Archive: Jul 2011

Cross-posted at Caroline Heldman’s Blog.

Essence Music Festival, the “party with a purpose,” is a three-day event in New Orleans, featuring speakers during the day and musical performances at night.  It also caters to an almost exclusively black audience, bringing 400,000 people to the Crescent City each year.  Their sheer presence challenges informal systems of segregation in New Orleans.

After the show, I walked through the French Quarter with a few friends and noted how unusual it is to see so many black people in this part of town. Despite losing 118,000 black residents after Katrina, New Orleans is still a majority-black city, but highly segregated and even more so after Katrina.   Formal and informal “policing” generally keeps black locals out of the touristy French Quarter, with the exception of Black residents who work/entertain there.

You can see just how segregated in this map by Eric Fischer (each dot is 25 people; red = White residents, blue = Black residents, and Green = Asian residents):

I first learned about this informal segregation a few years ago when I convinced my reluctant friend, Earl, to go to the Cat’s Meow on Bourbon Street for karaoke. A few blocks from our destination, Earl lagged behind for a moment, distracted by a cat painting, and a group of white locals “warned” me that I was about to “get jumped” by the black guy behind me. Once on Bourbon, we were there for less than a minute before a police officer approached us, questioned Earl’s reason for being there, and told us both to leave.

Policing also occurs in “black neighborhoods” in New Orleans. Working and living in the Seventh, Eighth, and Ninth Wards, my white students and I have been stopped more times than I can count by NOPD, other law enforcement, and “friendly” white people who question why we are in these neighborhoods (or as one member of the National Guard called the Seventh Ward, “Ghettoville USA”).

With the Essence Festival in town, it was refreshing to see many black faces around the French Quarter over the weekend, enjoying the most enriching nightlife in the country. But not everyone saw it this way.

An acquaintance told me her white roommate stayed in all weekend because the Essence Festival was in town and she didn’t want to “get shot.” A white friend who works as a server in the French Quarter told me she was happy when the Essence Festival was over because she wouldn’t have to hear all the racist comments from her fellow servers and her boss. While these white residents live in a majority-black city, they feel threatened when black people come from out of town and don’t follow the rules that keep local blacks in “black neighborhoods.”

Then came the news that a New Orleans Police Department Commander was reassigned pending an investigation of instructions he gave to officers on Friday night when deploying them into areas catering to Essence Festival visitors. He allegedly instructed them to single out young, black men, although the exact language he used has not been released. It’s worth mentioning that Essence has never had an incident of violent crime during its seventeen years, and (now former) Mayor Ray Nagin reported that there is less crime in the city during the festival.

The presence of hundreds of thousands of black people from other parts of the county who don’t know the unspoken rules of racial segregation in New Orleans exposes both these rules and the pernicious racism that undergirds them.

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More maps from Eric Fischer.

Also on residential segregation, see our posts on how it leads to uneven rates of asthma, lead poisoning, and exposure to toxic release facilities.  But we blame poor people anyway.

Quite some time ago, Laura McD. sent us a link to an NPR story about a new ad campaign for baby carrots (which, if you didn’t know, aren’t actually immature carrots; they’re just regular carrots peeled and cut into small pieces). In an effort to appeal to teens, these ads openly satirize marketing tropes used to sell lots of snacks, especially the effort to market junk food as totally extreme! The website self-consciously makes the link to junk food, winking at the audience about the absurdity of EXTREEEEEME!!!!! marketing, yet hoping that rebranding carrots as similar to junk food, and using the marketing tactics they’re laughing at, actually increases sales. So, for instance, they have new packaging that looks like bags of chips:

The ads serve as a great primer on extreme food marketing cliches, complete with associations with violence (and stupidity), the sexualization of women, and the constant reminder via voiceovers and pounding music that this food is freakin’ extreme, ok?!?!

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This one parodies ads that sexualize both women and food and present eating as an indulgence for women:

The ad campaign presents all this with a tongue-in-cheek tone of “isn’t this ridiculous?” But they’re also genuinely trying to rebrand a food product to increase sales, and clearly see the way to do that as downplaying any claims about health and instead using — if mockingly — the same marketing messages advertisers use to sell soda, chips, energy drinks, and other foods aimed at teens (particularly, though not only, teen boys).

As such, they provide a great summary of these marketing techniques and the jesting “Ha ha! We get it! We’re not like the other marketers who try to sell stuff to you! We know this is silly! (Please buy our product, though)” ironic marketing technique.

And now, I highly recommend you go watch the satire of energy drink commercials Lisa posted way back in 2007. It never gets old.

