Okay, so I’m short on time and more than a little bit intimidated by Beyonce and all her brilliance. But I grew up listening to country music, have long loved the Dixie Chicks, and I’ve been thinking so much lately about trying to cultivate cross-racial understanding and interactions in our culture that it seems like I need to say something about the remarkable rendition of “Daddy’s Girl” that was part of the CMA country music awards the other night. Fortunately, this new piece on the Atlantic entitled “What Beyonce’s ‘Daddy’s Lessons’ Has to Teach” says many of the things I’ve been thinking about. From the intriguing lack of media buildup, to Beyonce’s blending of feminism, religiosity, and guns, to the racial dynamics of the performers and some of the predictable (and easily repudiated) social media backlash, this piece has it all–and this isn’t even to mention the amazing musicality and rip-roaring entertainment value. Fortunately, there is a link to the performance embedded in the post. And in case you haven’t heard of any of this, here’s the lyrics to wet your appetite.
Came into this world
Daddy’s little girl
And daddy made a soldier out of me
(Oh, oh, oh)
Daddy made me dance
And daddy held my hand
(Oh, oh, oh)
And daddy liked his whisky with his tea
And we rode motorcycles
Blackjack, classic vinyl
Tough girl is what I had to be
He said take care of your mother
Watch out for your sister
Oh, and that’s when he gave to me…
With his gun, with his head held high
He told me not to cry
Oh, my daddy said shoot
Oh, my daddy said shoot
With his right hand on his rifle
He swore it on the bible
My daddy said shoot
Oh, my daddy said shoot
He held me in his arms
And he taught me to be strong
He told me when he’s gone
Here’s what you do
When trouble comes to town
And men like me come around
Oh, my daddy said shoot
Oh, my daddy said shoot
Oh, oh, oh…
Daddy made me fight
It wasn’t always right
(But he said girl it’s your second amendment, oh, oh, oh)
He always played it cool
But daddy was no fool
And right before he died he said remember…
He said take care of your mother
Watch out for your sister
And that’s when daddy looked at me…
With his gun, with his head held high
He told me not to cry
Oh, my daddy said shoot
Oh, my daddy said shoot
With his right hand on his rifle
He swore it on the bible
My daddy said shoot
Oh, my daddy said shoot
‘Cause he held me in his arms
And he taught me to be strong
And he told me when he’s gone
Here’s what you do
When trouble comes to town
And men like me come around
Oh, my daddy said shoot
Oh, my daddy said shoot
Oh, oh, oh
Oh, oh, oh
My daddy warned me about men like you
He said baby girl he’s playing you
He’s playing you
My daddy warned me about men like you
He said baby girl he’s playing you
He’s playing you
Cause when trouble comes in town
And men like me come around
Oh, my daddy said shoot
Oh, my daddy said shoot
Cause when trouble comes to town
And men like me come around
Oh, my daddy said shoot!
Oh, my daddy said shoot!
Well, we’ve got four days until the U.S. presidential election, and most of us are a mixture of nervous, excited, and exhausted. In preparation, see below for sociological takes on the candidates’ treatments of climate change, immigration, and “nasty women,” and follow us on social media to stay up to date throughout the week.
“Climate Change and the 2016 U.S. Presidential Election,” with Erik Kojola. Climate change has not been a major topic of the 2016 presidential debates, but the outcome of this election will have a major impact on climate change policies. We talk to J. Timmons Roberts, Riley Dunlap, and Eric Bonds about the political and social dynamics of climate change and what to expect from the presidential candidates in the coming months.
“Joel Best on the Creepy Clown Craze,” with Ryan Larson. What’s up with all the creepy clowns lately? Tune in to our new episode of Office Hours to find out how the recent “clown uprising” connects to our popular mythologies.
“Same-gender Sex Outside of the University,” by Allison Nobles. “Although women in less privileged positions may have fewer choices in how they identify, they likely face less pressure to match their identities with their behavior.”
Getting sociological research into public circulation is an ongoing challenge, especially when we are talking about sociologists writing in their own voice about their own original research. Obviously, we here at TSP see that as one of our primary missions, as does our fabulous partner, ASA’s Contexts magazine. But our resources and media penetration are extremely limited. Over the past few weeks, in fact, I’ve had several conversations with colleagues and students about how few venues exist wherein sociologists can reach a public audience in their own, original voice. Even our colleagues that contribute regularly to national media outlets are often explicitly and unceremoniously instructed not to write about their own research and findings.
