Archive: 2011

Joanna S. sent us a link to an application designed by Jonathan McIntosh where one can “re-mix” toy commercials aimed at boys versus girls.  You choose the visuals of one and the sounds of another, and have fun watching the wackiness.  We can’t embed the fun results, but you might enjoy visiting and playing a few for fun.

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.

Lester Andrist (of The Sociological Cinema) sent in a clip by Feminist Frequency’s Anita Sarkeesian. She looks at the way that the movies that are rewarded with Oscars tend to be highly centered around male characters and male-dominated plots. It seemed appropriate for Oscars day:

(Transcript after the jump below.)

Lester also pointed out The Girls on Film, a group that recreates male-centered scenes from movies with a female cast. They’re fun and also highlight the types of roles we do and don’t expect to see women in. Here’s Lester’s favorite, a recreation of a scene from J. J. Abrams’s Star Trek:

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Harkening back to a day when grocery and ‘convenience’ stores did not exist, one was intimately aware of where one’s food was coming from. This is because leading a life of subsistence meant growing one’s own food. It meant raising animals and growing crops and then processing them into food.

As foodstuffs began to be commodified, that is, rendered a marketable good to be exchanged for capital — and largely controlled by transnational corporations — we began to lose understanding to where our food comes from. Arguably, the dearth of this understanding is illustrated by the fact that increasingly children believe that fruit and vegetables are something that comes from the grocery store rather than from the farm or the earth.

The effects of this phenomenon, known as distancing, have social, political and economic ramifications. Typically grocery store produce is devoid of any clues as to the conditions under which it was produced, save for the country of origin. This serves to make invisible the labour taken to cultivate the produce and instead presents the consumer with the end product. The conditions under which bananas are produced, for example, are particularly problematic given their use of toxic pesticides and lack of environmental and worker protection measures.

Accordingly, I was particularly struck when I noticed this produce sign at a local grocery store.

Here the source of the bananas is specified in a way that might help combat distancing.  But, in fact, knowing that these bananas are from the “tropics” does more to obfuscate than illuminate.  The tropics refers to no place in particular – technically referring to parts of South America, Africa, Asia, and the South Pacific.  Instead of a concrete agricultural source, then, pointing to the tropics simply creates a false sense of understanding, one that plays on consumers’ desires for (and stereotypes about) all things lush and tropical, leaving the consumers’ ignorance intact.

Kristina Vidug is pursuing a masters of arts degree in sociology at the University of Guelph in Ontario, Canada. Her research is on post-industrial risk management with a focus on women’s avoidance of synthetic chemicals in the domestic sphere. You can follow her “adventures in thesising” on her blog, jeez (kristina) louise.

Dolores R., Kelly, and Elyse all sent links to a new website, PlaySpent, designed to help people understand the challenges and trade-offs faced by low-income people with insecure employment.  The “game” begins when you’ve been unemployed, have only $1,000 left in your bank account, and need to get a low wage job.

I failed the typing test (seriously), so I got a job as a warehouse worker:

The site asked me if I wanted to pay for health insurance:

The site then asks me to find a place to live, balancing gas costs:

And it asks the player to choose between things your children need/want and your budget:

And then, of course, there’s groceries:

And the game goes on…

The site would be an excellent internet field trip for students in sociology classes or anyone who wants to better understand the many trade-offs that poor people are forced to make and the difficulty in making ends meet when you’re part of the working poor.

Says Kelly:

I thought this was an interesting tool to highlight the difficult choices that low-income families have to make.  It also points out how our society often disadvantages the lower class, such as how I was charged a fee for going below the minimum balance in my account, or by telling me how long it would take to pay off credit card debt only paying the minimum balance.

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.

In an earlier post, I discussed growing trends of body modification as illustrative of the new cyborg body. Although it is debatable whether these trends are in fact “new,” (after all, various indigenous cultures have been practicing body modification long before European colonists began taking note of it in their travel diaries), I would like to continue this conversation by looking at one subculture of body modification: tattooing.