In this 10-minute video, Cindy Gallop argues that young men are getting a false sex education from pornography. The average age that kids first view porn is 11-years-old and, by the time that boys are men, they have learned to imitate the kind of sex that they see in pornography. She argues that this effect — the way that porn is shaping our actual sexual behavior — is the greatest impact of technology on human behavior. Period.

Not opposed to porn, Gallop nevertheless believes that we need a counterpoint to porn so that we get a more diverse set of messages about sexuality (not dissimilar to the argument I make about hook up culture).

In service of her message, Gallop also has a TED Talk, a short book, and a website, Make Love Not Porn, with some great content.

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.

Cross-posted at Caroline Heldman’s Blog.

“Transformers: Dark of the Moon,” the third installment in this $1.5 billion franchise that just set a new record for a Fourth of July weekend opening, follows what has become a Hollywood action movie tradition of virtually erasing women, despite the fact that women buy 55% of movie tickets and market research shows that films with female protagonists or prominent female characters in ensemble casts garner similar box office numbers to movies featuring men.

Only two featured characters in the large ensemble Transformers cast are women, and none of the Transformers (alien robots, for the uninitiated) are female. And the two female humans consist of an unmitigated sexual object and a caricatured mockery of female leadership.

Let’s start with “the object,” Carly (Rosie Huntington-Whiteley), the one-dimensional, highly sexualized damsel-in-distress girlfriend of protagonist Sam Wikwiki (Shia LaBouef). Carly wears stiletto heels, even when running from murderous machines (except when the filmmakers slip up and her flats are visible), and she is pristine in her white jacket after an hour-long battle that leaves the men filthy.

The movie opens with a tight shot of Carly’s nearly bare ass as she walks up the stairs:

[youtube=http://www.youtube.com/watch?v=YC32Bw9uYho]

In a later scene, Carly is reduced to an object as her boss (Patrick Demsey) compares her to an automobile in a conversation with Sam:

[youtube=http://www.youtube.com/watch?v=p2WI7f9eeUM]

And in case the audience doesn’t know to leer at Carly, they get constant instruction from a duo of small robots that look up her skirt and Sam’s boss (John Malkovich) who cocks his head to stare at her ass:

[youtube=http://www.youtube.com/watch?v=byC8cmWg6K8]

Sam’s “friend,” Agent Simmons (John Turturro), also ogles Carly and suggests she be frisked against her will:

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In a disturbing scene of sexualized violence, Carly’s (robot) car sprouts “arms” and threatens to violate her:

[youtube=http://www.youtube.com/watch?v=t-yEghxhpMk]

Normalization of female objectification causes girls/women to think of themselves as objects, which has been linked to higher rates of depression and eating disorders, compromised cognitive and sexual function, decreased self-esteem, and decreased personal and political efficacy. Ubiquitous female sexual objectification also harms men by increasing men’s body consciousness, and causes both men and women to be less concerned about pain experienced by sex objects.

Transformers 3 is pitched as a “family movie” and the film studio carefully disguises it as such with misleading movie trailers showing a story about kid’s toys. (Okay, I still have an Optimus Prime robot…) Young kids were abundant at both screenings I attended, taking in the images with little ability to filter the message.

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It would have been easy for Michael Bay to positively present the second female character, Director of National Intelligence Charlotte Mearing (Frances McDormand). Instead, she is a tool to openly mock female leadership and promote female competition.

McDormand does her best to breathe some realism into Director Mearing, but the script calls for a caricature with “masculine” leadership traits – arrogance, assertiveness, stubborness, etc. – who is ultimately “put in her place” at the end of the movie with a forced kiss. Women continue to be vastly under-represented in positions of corporate and political leadership, partially due to the double-bind of women’s leadership where, in order to be considered acceptable leaders, women have to project a “masculine” image for which they are then criticized.

Director Mearing’s authority is challenged by virtually everyone she encounters in a way that simply wouldn’t make sense for a male character in her position. Sam openly challenges her in this scene:

[youtube=http://www.youtube.com/watch?v=BYahdFFjZXk]

Director Mearing’s authority evaporates when Agent Simmons comments, “moving up in the world, and your booty looks excellent”:

[youtube=http://www.youtube.com/watch?v=eb4m0JuROnU]

Director Mearing is even challenged by a transformer. [SPOILER ALERT: Director Mearing is the only one to challenge this transformer’s intentions, and she gets no credit when it turns out she was right.]

[youtube=http://www.youtube.com/watch?v=aEz8DOa9I78]

This Transformer again puts her in her place with the dual meaning of “I am a prime. I do not take orders from you”:

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Director Mearing also has a running theme of not wanting to be called “ma’am.”