Against this backdrop, it seemed almost magical when Elijah Anderson’s piece analyzing Donald Trump’s rhetoric about African Americans and inner-city neighborhoods popped into my feed a week or two back. The piece appeared on Vox under the title “The Sociological Theory that Explains Trump’s Assumption that All Black Citizens Live in the ‘Inner City’.” It is, of course, Anderson’s theories that we are talking about — or, rather, that he himself is sharing with a larger public audience.
Anderson’s jumping off point is the exchange that took place during the second presidential debate when Donald Trump responded to a question from a well-dressed African American man by launching into a riff on how terrible inner-cities are, assuming and implying that this man had come from a St. Louis ghetto. Essentially Anderson analyzes that moment as a way to explain how and why African Americans are so often profiled by other Americans and he does so through a larger discussion of his own theories and research on white spaces, black spaces, and the cosmopolitan canopy.
If you already know Anderson’s work, this will be a bit of a refresher course. If you don’t, it will be a nice introduction and primer to his ideas, which have been fairly widely discussed within the field (especially the notion of the cosmopolitan canopy). And either way, I think it is a rare and important treat to see a leading sociologist writing in their own voice and showing how their research and theories can be used for a broad, mainstream public audience.
Kudos to Professor Anderson, and kudos to Vox for providing such a format and opportunity.
Happy Friday! Whether you’re gearing up for the election, Halloween, or just a nice weekend where a little extra candy intake is likely to go unnoticed, we have some sociology on that. See below for our latest content and stop by for more!
“The Benefits of Reverse Outlines,” by Jack Delehanty. In the second installment of our Teaching Writing series, Jack offers some suggestions for integrating writing instruction with course content by using reverse outlines.
“Women in Law Enforcement,” by Amber Joy Powell. Research on female police officers suggests that they are less likely to use force, but are often expected to do more “emotional labor” than male officers.
Saturday Night Live has been having great fun with the presidential campaigns and debates all fall, with Alec Baldwin and Kate McKinnon headlining in the roles of Trump and Clinton. These skits have been entertaining to be sure, but they haven’t–at least in my opinion–plumbed the depths of social significance in the way that great, memorable, and truly meaningful comedy often achieves. Perhaps it is the source material. In any case, there was a bit this past week that I believe did achieve something quite powerful and sociologically insightful, even while being outrageously hilarious. I’m talking about the Black Jeopardy skit.
“Black Jeopardy” has been something of a recurring bit on the show. The concept is a play off of the quiz show that Alex Trebec has made famous where contestants must provide the questions that go along with various facts about culture, history, and science. In the SNL version of the game, the categories and questions are all based upon knowledge and information associated with black culture and/or unique in African American communities, and typically one of the three contestants–usually someone who is white–has little or no knowledge of any of this. The running gag is how obvious the answers and questions are for black contestants as opposed to the fish-out-of-water, racial other. What is both funny and revealing, then, are both the unique characteristics and distinctive knowledge of black culture and community (even the categories are often pretty funny but only if you have some knowledge of the culture) as well as what it is like to be a complete outsider. In short, Black Jeopardy is an almost straight-up inversion (and take down) of white culture and privilege.
In this week’s installment, the SNL crew inserted Tom Hanks into the mix. He plays an earnest if uncomfortable white, working-class contestant. The results were not only laugh-out-loud hilarious, but also revealed points of agreement–ranging from distrust of the government and anyone in power, to taking pride in thriftiness to a dislike of thin women–between members of the black community and erstwhile white Trump supporters. The unexpected points of agreement were the key to both the humor and the sociological insight. Such points of commonality are almost never realized or appreciated in our currently polarized, black versus white racial-political climate. The skit not only brought them to the fore, they made them funny.
You probably need to watch it for yourself to fully appreciate my point, and if you haven’t yet seen it, here’s a link.
But just to help underscore the brilliance of the concept and execution (and with a little help from my research assistant and TSP board member, Sarah Catherine Billups), here’s a condensed narrative of some of the best moments in the skit.
The Skit: Black Jeopardy with a Trump Player
“Whaddup, whaddup, whaddup! Welcome to Black Jeopardy—the only TV game show where the audience is in church clothes,” host Darnell Hayes (cast member Kenan Thompson) booms before introducing the contestants: Keely (Sasheer Zamata), Shanice (Leslie Jones), and Doug, a white guy sporting a “Make American Great Again” cap. One of these things is not like the other. Doug, played by guest host Tom Hanks, looks clearly out of place with his red cap, American flag and eagle t-shit under his blue denim work shirt and white goatee. All he’s missing is a shotgun and a Budweiser.
“Doug? Are you sure you’re ready to play Black Jeopardy?” Darnel asks with worry pushing his eyebrows to the ceiling.
