An article in press at the journal, Medical Hypotheses, suggests that detection of underlying medical problems that affect skin color can be facilitated by placing patients in hospital gowns matching their skin. If their skin starts to change color, then the contrast will make it suddenly obvious; without the contrast, it might go entirely unnoticed.

The article, though, includes only illustrations featuring light skin. These are them:

A search for words that might suggest even a nod to the idea that darker-skinned people exist — e.g., black, race, ethnicity, Latino, etc — turned up nothing.

Via BoingBoing.  See also our posts on “flesh-colored,” Michelle Obama’s “nude” colored dress, the new in-color, and this post on lotion for “normal to darker skin.”

Why does the iconic New York City paper cup look so… Greek?

The designer of the cup, Leslie Buck, arrived in the U.S. after fleeing the Nazis during World War II.  He joined a new company called “Sherri Cup” in the ’60s.  He designed the cup, with no art training, with a Grecian theme and in the colors of the Greek flag, to appeal to… Greeks.  It turns out that a large portion of the city’s diners at that time were owned by Greeks.  It was an instant hit.

So, we have immigration, ethnic occupational segregation, and Buck’s ingenuity to thank for decades of cozy, New Yorky feelings inspired by that little cup.

Buck died this April.  You can read his obituary, and the whole story of the cup, at the New York Times.

After reading my recent post on how Gypsy jazz guitarist Django Reinhardt survived World War II (hint: rank-and-file Nazis loved jazz!), Dmitriy T.M. sent me a link to a fascinating account of a German jazz band, called Charlie and His Orchestra, that was put together by Joseph Goebbels, a Nazi propaganda guy.

To recap, jazz music was labeled “Neggernmusik.”  Attributed (rightly) to blacks and Jews, it was considered pollution to German sensibilities.  Jazz lovers, jazz musicians, and swing dancers were all sent to concentration camps.

Nevertheless, Undercover Black Man describes how Goebbels saw potential in the music and, so, “weaponized” it to “screw with British and American minds.”

Charlie and His Orchestra recorded jazz standards, but changed the lyrics to “anti-British, anti-American, anti-Communist or antisemitic messages.”

The songs were broadcast via medium-wave and short-wave radio to Great Britain and North America. It was all about taunting and demoralizing the Allies… and trash-talking Winston Churchill and F.D.R. by name.

In this clip, the Orchestra, covering Goody Goody, is accompanied by WWII photographs. The propaganda starts at 1:04:

For more, check out the Charlie and His Orchestra versions of You Can’t Stop Me From Dreaming, You’re Driving Me Crazy, and Makin’ Whoopee.

Existing data suggests that, for college students graduating during an economic recession, wage depression will follow them throughout their life.  The figure below shows that, for every one percentage point increase in the national unemployment rate, a college grad’s wages will drop by about six percent.  Five years later, their wages will still lag by five percent.   Fifteen years later they’ve recovered their losses to about three percent, but they’re still behind where they would have been.  And remember, this data is for each percentage point increase in the unemployment rate.

Data borrowed from the Office of Management and Budget, via Matthew Yglesias.

For more happy graduation news, see here.

Leah S. asked us to talk about Beyoncé’s new video, Why Don’t You Love Me, and I think Ann at Feministing had some interesting things to say, so I’m going to borrow her insights.

Noting both Beyoncé’s video and the recently released video for Babyfather by Sade, Ann observes:

…both Sade and Beyonce are cast as “traditional” homemakers in retro-styled videos. Beyonce’s retro romp seemed (at least to me) a bit tongue-in-cheek, whereas Sade pretty earnestly makes Jell-O and keeps house. But regardless, they’re both wearing vintage-looking sexy slips, making dinner, hanging out at home during the day, etc.

But they’re not simply nods to the ’50s.  Because both women are black, the videos also potentially subvert the idea of the perfect housewife of that era.  Ann continues:

I know there were certainly upper-middle-class women of color in the ’50s and ’60s, but this image of the happy-but-secretly-unhappy housewife is stereotypically white. By virtue of race, Beyonce and Sade are twisting that stereotype.

And that twist is very political.  Consider this: In American politics today, the “perfect” mother is one who does not work and stays home with her children.  Unless she’s poor.  Poor women who want to stay home with their children are called lazy, welfare cheats.  If you’re poor, you can only be a good mother by working.

Because race and class are correlated in U.S. society, and the “welfare queen” is a race-specific trope that usually refers to poor, black women, these videos might very well challenge the white-middle/upper-class-homemaker conflation.

Beyoncé, Why Don’t You Love Me:

Sade, Babyfather:

You might have heard that the U.S. added 290,000 jobs in April.  At the same time, the unemployment rate rose!  Bwhat!?

The unemployment rate doesn’t measure how many people are unemployed.  It sounds like it should, being that it includes the words “unemployment” and “rate” and all, but it doesn’t.  Instead, the unemployment rate measures how many people are looking for jobs.  When things are really bad, some people get discouraged and give up, or go to school instead, or stay home to take care of their kids and save day care money.

So the number of jobs and the unemployment rate are not directly correlated.  Ezra Klein posted this visual:

It shows unemployment rising as job growth remains negative, leveling off as (perhaps) people drop out of active job seeking, and than actually going up again there at the end in response to two months of solid job growth.

So it turns out that, in this case, a rise in the unemployment rate is good news.  It means some people are hopeful again.

This 4-minute 20-second video, by Colorlines, uses true stories to illustrate the impact of a 1996 law that authorizes the (sometimes retroactive) deportation of non-citizens convicted of any crime, including misdemeanors and traffic violations.  In 2008, the video reports, the U.S. government deported almost 360,000 people on these grounds.

Via Racewire.

Yael S. sent along a 10-minute educational video by FilmFixation. In it, she asks viewers to consider the conditions in which historical photographs came to be.  “Why was it created,” she asks, “by whom, and for what purpose?”  It starts off a bit slow, but picks up with voiceover.  Please be alerted that there are images of racialized violence: