And they will continue to occur when this fact is combined with a sense among some men that male privilege is a birthright – and one that many feel unjustly denied.

Cross-posted at Feminist Reflections and Inequality by (Interior) Design.

Tristan Bridges and Tara Leigh Tober are sociologists at the University of California, Santa Barbara.   You can follow them on at @tristanbphd and @tobertara.

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.

Originally posted at Feminist Reflections and Inequality by (Interior) Design.

Tristan Bridges is a sociologist at the College at Brockport (SUNY) and CJ Pascoe is a sociologist at the University of Oregon. Pascoe is the author of Dude, You’re a Fag:  Masculinity and Sexuality in High School, and together they are the editors of Exploring Masculinities: Identity, Inequality, Continuity and Change.