“They told me a fella could win some money so let’s win me some money, GIT ‘R DONE,” Doug/Hanks explains kind of quietly.
The audience roars with laughter at this fish-out-of-water-fella as Darnell shrugs and then goes on to introduce the categories “Big Girls,” “You Better,” “Mm I don’t know,” “I’m Gonna Pray on This,” “They Out Here Saying,” and “White People.”
Keely and Shanice hit their buzzers with lightning speed to correctly answer the first few questions–which, as is the usual bit for this skit, plays off of the knowledge and experiences that are supposedly unique to the black community. When Doug nods his head in agreement to an answer and shares that he plays Monopoly Millionaires Club every week too, Darnell brushes him off.
Much to everyone’s surprise, however, Doug buzzes to the answer to the prompt: “They out here saying: the new iPhone wants your thumbprint ‘for your protection.’” He responds, a bit hesitantly, “No no, I don’t think so. That’s how they get’cha.”
“YES!…YES! That’s it!” Darnell points to him in shock. Did this white guy really just answer correctly?
Keely purses her lips, thinking for a second before nodding in agreement, “Yep. I don’t trust that.”
“Me either,” Shanice joins in. Both black women turn and look at Doug, fascinated but still a little cautious. “I read that goes straight to the government,” he says matter-of-factly.
“Yeah, not bad dog. The, the board is yours,” Darnell announces, his eyes still wide with newfound curiosity about this white guy in a bright red Trump hat.
Keely chooses the category “They Out Here Sayin” for $800: “They out here sayin’ that every vote counts.” This time, Doug buzzes in a bit more quickly. “What is ‘oh come on, they already decided that weeks ago–who’s gonna win even before it happens.”
“YES! YES! YES! YES!” Darnell shouts in excitement,” elaborating further himself, “The Illuminati figured that out months ago! That’s another one for Doug!” Is this really happening? Is Doug actually getting answers correct? The audience laughs as Doug says with new confidence, “Okay, we’re doin’ it.”
Next question: “The mechanic says you owe $250 for new brake lines.”
Doug rings in again! “What is ‘you better go to the dude in my neighborhood who’ll fix anything for $40.’”
“Oh, you know Cecil?!” Darnell asks as if Doug is a long lost cousin.
“Yeah, yeah. My Cecil’s name is Jim and he fixed my refrigerator, my air conditioner, and my cat,” Doug replies with pride.
“Yeah, everybody’s got a guy,” replies Darnell. “Wooo, you all right, Doug.” The audience applauds almost politely, with genuine appreciation.
Next, Doug selects the category “Big Girls” for $200. “Skinny girls can do this for you.”
“Doug?”
“What is ‘not a damn thing.”
This time the audience erupts in wild hoots and hollers as Darnell exclaims, “You damn right!”
“Yes! Yes!” Keely and Shanice agree. Shanice even gives him a high five. Both the women are smiling and nodding vigorously at this point, no longer looking at Doug like he’s a two-headed giraffe in the zoo.
“My wife—she’s a sturdy girl,” Doug explains.
“That is my MAN right there!” Shanice approves.
“Go Doug, Go Doug, Go Doug!” The host and the other contestants sing and dance to cheer for this white man getting the right answer, again!
As the fictional contest draws to a close, Darnell crosses his hand over his heart and says, “Doug. I got to say, it’s been a pleasure,”
“Well, right back at ya my buh-rau-thuh,” Doug replies in a somewhat uncomfortable attempt to return the complement and stay on common ground.
Now it’s time for the Final Jeopardy. What else does Doug know? Can he really win this thing? Is it possible that his knowledge and understanding is really on par with that of the black audience, host, and contestants? The audience is ready to find out, and waits for the final category to be revealed.
“Lives that Matter.”
“Oooooh” the audience grimaces and hesitates as Keely’s and Shanice’s eyes shoot daggers in Doug’s direction. Darnell smiles biting his lower lip, shrugs his shoulders, and shakes his head, “Well, it was good while it lasted, Doug.”
“Hey, I got lots to say about this—,“ Doug insists.
“I’m sure you do!” Darnell says. “When we come back, we gonna play the National Anthem just to see what the hell happens. We’ll be right back!”
As the screen fades out, we see Doug talking and gesturing wildly with his hands as Shanice watches, perplexed and Keely slowly wags her finger.
