Back in September, I posted about some maps put together by Eric Fischer, using 2000 Census data, showing the racial/ethnic makeup of selected cities. As Jeff H., Eluned J., and Dmitriy T.M. pointed out, the NYT now has up an interactive map where you can see the racial/ethnic composition of any Census tract, using more updated Census Bureau data from 2005 to 2009. For instance, here’s a map of the neighboring cities of Midland and Odessa, Texas, which I picked for no reason other than that I just watched an episode of Friday Night Lights, which is set in a fictionalized version:

Color key:

You can zoom in to get quite detailed information about individual neighborhoods. I zoomed in as far as I could on Miami (each dot now represents 50 people):

There’s also a tab that says “View More Maps.” It allows you to select to see just the distribution of Whites, Blacks, Hispanics, Asians, or the foreign-born population. Here’s the map of the Hispanic population of Las Vegas:

As you can see, if you hover over a Census tract, you can get specific data on its racial/ethnic makeup.

The foreign-born population of Seattle (if you hover over a tract, it will tell you the % foreign-born, as well as the % increase in the foreign-born population since 2000):

A great resource. Although I tried to look up my home town, and even zooming in to the smallest scale, it’s too small to have any data available.

This fascinating three-and-a-half-minute excerpt from the BBC’s Horizon illustrates the McGurk Effect. What does your brain do when the information it is receiving from different senses doesn’t match? It’s solution is an example of just how much interpretive work our brain is doing all the time.

Via Blame it on the Voices.

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.

Alyssa M. sent in an ad that gives us a window into the advertising aimed at tween and teen girls.  The ad, for Auntie Anne’s pretzels (an American chain that appears mostly in shopping malls) appeared in Seventeen magazine.  The copy reads “Pick A Reason to Get One — Any Reason” and, in the background, is a long list of reasons.

The ad:

I’ll let Alyssa take it from here:

..the reasons in the background reflect gendered expectations that are placed on [teen girls]. One of the reasons, for example, is “I’ll run another lap during P.E.”  This reflects the idea that women should feel guilty about eating food, and that they should make up for eating a salty pretzel by exercising more. It also illustrates that women must justify eating by promising themselves that they will prevent any weight gain, which would stray from the type of woman that society deems best (the thin woman).  Another reason provided is that “It’s the one thing at the mall that always fits!!”  This again reflects the social necessity for women to be thin, as it implies that women are concerned with the fact that clothes at the mall are often too small, which implies that the women are too large. This ad very much focuses on girls’ size and waistlines and illustrates that a thin girl is the best girl, and that to be accepted by society, teen girls must act in accordance with this expectation.

Another theme seen throughout the ad is that food can be consumed in order to ease the emotional pain of a traumatic event such as a breakup. For example, two other reasons given are that “My almost-boyfriend dumped me” and “It’s the perfect breakup snack.” Both suggest that a breakup warrants an unhealthy indulgence like a pretzel, but this also implies that unhealthy foods like this are only acceptable during a bad experience like a breakup. Eating is okay when you need it to comfort yourself, but if you are not going through such an experience, then you need to watch your weight and “run another lap during P.E.” Those who break this rule are at risk of being policed by others and losing the body type that society appreciates most. This ad therefore supports the expectation placed on teen girls to be thin and concerned with their weights.

Close ups:

Alyssa’s analysis reminds me of Jamal Fahim’s argument for how chocolatiers convince women to indulge in their product.

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.

Larry Harnisch, of The Daily Mirror, sent in a link to a story at the NYT regarding study released by the Geena Davis Institute on Gender in Media about the under-representation of women and girls in “family” movies — that is, movies rated G, PG, and PG-13. The authors looked at all English-language fictional G-rated films released in the U.S. or Canada between September 2006 and September 2009 (a total of 22 movies). They also looked at the 50 highest-grossing films for both PG- and PG-13-ratings, meaning a total of 122 movies is included in the analysis. They focused on characters that were either mentioned by name or spoke at least one word in the movie, leading to a sample of 5,554 characters. Of those, 70.8% were male and 29.2% were female.