As an avid “tattoo collector” myself, I have spent the past few years attending tattoo conventions, hanging out with tattooers, and getting heavily tattooed, all while working on my research regarding the popularization of tattooing. What I notice are changing norms regarding appropriate use of the body as canvas. I would like to draw your attention to one particular trend that is growing in the tattoo subculture: facial tattoos.

What was once the purview only of convicted felons has become an increasingly normative way of expressing one’s commitment to the subculture. (For a case in point, simply Google “facial tattoos” and see what pops up.) What I notice from my interviews and discussions with tattooers and clients alike is a sharp disparity between those who see the face as a legitimate space for artistic display and those who see the face as “off limits.” Traditionally, tattooers were wary of getting tattooed on “public skin” (e.g., face, hands, and neck), as employment in the industry was unpredictable and one never knew if she would need to find another job amongst the masses. Having tattoos on public skin was almost certain to prevent employment. But things may be changing.

As the tattoo industry has become somewhat of a pop culture phenomenon, and many consumers have become visibly tattooed (full sleeves, bodysuits, and the like), tattooers have begun to see the face as a legitimate space for getting tattooed. Many of the artists I have spoken with now have prominent facial tattoos, and the ones that don’t often plan on getting them (usually something small beside one or both eyes). For many, it is now the only way to differentiate themselves from tattoo collectors or other body modification enthusiasts who now sport full body suits, stretched earlobes, and other prominent modifications. Where having full sleeves once denoted one’s status as a tattoo artist – a professional in a tightly-knit and guarded community of craftsmen – now facial tattoos serve to display one’s commitment to the profession, lifestyle, and artform.  As such, facial tattoos have become a new form of (sub-)cultural capital, where those who were on the “inside” of the subculture now find themselves defending their turf from a onslaught of newcomers wanting to jump on the bandwagon.

However, even among tattooers, there is a resistance to this growing trend. Many of the traditional tattooers (those who were trained long ago or received a formal apprenticeship) that I have spent time with spoke strongly against facial tattoos. In fact, most traditional tattooers refuse to tattoo clients on public skin entirely. It is simply not a part of their habitus (to borrow Bourdeiu’s terminology). This was certainly the case for the likes of Bert Grimm, Charlie Barrs, or Amund Dietzel, traditional tattooers from the 40s, 50s, and 60s, as well as many other artists who were trained prior to the Tattoo Renaissance of the 70s. For the young man who walks into the tattoo shop and asks for his lover’s name emblazoned across his neck, he now has to find a “friend” in the industry who is willing to do it. Either that or he must risk receiving a poorly-rendered tattoo from a “scratcher” (someone untrained and unaffiliated with a tattoo shop, who purchased their equipment online) who will agree to do the piece at a dramatically reduced rate at a tattoo party or out of somebody’s basement.

In conclusion, as tattooing has become more popular, tattooers and those whose lives revolve around the art of tattooing must create new forms of distinction to differentiate themselves from the masses. This goes back to Bourdieu’s notion of the social field, and how forms of distinction change after the entrance of new social actors with much different forms of capital and very different habituses. Although many a Nu-Skool tattooer (those who recently joined the tattooing profession, often with art school training) sees no problem tattooing their face, hands and neck, many traditional tattooers still see it as a questionable practice and refuse to do it themselves. However, with pressure resulting from the increasing popularity of tattooing and the increasing numbers of individuals with their faces prominently tattooed, we may see an increase in traditional tattooers who choose to tattoo their face.

David Paul Strohecker is getting his PhD in Sociology at the University of Maryland. He studies cultural sociology, theory, and intersectionality. He is currently working on a larger project about the cultural history of the zombie in film.  This post originally appeared at Cyberology.

For more on Bourdieu, see our posts on The Evangelical Habitus, Dumb vs. Smart Books, and The Hipster and the Authenticity of Taste.