Final Analysis: There are other great moments in the skit of both unexpected commonality and obvious, if amusing, cross-racial tension that we’ve glossed over here. But the insights about race relations and American culture that I see so brilliantly, entertainingly represented and revealed in SNL’s Black Jeopardy can be easily summarized: the initial skepticism and distrust that defines so many inter-racial interactions in our culture; the points of common understanding about culture and society that may actually exist under the surface for some of us; and yet, ultimately, the existence of issues where there is almost certainly going to be a huge disconnect and major disagreements. Great concept. Brilliant execution. SNL and comedy at its sociological best.
Hello hello! We’ve got a great roundup for you this week, with numerous pieces offering sociological strategies and advice – from reducing gun violence, to freeing innocent prisoners, to getting a date on Tinder. See below for all that and more.
“Not so Natural Disasters,” by Erik Kojola. Hurricanes – so called natural disasters – are not simply the result of the weather but become “disasters” because of how society shapes people’s risks and how people prepare, adapt, and respond.
“Women in Male-Dominated Fields,” by Allison Nobles. Research on the ways women’s work is devalued highlights the hurdles that Hillary Clinton is up against as she attempts to enter a male-dominated field.
“Atheists Still ‘Other’?” by Amber Joy Powell. Despite an increased awareness of atheists and other non-religious people over the last decade, Americans still distance themselves from the non-religious.
“Indigenous Health,” by Allison Nobles. Social science researchers point to a number of social and historical factors that help explain why Native Americans and Alaskan Natives have lower life expectancies than any other U.S. racial group.
“From Glass Ceilings to Class Ceilings,” by Jacqui Frost. New research on Britain in the American Sociological Review finds that even when people who are from working-class backgrounds are successful in entering a high-status occupation, they earn an average of 17% less than individuals from privileged backgrounds in that same occupation.
“Hillary, Interrupted,” by Caty Taborda-Whitt. Research reveals the impetus behind Trump’s many interruptions during the first presidential debate and the gender inequality it perpetuates.
“When Public School Is No Longer Public,” by Elizabeth Tremmel. Are charter schools as “public” as they are defined to be? Sociologists find that they operate in legal gray areas, making their distinctions from public schools complicated.
“Gender-based Violence Against Men in Darfur,” by j. Siguru Wahutu. “Although this violence is in some ways about physical domination, it is primarily meant to symbolically dominate and denigrate both the victims and surviving community members.”
“Whose Nation, Whose Parks?” by Erik Kojola and Jacqui Frost. In conjunction with the recent centennial celebration of the National Park Service, we look to research on who actually gets the most out of national parks and the racial and ethnic inequalities their creation often stems from.
“Protesting Prison Conditions,” by Caity Curry. The recent prison protests highlight not only unpaid labor but also issues of dismal healthcare and high rates of suicide in prisons, as well as the overuse of solitary confinement.
“What Makes a ‘Successful’ Immigrant?” by Neeraj Rajasekar. “Unlike other immigrant groups whose parents are more likely to have college degrees, Mexican second-gen immigrants have experienced the most ‘success,’ overcoming the odds of often being the first person in their family to attend college.”
U.S. athletes Tommie Smith, center, and John Carlos stare downward during the playing of the Star Spangled Banner after Smith received the gold and Carlos the bronze for the 200 meter run at the Summer Olympic Games in Mexico City on Oct. 16, 1968. (AP Photo)
So Tommie Smith and John Carlos get to go to Washington, D.C. next week, to the White House, to be received by President Obama with the 2016 United States Olympic team. Who are they and why is this such a big deal?
Smith and Carlos are the American Olympians who raised their fists during the playing of the national anthem during the victory ceremony–their victory ceremony–at the Mexico City Games in 1968. The gesture remains one of the most iconic images in all of sport history, and it has been referenced frequently in recent months with the emergence of a whole new era of African American athletic activism.
My first book was on Smith and Carlos and their demonstration, and over the course of the past few months I’ve been working on a project to situate the current era of athletic awareness in the context of the activism of 1968. Too often in sports, if not society more generally, we have a tendency to confine history–especially the history of racism and injustice as well as conflict and struggle–to the past. Without getting lost in the details, here’s a few facts about the history that I think are still relevant today.
Smith and Carlos’ 1968 demonstration was not the spontaneous gesture of two isolated, discontented individuals; rather, it was the culmination of a year-long effort of activism and advocacy (famously titled “The Revolt of the Black Athlete”).
The athletic activism of 1968 was not directed against prejudice and discrimination in the world of sport; rather, it grew out of the desire of socially-conscious, politically-committed African American athletes to use the publicity and platform of sport to contribute to larger, societal struggles against racism and injustice.
Smith and Carlos were not celebrated by most Americans back in 1968, much less received at the White House for their demonstration. They were kicked off the team in Mexico City and treated as outlaws, villains, and traitors back home.
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