Nicola R. sent in an image of the ad that is on the back cover of the September 2011 issue of Desktop, an Australian magazine aimed at graphic designers. The ad, for Olympus cameras and their art filters, presents four identical images of a woman with different effects applied. The tagline, in small print under the photos, is “Never get bored of how your girlfriend looks again”:

As Nicola says, the message here is that woman are eternally on display to an objectifying male gaze, “not just in public but often also in our personal lives,” and can never stop manipulating their physical appearance lest they risk losing their male partner’s interest.

Cross-posted at Jezebel.

A year ago, I posted about street harassment — specifically, that form of harassment women often experience in which random men “compliment” us and then feel entitled to our gratitude and attention in return, and often lash out with a barrage of misogynistic comments if they don’t get it.

Caitlin Boston recently posted a video at Sweet.Sour.Satire that she made to highlight the specific kinds of comments Asian American women often face from strangers and even acquaintances. These experiences, both on the street and on dates, represent the intersection of generic sexism and the stereotype of the submissive, hyper-feminized Asian woman, plus an added dash of conflating all Asians (and conflating Asians with Asian Americans) and assuming every Asian American woman’s heart will melt at hearing her date can eat with chopsticks.

When I was an undergrad, I remember being assigned the classic article “Body Ritual among the Nacirema,” by Horace Miner. The piece, published in 1956 in American Anthropologist, applies an anthropological lens to an odd culture singularly devoted to intense ritualistic “improvement” of the human body, which its members seemed to find disgusting in its natural state.

I thought of that article when Matt Cornell, of My Own Private Guantanamo, tweeted a link to the 1994 film Dunkles, Rätselhaftes Österreich, or Dark, Mysterious Austria (I’m not. The film, produced for Austria’s SBS-TV, pokes fun at the tone unfortunately common to many documentaries that attempt to explain the oh-so-bizarre customs and beliefs of non-Western societies. According to IMDb, “A team of the All African Television network wanders into the darkest regions of the Eastern Alps. They observe the habits and rituals of the natives and make not one, but two ethnological major break-through discoveries.”

At 5:40, we learn that the team has disproved the theory that Europeans are monogamous; starting at about 7:50, they describe the elaborate costumes and militaristic symbolism of clans of the Tyrol region of Austria; and at 15:00, there’s a great discussion of the curious obsession with “patently useless activities,” such as biking for no other purpose than biking itself:

Aside from the humorous commentary, it’s a great way of illustrating the sociological imagination,  which requires us to step out of our own culture and try to look at it through the eyes of an outsider — and, as C. Wright Mills put it, to recapture the ability to be astonished by what we normally take for granted.

In honor of Labor Day here in the U.S., my coworker Pete posted this video someone put together of images from various labor strikes, protests, etc., set to the Dropkick Murphy’s version of “Which Side Are You On?”, originally written by Florence Reece in 1931 in response to intimidation of her family during struggles between workers and coal mine owners in Harlan County, Kentucky:

The Dropkick Murphys’ “Worker’s Song” seems equally apropos:

This video, made as part of a marketing campaign for a new shopping center in East London, is a fun overview of a century of some trends in clothing, music, and dance styles, all in 100 seconds. Enjoy!

Via The Hairpin.

While America has taken great steps in recent decades toward gender equality, this progress seems lacking in politics. No elected legislative body in the U.S. has ever come close to being half female—the proportion we would expect if it were truly representative of the populace. R.W. Connell argues patriarchy is replicated and reinforced partially through our individual gender practices that cumulatively make social institutions operate.  In daily life, all men and women are socially pressured to embody the gender traits prescribed for their sex.

Kathleen Hall Jameson argues the ways we judge others’ masculine and feminine selves creates a double bind dilemma for women in leadership; a problem that is especially salient in politics, where winning is contingent upon candidates being both personally liked and thought of as competent leaders.  Men have no problem being respected both personally and as leaders because acting strong, confident, and in-charge is expected of both males and authority figures.  However, when women present themselves as leaders by acting dominant, they are likely to be judged as overly harsh, or even “bitchy.”  Yet when women act feminine, they are often judged as unfit for authority because they lack leadership qualities.  In electoral politics, it is very difficult for women to walk the tightrope between being a competent leader and also connecting with voters personally.

We can see the double-bind at work in Saturday Night Live’s now famous, or infamous, parodies of Hillary Clinton and Sarah Palin during the 2008 Presidential campaigns.  Tina Fey’s Grammy-winning depiction of Sarah Palin exaggerates femininity, often portraying the former Alaska governor as if she is competing in a beauty pageant.  Amy Poehler’s masculine portrayal of Hillary Clinton as overly-aggressive, combative, and filled with anger exemplifies the other side of the double bind dilemma.  One skit bringing these characters together to speak out against sexism in the campaign is especially revealing:

Fey presents Palin as accommodating, saying “I was so excited when I was told Senator Clinton and I would be addressing you tonight,” to which Poehler-as-Clinton uncooperatively says, “I was told I would be addressing you alone.” Similarly, a capitulating Palin says “Hillary and I don’t agree on everything,” to which Clinton combats “we don’t agree on anything.” Later in the skit, Poehler-as-Clinton takes firm policy stances while Fey-as-Palin gives ‘pageant’ answers. After Clinton speaks out against the Bush Doctrine, Fey as Palin claims “I don’t know what that is.” Clinton says “I believe diplomacy should be the cornerstone of any foreign policy;” Palin responds “and I can see Russia from my house.” In the SNL skit, Palin tells political pundits to quit using words “that diminish us like pretty, attractive, beautiful …” while Clinton interrupts, “harpy, shrew, boner-shrinker.” Throughout the skit Clinton becomes increasingly agitated and then rips apart the podium in anger. Poehler’s masculine portrayal becomes literal when she says “I invite the media to grow a pair, and if you can’t, I will lend you mine.”