Squee sent in some rather odd commercials put together by the Norwegian Association of the Blind. The commercials encourage companies to hire blind individuals…by arguing that you can get away with doing things in front of, or to, blind workers because, you know, they won’t be able to tell anyway:

The message is a little strange, I think — trying to provide more employment opportunities for a group that may suffer from job discrimination by reinforcing the idea that if if someone is blind, they are completely clueless about what’s going on around them and, thus, their non-blind coworkers can act in ways that would be totally inappropriate if done to/around any other colleague.

Does that seem like an effective strategy to you?

Most of the men and women who were brought from Africa by slave traders to the U.S. lost track of what part of Africa they came from.  Africa, don’t forget, is a giant continent, comprising about 25% of the entire global dry land and including six different climate zones.  Pre-colonial Africa consisted of over 10,000 meaningful social tribes and polities.  So while we talk about “Africa” as if it’s a meaningful word, we’re describing a land mass at best and, at worst, erasing the complexity of 15% of the world’s people.  For more, see our post featuring Chimamanda Adichie on the “single story of Africa.”

Meanwhile, American Blacks — slaves and descendants of slaves — had the children of everyone from their white friends and lovers (beginning with indentured servants in early America) to the very men and women who enslaved them.  Many American blacks, then, are often perceived as essentially white when they visit Africa because their skin color is much less black those of “African” groups who never left Africa.

Enter Beyoncé.

Carly M. sent along a story about a fashion shoot for a French fashion magazine, L’Officiel Paris, in which she has her face blackened and wears a dress inspired by her “African roots.”

Beyoncé is born to an African-American father and a Creole mother; though this is not something I can confirm, her specific connection to Africa was likely cut by slave traders.  So, to refer to her African roots is to fetishize this thing-called-Africa that Americans recognize, but is a fiction in our imaginations.  And indeed, while some sort of African roots are no fiction for Beyoncé, her light skin and mixed history (Creole refers to someone of mixed African, Native American, and French ancestry) is far more American than African.

Which makes the blackening of her skin all the more interesting.  In the U.S., blackface has an ugly racist history featuring white men mocking black people, but it’s recently enjoyed a supposedly “edgy” resurgence in the fashion industry.  Yet, Beyoncé is famous in part because U.S. audiences are more tolerant of light-skinned Blacks than dark-skinned Blacks.  So what does it mean that she is appearing in blackface?

Dodai Stewart, at Jezebel, notes:

…Beyoncé’s skin looked a lot lighter in L’Oréal ads, and women like Aishwarya Rai Bachchan and Gabourey Sidibe had their faces lightened for magazine covers, and black models are so rarely seen on designers’ runways, the message we’re getting from the fashionistas is that it’s bad to actually have dark skin, but totally cool to pretend you have it.

So we have a situation in which slave traders ripped African people from their homes, landed them in the U.S., and erased their personal origins.  Then these individuals were mixed (voluntarily and not) with non-Africans, struggling to build a culture unique to American Blacks (one that the rest of us have happily appropriated again and again).  And then, in the year 2011, they appear in “African” garb and painted faces, because they’re just black enough/not black enough?*  I don’t even know.

Coverage of the photoshoot:

* Language changed from “they are dressed in”, in response to commenters, so as to not erase Beyonce’s agency here.

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.

The idea that young people take a decade to grow up, in the meantime inhabiting a space called “young adulthood,” is rather new in American culture.  A bit older is the idea of “adolescence,” the idea that there is a stage between childhood and (young) adulthood that is characterized by immaturity and capriciousness: the teenage years.  Before these ideas were invented, children were expected to take on adult roles as soon as they were able, apprenticing their parents and transitioning to adulthood with puberty.  Shifts in ideas about life stages is a wonderful example of the social constructedness of age.

Documenting the rise of the notion of adolescence, Philip Cohen searched Google Books for the term, tracing its rise at the turn of the 20th century till today:

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.