Archive: Jul 2012

In May of this year the baseball team at Our Lady of Sorrows, a high school charter in Arizona, was scheduled to play a championship game against Mesa Preparatory Academy.  Claiming a religious tenet forbidding co-ed sports, they forfeited the final game of the season.  Mesa’s second baseman, you see, was a 15-year-old named Paige Sultzbach.

This was not an isolated incident.  In 2011 a high school threatened to forfeit a junior varsity football game unless a girl on the opposing team, Mina Johnson, sat out.  Johnson, a five-foot-two-inch 172-pound linebacker on the opposing team, had “gain[ed] a reputation in the league as a standout junior varsity player”; she sacked a six-foot quarterback in her very first game. Nevertheless, not wanting to be the cause of a lost opportunity for her team to play, Johnson sat out.  The opposing team still lost to hers 60 to zero, but apparently that was less humiliating than losing to a girl.

In my sociology of gender textbook I discuss the practice of segregating sports by gender.  Both those on the political left and political right tend to think this is a good idea.  Conservatives tend to think that women are more fragile than men, while liberals want women to have the same opportunities.

Ensuring that men never compete alongside or with women, however, also ensures that the belief that men would always win goes unchallenged.  In other words, because we already assume that men would win any competition with women, it is men, not women, who have the most to lose from de-segregating sports.  If women lose, the status quo — believing women are physically inferior to men — simply remains in place.  But if men lose, the assumption of male superiority is undermined.

Women’s participation in non-team sports, of course, potentially challenges these assumptions in a different way.  While some of these sports try to write rules that ensure that women never measure up to men (e.g., body building has a cap on how muscular women can be), others lay these comparisons bare, which brings us to Sarah Robles.  Robles, a weightlifter, out-lifted all Americans of both sexes at last year’s world championships.  “On her best day,” writes Buzzfeed, “she can lift more than 568 pounds — that’s roughly five IKEA couches, 65 gallons of milk, or one large adult male lion.” Here she is lifting 278 pounds.

The Buzzfeed article focuses on how a main source of revenue — corporate sponsorship — is likely out of reach for Robles.  Companies don’t like to support athletes who challenge our beliefs about men and women.  And Robles certainly does.  She’s proof that women can compete with men, at their own games even, and win.

Thanks to Kari for the tip!

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.

A report at Planet Money suggests that Americans are getting our wallets lifted at the bar these days.  In 1982, 24% of our liquor budget went to bars and restaurants; today it’s 40%.

This isn’t because we’re eating or drinking out more, it’s because the price of spirits has gone down at the grocery store, but way up at establishments.

On average, $1 out of every $100 earned by Americans goes to liquor, and that hasn’t changed since 1982.  But how much we pay where has shifted quite dramatically.

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.

Sociologist Michael Kimmel and a reader named L.A. sent along a link to a fashion spread on a Bulgarian magazine’s website.  It’s another example of the glamorization and sexualization of violence against women.  Titled, “Victim of Beauty,” the featured photographs have absolutely nothing to offer, short of showing beautiful women who appear to have been beaten, cut, strangled, and burned.   As I’ve written elsewhere:

As much as I’m bored of seeing women appear to be beaten, sick, or dead in fashion spreads, it also really feels like we must hate them.  Why else?  Why else this constant glorification of their abuse?

I’m going to show one image and throw the rest behind the jump.  They’re very disturbing (e.g., women with slit throats and more). Take a morbid tour, if you like, through more examples of violence against women in fashion:  the fear and suffering of women as a sexual turn on, dead and deadish ladies in fashion (here, here, and here), ads with women looking supremely uncomfortable, Asian bondage fantasies, two more examples of the sexy black eye trope, and gulf oil spill themed-examples (here, and 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.

We’ve posted before on the way that kids’ products, and the way they are marketed, often reinforces an active boys/passive-and-pretty girls binary. Rebecca Hains noticed that the Stride Rite store near her, as well as the Stride Right website, does so. For instance, girls can “sparkle” and “shine”:

The descriptions for girls’ sneakers on the website emphasize how they’ll help girls shine:

Boys are encouraged to identify with superheroes:

The descriptions for the boys’ shoes emphasize action and speed, as well as their ability to protect the feet of adventurous boys:

More examples of Stride Right marketing at Rebecca Hains’s blog.

Erica B.-K. found these onesies which, though sold by a site called uncommongoods, reflect rather common gendering:

Hiroshi H. noticed that the website for Specialized Bicycle Components divides bikes into ones for boys and girls, though the only noticeable difference was color:

And finally, Anne R. noticed that there’s a Tinker Toy set that, because it is pink and purple, is thus “designed especially for girls”:

As someone who loved Tinker Toys and Lincoln Logs as a kid, I’m all for encouraging as many kids as possible to play with them, yet saddened if we are at a point where parents and/or children cannot imagine Tinker Toys could be for girls unless the package screams it at them. But I would kinda like to build that flamingo.