The overly-effeminate portrayal of Palin reflects one side of the double-bind where many people judge feminine women as lacking the appropriate characteristics for leadership. On the other side of the double-bind, the unfeminine portrayal of Clinton illustrates how women who act powerful and confident are subject to character attacks. However, because leadership qualities are expected of men, male politicians are not subject to this critique when they act like leaders. For example, Poehler as Clinton describes her “road to the White House” as “I scratched, and I clawed,”—words with negative connotations which would never be used to describe competitive men with ambition.

While political comedy depicting our leaders as inept has been a mainstay of our electoral process since our country’s founding; we should be cognizant that parodies of female politicians often draw upon very real aspects of gender that make it difficult for women to achieve positions of leadership.

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Jason Eastman is an Assistant Professor of Sociology at Coastal Carolina University who researches how culture and identity influence social inequalities.

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Geographer Derek Watkins put together an interesting visualization of the expansion of the U.S. by showing the distribution of post offices between 1700 and 1900. The distribution of post offices reflects a number of important social and political events — the sudden emergence of post offices on the West Coast in the late 1840s, around the time of the gold rush and California becoming a state, patterns in Kansas and Nebraska in the 1870s clearly showing how population growth followed railroad lines, and so on:

Posted: Visualizing US expansion through post offices. from Derek Watkins on Vimeo.

You can read Watkins’s caveats about the data (it doesn’t include closures of some post offices during that time, and he was unable to determine the location of about 10% of post office branches) here. Thanks to Jeremy Freese, at Scatterplot, for posting it!

Dmitrity T.M. and Larry Harnisch (of The Daily Mirror) let us know that Stanford University’s Rural West Initiative put together a map showing the spread of newspapers across the U.S. between 1690 and 2011, based on Library of Congress listings. The results illustrate many of the same major social and political changes and trends as the post office map:

The Growth of US Newspapers, 1690-2011 from Geoff McGhee on Vimeo.

The website allows you to see the map for any individual year, and awesomely, you can filter by language, illustrating a number of periods of high immigration and common destination locations. Here’s the map of German-language newspapers in 1900:

And Spanish today:

Time for another collection of gendered kids’ stuff!

First, the blog-o-sphere is all over this one already and apparently JC Penney has already pulled the t-shirt, reading “I’m to pretty to do homework so my brother has to do it for me.”  Really? I like how Jezebel framed the issue with a big “NO”:

Thanks for Caroline Heldman, Tom Megginson, Mana T., Carmel L., Heidi S., Melissa B., Alli, and Ed A.-N. (on our Facebook page) for sending in that doozy.

Next, Jessica M. and Amanda G. each sent in a photo of gendered baby rattles, both in terms of the design (girls get a purse and diamond ring, boys get a hammer and saw) but also in the description — girls are “sweet,” boys are “busy”:

Don’t worry; once your daughter outgrows the diamond ring rattle, there are other products available to remind her that the most important thing in the world is to get a diamond ring, specifically in the form of an engagement ring. Liz saw this for sale in the toy section at Wal-Mart, which was a relief, because as she said, girls these days just “don’t have enough pressure to get hitched at age 8+”:

Hishaam S. noticed that Target had four tie-dye kits — camo, neon, primary, and girly:

Laura M. sent us an image Jenga Girl Talk Edition, originally posted by Elena Barbarich. The game (which comes in two versions, pastel blue and purple and “exclusive pink”) includes blocks with girl-specific questions to stimulate conversation, such as who you have a crush on and the truly brilliant “What is your favorite website?”

There are many versions of Jenga — Donkey Kong, the Nightmare before Christmas, Transformers, and so on — but there doesn’t appear to be a version specifically labeled for boys. [NOTE: Reader JF says there’s a board game called Girl Talk, so this is being cross-branded with it.]

Esther M.-E. noticed a recent Seventh Avenue catalog contains an example of the “masculinized things are for everyone, but feminized things are only for girls” cultural pattern. The catalog had two facing pages of bed sets, the one on the left called Air Guitar (featuring guitars on the sheets, in a blue room with a basketball on the floor) and the one on the right called Jungle Queen (in a pink room with a cat):

The description of the Air Guitar set, however, describes it as appropriation for boys or girls, while the Jungle Queen set doesn’t include the same language (and its very name specifically genders it):

Seventh Avenue, of course, is marketing in this manner — actively including girls in the product that might otherwise be defined as masculine while not doing the same for boys with the feminized product — because our cultural norms surrounding gender value the masculine over the feminine. Girls who like “boy” things are often seen as cool, sassy, even smart. Boys who like “girly” stuff, though, are not cool. Even if a boy asked for a pink animal-print bedroom set, his parents are less likely to support the choice than if a daughter chose a masculine-gendered item. Seventh Avenue is simply writing copy based on this larger cultural pattern, and in so doing, reinforcing it.

And now, something that just goes in the “wtf?” category, which I include here for no reason other than the pure surreality of its existence. J.O. was looking at the girls’ toys section at All Modern Baby, and among the Fashion and Beauty Fun there were several sets of rubber bands in various shapes, including…the Kama Sutra package, with four positions:

You won’t be surprised to learn they have been removed from the site, and I found a few other kid-related websites that had them listed as no longer available as well, though if you’re dying for a set, several non-child-oriented sites carry them. The perils of modern inventory management: you order a bunch of perfectly ordinary sets of silly bands, and among the space ship and animal shapes, no one catches that you’ve also posted a sex-themed version.