[youtube=http://www.youtube.com/watch?v=srsWDT6w8HI]

The “ma’am” theme doesn’t readily make sense since Director Mearing isn’t young and doesn’t appear to be trying to look young. But it does make sense when viewed through the lens of director Michael Bay intentionally mocking women’s leadership. Remember the flap when Senator Barbara Boxer at a hearing requested that a general use her professional title instead of “ma’am”?:

[youtube=http://www.youtube.com/watch?v=f0CprVYsG0k]

The “ma’am” theme resurfaces in a particularly troubling scene where Director Mearing meets with Sam and Carly, who, in good double-bind fashion, challenges whether she is even a woman:

[youtube=http://www.youtube.com/watch?v=VIZOWPaoiDk]

Bay does include a few minor female characters with lines – Sam’s mother, the nagging mother/wife; Director Mearing’s subservient Asian assistant; a scene with both the “Olga” and “Petra” Russian woman stereotypes; and a Latina with a bare midriff who has a “Latin meltdown”:

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If Michael Bay can buy off the most accomplished actors and even musician/social activist Bono to participate in such harmful media, what hope is there in the war that pits girls/women (the Autobots) against unrepentantly sexist movies makers (the Deceptacons)?

Katrin brought our attention to a report from the Brookings Institution about the educational levels of immigrants to the U.S., based on data from the 2009 American Community Survey as well as Census data between 1900 and 2000. As a group, immigrants have significantly more education than common stereotypes might lead you to believe. In fact, there are now more immigrants with at least a 4-year college degree than with less than a high-school diploma (27.8%):

Overall, immigrants still have lower levels of education than native-born U.S. citizens. While the proportion with a college degree is comparable (32% of the native-born and 29.6% of immigrants have a 4-year degree or higher), the immigrant population is much more likely to have less than a high school diploma (27.8% vs. 7% for the native-born).

The proportion of immigrants falling into the high- or low-education categories varies significantly by destination city. The study authors calculated the ratio of high-skill to low-skill immigrants  (where skill is defined as education level, as in the graph above) for the 100 largest metro areas. High-skill destinations have more than 125 college-educated immigrants per 100 immigrants with less than a high school diploma; low-skill cities have fewer than 75. A city was defined as “balanced” if there were between 75 and 125 high-skill immigrants per 100 low-skill immigrants.

A map of the ratios shows that of the 100 largest metro areas, those in the eastern half of the U.S. (especially the Northeast) attract more educated immigrants, while the Great Plains and West (especially California, Arizona, New Mexico, and Texas) have lower-educated immigrant population. Balanced-skills cities are concentrated in the Midwest and Southeast:

Not surprisingly, cities with universities attract more  highly-educated immigrants, while those with economies based on agriculture or food processing are more likely to be destination sites for immigrants with less education.

Here’s a video of one of the authors, Audrey Singer, discussing the study and its implications:

You can also see the detailed information about the 100 largest metro areas. In the areas studied here, immigrants with less than a high school diploma are disproportionately from Mexico (57.3%, but with wide geographic variation — Mexican immigrants make up only 6.2% of low-skill immigrants in Buffalo but 85.8% in Austin), lack English skills (only 16.4% are proficient), and are unlikely to be naturalized citizens (26.2%). Among immigrants with a college degree, 5.5% are Mexican, 71.5% are English-proficient, and 54% are naturalized citizens. The full report has a detailed discussion of the factors at play here–historical immigrant settlement patterns, changes in which cities are gateways for arriving immigrants, and so on. If you’re interested in immigration issues and how they impact economic development, it’s definitely worth a read.

Lindy hopper Jerry Almonte sent along a clip of the first place-winning routine in a division at the European Swing Dance Championships.  Lindy hop is a partner dance invented by African American youth in Harlem dancing to swing music in the early 1930s.  It’s near and dear to my heart; I’ve been a lindy hopper for 13 years (minus that year with a broken leg).

Modern day lindy hop raises difficult questions.  In a post I wrote when the beloved Frankie Manning died, titled Race, Entertainment, and Historical Borrowing, I tried to capture the conundrum. I’m going to quote myself extensively, only because this is a tricky issue that deserves real discussion:

Though lindy hop was invented by African Americans, lindy hoppers today are primarily white.  These contemporary dancers look to old movie clips of famous black dancers as inspiration.  And this is where things get interesting:  The old clips feature profoundly talented black dancers, but the context in which they are dancing is important. Professional black musicians, choreographers, and dancers had to make the same concessions that other black entertainers at the time made. That is, they were required to capitulate to white producers and directors who presented black people to white audiences. These movies portrayed black people in ways that white people were comfortable with: blacks were musical, entertaining, athletic (even animalistic), outrageous (even wild), not-so-smart, happy-go-lucky, etc.