This is the second part in a series about how girls and women can navigate a culture that treats them like sex objects (see also, part One). Cross-posted at Ms. and Caroline Heldman’s Blog.

The “sex wars”  of the 1980s pitted radical feminists, who claimed that female sexual objectification is dehumanizing, against feminists concerned about legal and social efforts to control and repress female sexuality.  Over a decade of research now shows that radical feminists were right to be highly concerned.

Getting back to the “sex wars” and how radical feminists were right, women who grow up in a culture with widespread sexual objectification tend to view themselves as objects of desire for others. This internalized sexual objectification has been linked to problems with mental health (e.g., clinical depression, “habitual body monitoring”), eating disorders, body shame, self-worth and life satisfaction, cognitive functioning, motor functioning, sexual dysfunction, access to leadership, and political efficacy.  Women of all ethnicities internalize objectification, as do men to a lesser extent.

Beyond the internal effects, sexually objectified women are dehumanized by others and seen as less competent and worthy of empathy by both men and women.  Furthermore, exposure to images of sexually objectified women causes male viewers to be more tolerant of sexual harassment and rape myths.  Add to this the countless hours that most girls/women spend primping and competing with one another to garner heterosexual male attention, and the erasure of middle-aged and elderly women who have little value in a society that places women’s primary value on their sexualized bodies.

Theorists have also contributed to understanding the harm of objectification culture by pointing out the difference between sexy and sexual.  If one thinks of the subject/object dichotomy that dominates thinking in Western culture, subjects act and objects are acted upon.  Subjects are sexual, while objects are sexy.

Pop culture sells women and girls a hurtful lie: that their value lies in how sexy they appear to others, and they learn at a very young age that their sexuality is for others.  At the same time, being sexual, is stigmatized in women but encouraged in men. We learn that men want and women want-to-be-wanted. The yard stick for women’s value (sexiness) automatically puts them in a subordinate societal position, regardless of how well they measure up.  Perfectly sexy women are perfectly subordinate.

The documentary Miss Representation has received considerable mainstream attention, one indicator that many are now recognizing the damaging effects of female sexual objectification.

[youtube=http://www.youtube.com/watch?v=6gkIiV6konY]

To sum up, widespread sexual objectification in U.S. popular culture creates a toxic environment for girls and women.  The following posts in this series provide ideas for navigating new objectification culture in personally and politically meaningful ways.

Mitt Romney’s campaign put out a set of graphics illustrating a “gap” between what Obama promised and what he has delivered.  The graphic is in the form of a Venn diagram, a visual designed to show the overlap between two conditions.  For an example, see this platypus playing a keytar.

Unfortunately, Romney’s overlapping circles are not Venn diagrams, making the campaign somewhat ridiculous and giving nerdy liberals all over America a good chuckle.

So, there you have it, an example of how not to use Venn diagrams to illustrate your data.

Via Feministing and Dolores R.

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.Magic Mike is “wildly overperforming” at the box office because women and gay men are going to see it in droves.  Thank you Hollywood executives for finally noticing that there’s plenty of money to be made off of heterosexual female and gay male sexuality.  Magic Mike purports to be a movie that caters to het women, and while it does provide a highly unusual public space for women to objectify men, the movie in fact prioritizes male sexual pleasure in tired, sexist ways.

Watching Magic Mike was an experience.  Many of the female theater-goers around me were hollering demands (e.g., “take it all off, baby!”) and grunting approvingly during dance scenes.  The camera unabashedly focused tight on the dancer’s abs and buttocks, requiring viewers to objectify the male actors.  I’ve written elsewhere that living in a culture that objectifies girls/women is highly damaging, and emerging male objectification is a corporate wet dream to sell products by creating new body dissatisfactions/markets.

Make no bones about it, this movie is all about reinforcing the notion that men are in control and men’s sexuality matters more.  It baffles me that the filmmakers were so effective in conveying these themes in a movie about male strippers that a mostly female audience is eating up.  Have we learned to devalue our own sexual pleasure so thoroughly that the scraps of het female sexual pleasure provided by Magic Mike feel like a full meal?

Aside from the questionably-empowering viewer interaction with the film, the content of Magic Mike is old-school sexism wrapped in a new package.  It reinforces prevailing notions of masculinity where white men are in control, both economically and sexually, and women are secondary characters to be exploited for money and passed around for male sexual pleasure.

Most of the women in the film are audience members portrayed as easily manipulated cash cows to be exploited for money.  In one scene, the club boss, Dallas (Matthew McConaughey) gets his dancers pumped up before a show by asking them, “Who’s got the cock?  You do.  They don’t.”  Dallas has a running commentary that forcefully rejects the idea that female audience members are sexual subjects in the exchange.

