The 30-second video below powerfully illustrates the spread of high joblessness rates from January 2007 to January 2010 (map by Latoya Egwuekwe; data from the U.S. Bureau of Labor Statistics).

Facebook ad from Ryan R.

For some reason, this vintage ad seems so much more genuine than any of its modern equivalents:

At Vintage Ads.

The US Census Bureau put together the map below.  It shows what percentage of households in any given county include a married couple.  In the counties colored with the darkest turquoise, between 59.6 and 79.6% of households consist of a married couple.  In the counties colored white, less than 51.6 do.

I think it’s interesting to speculate as to how the reasons why there are more or less married couple households might vary by place. For example, some places may have disproportionate numbers of gay and lesbian residents who cannot, legally, get married. Others may have higher rates of poverty, which has been shown to decrease relationship stability, leading to less marriage and more divorce.  Still others may have normative or religious pressures in favor of marriage (Utah strongly stands out as the most marriage-prone state).  The racial/ethnic make-up of counties may contribute to marriage rates; we know, for instance, that black women marry at a lesser rate than white women for a whole host of reasons.  Racial/ethnic homogeneity may play a factor too, since interracial marriage is still uncommon and asymmetrical when it does occur.  Some counties have more disproportionate ratios of males and females, which may also shape marriage rates. What do you think?  More hypotheses?  Arguments one way or another?

Minstrelsy is a form of entertainment, popular from the 1830s till the early 1900s in which white, and later black, people painted their face black and performed a caricature of blackness.  The images below (borrowed from Jim Crow History and Wikipedia) are original advertisements for minstrel shows.

Haverly’s United Mastodon Minstrels (circa 1877):

Oliver Scott’s Refined Negro (1898):

Al W. Martin’s Uncle Tom’s cabin (1898):

Wm. H. West’s Big Minstrel Jubilee (1900):

Postcard (1906):

For more caricatures of black people in U.S. history, see these posts: one, twp, three, four, five, six, seven, eight, nine, ten, eleven, thirteen, fourteen, fifteen, sixteen, seventeen, eighteen, nineteen, and twenty.

And for examples of modern reproductions of these stereotypes (literally), see these: one, two, three, four, and five.

For examples and discussion of contemporary “blackface,” see one, two, three, four, five, and six.  Also, bugs bunny.

Katrin sent us a great figure comparing the rate of socioeconomic mobility across several OECD nations.  Using educational attainment and income as measures, the value (between zero and one) indicates how strongly parental socioeconomic status predicts a child’s socioeconomic status (a 1 is a perfect correlation and a zero would be no correlation).

The figure shows that Great Britain, the U.S., and Italy have a near 50% correlation rate.  So, in these countries, parents status predicts about 50% of the variance in children’s outcomes.  In contrast, Denmark, Australia, Norway, Finland, and Canada have much lower correlations.  People born in the countries on the left of this distribution, then, have higher socioeconomic mobility than people born in the countries on the right.  Merit, presumably, plays a greater role in your educational and class attainment in these cases.

Source:  The New York Times.

Emily D., Jeff S., and Dmitriy T.M. have all sent in links to a series of billboards, recently put up in Atlanta, that suggest that abortion is a form of genocide against African Americans:

We’ve posted before on the argument that abortion should be made illegal because it is used disproportionately against the children of Black mothers.  There are good reasons to both credit and discredit this argument, but I’d like to point out something a bit different.

The fact that abortion is highly politicized in the United States, deeply connected to feminism (but not race or class movements), and framed as a contest between “life” and “choice” seems natural to most Americans. Indeed, it’s hard for many Americans to imagine a world in which the procedure is less politicized or debated differently.  But the politics of abortion in the U.S. is not the only kind of abortion politics that could exist.  Myra Marx Ferree‘s award-winning book comparing abortion politics in the U.S. and Germany, Shaping Abortion Discourse, is a great example (with Gamson, Gerhards, and Rucht).

So, whether you agree or disagree with the claims in these billboards, they nicely jolt us out of our acceptance of abortion politics as is.  How might thinking about abortion as a race issue or a class issue change the debate?

NEW! (Mar. ’10): Dmitriy T.M. let us know about this billboard in Poland, sponsored by the Center for Bio-Ethical Reform, that connects abortion to Hitler (found at Opposing Views). The text reads, “Abortion for Polish women introduced by Hitler on March 9, 1943.” It was put up in time for International Women’s Day on March 8th.

I’m putting it after the jump–it has images of bloody fetuses and might not be safe for some workplaces.

When I visited New Orleans, I was tickled to see Mardi Gras beads, months after Mardi Gras, still hanging from trees along the parade route:

It was neat to see the beads, so pregnant with local meaning, glinting in the trees.

But later, I wondered, where do Mardi Gras beads come from? It turns out, according to Kevin Fox Gotham, who’s written a great book on New Orleans tourism, they’re made largely in China. He writes:

Workers in China sew the plastic beads for $4.25 a day, or about $85 a month. Local krewes contract with U.S. bead distributors to order customized beads to sell to individual members, who toss the beads from the parade floats. In short, the production of Mardi Gras beads, products, souvenirs, and memorabilia is no longer the province of local craft skills geared toward local consumption; it has been appropriated, reimagined, and retooled for mass production and mass consumption.

It turns out there is a documentary called Mardi Gras: Made in China, that is all about the bead industry. The trailer:

A great example of the global economy.