So what we see in the old clips that contemporary lindy hoppers idolize is not a pure manifestation of lindy hop, but a manifestation of the dance infused by racism. While lindy hoppers today look at those old clips with nothing short of reverance, they are mostly naive to the fact that the dancing they are emulating was a product made to confirm white people’s beliefs about black people.

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So we have a set of (mostly) white dancers who (mostly) naively and (always) wholeheartedly emulate a set of black dancers whose performances, now 70 to 80 years old, were produced for mostly white audiences and adjusted according to the racial ethos of the time.  On the one hand, it’s neat that the dance is still alive; it’s wonderful to see it embodied, and with so much enthusiasm, so many years later.  And certainly no ill will can be fairly attributed to today’s dancers.  On the other hand, it’s troubling that the dance was appropriated then (for white audiences) and that it is that appropriation that lives on (for mostly white dancers).  Then again, without those dancers, there would likely be no revival at all.  And without those clips, however imperfect, the dance might have remained in obscurity, lost with the bodies of the original dancers.

It is this paradox that stirred Jerry to send along the clip of Dax Hock and Sarah Breck performing a routine that was an homage to a famous clip from the movie Day at the Races, featuring Whitey’s Lindy Hoppers. Here’s the original clip from 1937:

And here’s Dax and Sarah’s routine (Dax, btw, is in a fat suit; an entirely different and equally troublesome issue):

To be as clear as possible, I do believe 100% that Dax and Sarah have no intention to mock and, as essentially professional lindy hoppers, I doubt very much that they’ve never considered the ideas I’ve explained above.

Dax and Sarah are not my target here and, besides, they’re just two people.  All conscious lindy hoppers struggle with these issues.  My target, and my own personal struggle, is the entire endeavor.

I leave this as an open question for discussion, and one that extends far beyond lindy hop to jazz, blues, rap, and  hip hop music; other forms of dance, like break dancing and pop and locking; and even the American obsession with spectating sports that are currently dominated by black athletes.  It also extends far past the relationship between blacks and whites, as Adrienne Keene well illustrates in her blog, Native Appropriations.

How do white people, especially when they’re more or less on their racial own, honor art forms invented by oppressed racial groups without “stealing” them from those that invented them, misrepresenting them, or honoring them in ways that reproduce racism?  You tell me… ’cause I’d like to know.

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For more, I’d be thrilled if you read my original post, inspired by the passing of Frankie Manning.

Also worth considering is this beautiful music video (Slow Club, Two Cousins) featuring lindy hoppers Ryan Francoise and Remy Kouakou Kouame performing vintage jazz movement. Is it different? What makes it so (other than production value and the race of the dancers)? Can you articulate it? Or is it tacit knowledge?

Inspired in part by The Spirit Moves?

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.

Dmitriy T.M. sent us a link to some images at the Brookings Institution, based on analysis by William Frey, illustrating the very uneven changes in average of of the population by state in the U.S. Overall, the U.S. population is aging, with rapid growth in the population over age 55 and individuals over age 45 surpassing those aged 18-44, according to the 2010 Census:

But this varies by region of the country. Here’s a map showing growth in the +45 population, illustrating the rapid growth in the Southwest and much of the South:

Nevada had the single highest growth in the 45+ population, with this group increasing by 50% between 2000 and 2010. West Virginia growth comes in last among this group (excluding Washington, D.C.), increasing by 15%. Of course, growth doesn’t tell you anything about the underlying numbers.

Many of the same states that had rapid growth in the 45+ population also saw significant gains in the under-45 range. But unlike with the 45+ population, where every state’s population was stable or growing, a significant number of states actually experienced a loss of the under-45 group:

Again, Nevada’s #1, with 28% growth. Michigan, on the other hand, had an 11% loss.

These patterns have significant implications for individual states — everything from estimating how many elementary schools they’ll need to build in the future, to how many health care workers they’ll need to educate or attract, to a state’s or region’s ability to attract different types of employers, and so on. And states will be grappling with these issues under very different circumstances. It’s one thing to, for instance, address the potential health-care needs of the elderly in a state where every age group is increasing; it’s another if your working-age population is fleeing.

Brookings has a much more detailed interactive map that includes information on aging; you can look at the dependency ratio (population under 18 or over 65 per person of working age) and look at age changes by major metro areas in addition to states.

Renée Yoxon sent along a performance by Patina Miller singing Random Black Girl.  It’s about how new musicals all just so happen to include a soulful, sassy, big-voiced, big-bottomed black girl in the ensemble (I’m looking at you, Glee).

My favorite part is at 3:45.

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