Beyond the foundational theme of male control, many (but not all) of the simulated sex acts the dancers perform in their interactions with female audience members service the male stripper’s pleasure, not hers.  Dancers shove women’s faces into their crotch to simulate fellatio, hump women’s faces, perform faux sex from behind without a nod to clitoral stimulation, etc.  As a culture, we have deprioritized female sexual pleasure to such a great extent that these acts seem normal in a setting where they don’t make sense.While the men in Magic Mike strut their sexual stuff with a plot line that constantly reaffirms their sexual subjectivity, the few supporting female roles show women in surprisingly pornified, objectifying ways.  Magic Mike is pretty tame when it comes to male bodies.  Lots of floor and face humping, but no penis or even close-up penis tease shots through banana hammocks.  In fact, viewers aren’t exposed to any male body part that they wouldn’t see at Venice Beach.  The same cannot be said for women.

The movie features gratuitous breast scenes galore (yes, the breasts are the scene) and full body (side and back) female nudity. One of the male stripper’s wives is reduced to a pair of breasts that are passed around when her husband encourages another male stripper to fondle them because “she loves it.”  The few recurring female roles in the cast are flat with no character development, including the romantic interest, while the white men in the film enjoy extensive character development.

Other disturbing moments are peppered throughout the movie.  Magic Mike (Channing Tatum) makes a thinly veiled rape innuendo when he’s “teaching” a younger guy how to approach a woman at a club: “Look what she’s wearing. She’s asking to be bothered.”  The movie also asks viewers to laugh at a larger woman who hurts a dancer’s back when he picks her up (see photo and trailer below).  And one of the main characters has a homophobic reaction when he’s grossed out that his sister thinks he’s gay.  Also, this is a story about white men where both women and men of color exist at the margins.  The Latino DJ is a drug dealer (how original), and the two Latino dancers barely talk.I was heartened and humored by grandmas and teenage girls asserting their sexual subjectivity in the theater by yelling at the screen.  It is wonderful to see so many women spending money for an experience that purports to cater to our sexual desires.  We want to feel powerful when it comes to our sexuality because we’re constantly robbed of sexual subjectivity through popular culture, pornography, the male gaze, and in the bedroom.  One Sexual Revolution later, men are still twice as likely to achieve orgasm than women during sex.

If Magic Mike is our sexual outlet, we deserve something better.  When women turn around and engage in the same objectification that harms us, is that empowering?  When the men we’re objectifying on the screen are degrading women and prioritizing their own sexual pleasure, and we eroticize this behavior, is that empowering?  And when women eroticize sexual acts that don’t involve the clitoris/orgasm, is that empowering?  I don’t have definitive answers to these questions, but I do know that Magic Mike would have been a radically different film had it truly been about female sexual pleasure.  It’s high time more women were calling the shots in Hollywood and making mainstream movies that feature female sexual pleasure.

Magic Mike trailer.  To see the sexual double standard, note how the trailer frames male stripping as a “fantasy” life, and imagine this term being applied to female strippers in a Hollywood trailer.

[youtube=http://www.youtube.com/watch?v=eMU7s6cwxEM]

Caroline Heldman is a professor of politics at Occidental College. You can follow her at her blog and on Twitter and Facebook.

My post on the centrality of whiteness in fashion photos — whether magazine photos, catalogs, or ads — inspired several readers to send in other examples related to this trend.

YetAnotherGirl and Julian S. sent in a link to a Jezebel post about the new J.Crew catalog, which presents the two models in J.Crew clothing amid a group of local children, who are used to help signal the exoticism of the location:

Marianne sent in a couple of ads for Naf Naf, a French fashion brand, that show a slight variation, utilizing ethnic/cultural differences within Europe. They show a “luminous, lightning-blond caucasian woman and the dark, anonymous and yet welcoming bohemians,” seemingly meant to evoke popular imagery of the Romani.

And finally, H. pointed out Louis Vuitton’s “Journey” commercial, which she actually saw at an indie movie theater. It provides an interesting counterpoint, as groups other than Caucasians can be included as central characters in the narrative, as long as they are privileged LV consumers, with others presented in the more peripheral setting-the-tone role. As H. explains,

In this ad they include the story line of the (presumably African?) black man who is dressed in an elegant Western-style linen suit, but who is barefoot and rubbing the dust off of an old family photo. An interesting racial counterpoint — and one which suggests a metanarrative which is not only about race but also quite pointedly about class.

Take a look:

Gwen Sharp is an associate professor of sociology at Nevada State College. You can follow her on Twitter at @gwensharpnv.