Consistent with patterns in Hollywood in general, women made up a small proportion of directors, writers, and producers in the movies studied:

The authors found that movies with female directors and/or writers had more female characters than those with male directors/writers, with writers seeming to have a stronger effect than directors:

Of course, this could be because female directors/writers actively try to incorporate female characters into movies or because studios are simply more comfortable hiring female directors/writers to work on movies with female characters than they are other types of films, leading to a concentration of women working on such projects.

Comparing the results of this study to an earlier analysis of films from 1990-2006, we see that the gender imbalance isn’t improving over time (though since the methodologies differed slightly, the data aren’t absolutely comparable and so are more indicative of a general trend; the authors did make statistical adjustments for the methodological differences):

Of course, none of this gets at the content of the films. The study found that female characters were generally younger than male characters, made up only 17% of group or crowd scenes, and often had plotlines that centered entirely around interests in romance.

In the late 1800s, one suffering from impotence, addiction to morphine, or belly aches might be prescribed John Pemberton’s French Wine of Coca.   The wine concoction contained caffeine and 8 1/2 milligrams of cocaine (equivalent to snorting about 1/2 line).

(source)

(source)

Prohibition’s arrival in Atlanta in 1886 led Pemberton to re-write his recipe to exclude the alcohol.  Pemberton advertised it as the “great national temperance beverage.”  In 1903, when cocaine was outlawed, Pemberton had to rework his recipe again.  Coca Cola, as we know it, was born.

See The Digital Deli Online for more.

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.

Delia B. sent along this 80s-riffic, apocalyptic music video featuring Gossip Girl’s Taylor Momsen singing Make Me Wanna Die. Momsen is a 17-year-old teen idol who strips naked over the course of the video. Her naked body is eventually obscured, but not before we get a good look at her in her bra and underwear.

On the one hand, because Momsen is 17, one could argue that this video is encouraging the sexualization of underage girls and child pornography (which involves, by definition, children under age 18).

On the other hand, this video is, relatively speaking, pretty sexually tame.  I imagine that most Americans would not think that this would incite pedophiles and that many would argue that she’s perfectly old enough, given that she’s an actress/rock star, to be stripping down to her undies. Not to mention the fact that the average age of virginity loss in the U.S. is about 16.

The video is a great opportunity, then, to have a discussion about the social construction of age.  To start: What age is “too young” and what age “old enough”?  What’s the difference between 17 and 18?  Is the difference equally meaningful for everyone?  Should we codify such meanings into law?  And do today’s laws reflect our contemporary culture mores?  According to who?

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 in a Chilean ad for menstrual relief pills, posted at Copyranter. The ad plays on the old trope that during their periods, women turn into savage beasts, unrecognizable compared to their normal selves. In this case, menstruating women turn into burly, hairy, enormous Vikings:

Going with the same theme, another ads for the same company depicted a woman as a large Black boxer:

And another includes a Mexican wrestler:

What I find fascinating here is the presentation of menstruation as something that masculinizes women. We’re talking about a biological process unique to women, the foundation of women’s ability to reproduce; if you were a biological essentialist, you could argue that it is, in fact, the essence of womanhood. Yet here, the message is that menstruation steals femininity, temporarily turning women into large, intimidating, unattractive, violent non-women who must be managed and tamed by the men in their lives, with the help of the right medication.

Jordan B. sent in an interesting observation about the current advertising at Diesel.  Many of the ads feature varying skin tones, but the darker-skinned models appear to always be male, while the women appear to always be lighter-skinned.  Two ads:

Jordan thinks that Diesel is following American cultural rules that gender race and racialize gender.  For example, if I may quote myself:

According to American cultural stereotypes, black people, both men and women, are more masculine than white people. Black men are seen as, somehow, more masculine than white men: they are, stereotypically, more aggressive, more violent, larger, more sexual, and more athletic. Black women, too, as seen as more masculine than white women: they are louder, bossier, more opinionated and, like men, more sexual and more athletic.

I’ll let Jordan finish the thought:

This is why Diesel’s selection of a black man and light skinned women makes sense for their ads.  By choosing a black man, men everywhere will want to identify with the hyper-masculinity our society has attributed to them. Similarly, by choosing a light-skinned woman, Diesel is selecting the type of women our society has put on a pedestal.

For more, see our posts on asymmetry in interracial marriage, how Asian women are marketed to white men, and data on race and response rates on a dating website.

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.