Catherine L. sent in the following picture of a (gramatically incorrect?) ad in the window of a sportings good store in Wellesly, MA:

“Mothers’ hours” refers to those hours during which kids are in school.  The term reveals the assumption, or prescription, that it is women who take care of kids after school.

Of course, that a company is offering work to primary caretakers is actually quite nice and supportive of families.  But it would be entirely easy to instead say “parents’ hours” instead.  Still, it’s possible that employers would be suspicious of any man who wanted to work only part time and assume they were both bad fathers and bad workers.  Employers are known to discriminate against men who do not put their job before their family.

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.

Carl G. alerted us to a controversy starring photographer, Umida Akhmedova.  Akhmedova’s pictures of her native Uzbekistan have incited the country to try her for defamation.  If found guilty, she could be sentenced to six months in prison or three years of forced labor.  Here are some of her photographs.

 

The state argues that Akhmedova has defamed and slandered Uzbekistan, making it seem as if the country is impoverished and backward. Photographers are defending Akhmedova, arguing that if anything makes Uzbekistan look backward, it’s their desire to censor artists. Frankly, I can see both points.

First, I do think that Akhmedova should be able to capture what she likes and disseminate her images.  The problem is not her representation.  The problem is that Akhmedova’s photographs may be the only representations of Uzbekistan that some people ever see.  That is, the problem isn’t Akhmedova’s pictures, it’s that there aren’t more photographs, of varying parts of Uzbek life, by more photographers noticed outside of the state.

Whenever there is a limited number of representations (or when those that are available converge), those that are disseminated tend to overdetermine perceptions of that place or those peoples.  That is, that one representation comes to stand for the whole.  We in the U.S. would likely not image a similar controversy over one photographers images of say, celebrities (to take an extreme example), because there are thousands of counter-representations.  Uzbekistan, however, does not have the luxury of not caring how the state is represented in Akhmedova’s photos.

So, to conclude, I don’t think Akhmedova should be in trouble, but I do understand why Uzbekistan might be so sensitive.

We’ve seen the same phenomenon with photos of the Middle East, AppalachiaAmerican Indian art, Africa (see both here and here) and, I’ve argued, the TV show Jersey Shore.  We could make the same argument about the preponderance of images of just one type of beauty.

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.

American school children learn all about the U.S. gold rush in the Western part of the country. Goldmining was a speculative, but potentially highly rewarding endeavor and attracted, almost exclusively, adult men. But the entrepreneurship of gold mining (though not mining as wage work) is long gone in the U.S.  Still, gold is in high demand:  “The price of gold, which stood at $271 an ounce on September 10, 2001, hit $1,023 in March 2008, and it may surpass that threshold again” (source).  Who are the gold entrepreneurs today?  Where?  Under what economic conditions do they work?  And with what environmental impact?

I found hints to answers in a recent Boston.com slide show and a National Geographic article (thanks to Allison for her tip in the comments).  While there is still some gold mining in the U.S., there is gold mining, also, in developing countries and all kinds of people participate:

According to the United Nations Industrial Development Organization (UNIDO), there are between 10 million and 15 million so-called artisanal miners around the world, from Mongolia to Brazil. Employing crude methods that have hardly changed in centuries, they produce about 25 percent of the world’s gold and support a total of 100 million people…

Environmentally, gold is especially destructive.  The ratio of gold to earth moved is larger than in any other mining endeavor.

It makes me rethink whether I really want to buy gold (because, you know, I do that constantly, darling, constantly).  In fact, jewelry accounts for two-thirds of the demand.  In the comments, HP reminds me:

Gold (along with even more problematic metals) is found in pretty much all consumer electronics. It’s in your computer, your cellphone, your .mp3 player, your TV/stereo, etc. You’re buying gold all the time already, whether you know it or not.

UPDATE! A reader, Heather Leila, linked to a picture she took of gold prospecting in Suriname (at her own blog).  She writes:

The gold mines aren’t what you are thinking. They aren’t underground, you don’t carry a pick axe and a helmet. The garimpos are where the miners have dammed a creek and created large mud pits. The mud is pumped through a long pipe lined with mercury. The mercury attaches itself to the specks of gold and gets filtered out as the mud is poured into a different pit. The mercury is then burned off, while the gold remains. This is how it was explained to me. From the plane, they are exposed patches of yellow earth dotting the endless forest.

See also our posts on post-oil boom life and gorgeous photos of resource extraction by Edward Burtynsky.

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 talk about a lot on this blog about how things that having nothing to do with genitals are, nonetheless, gendered. Some sociologists are noting that a cluster of ideas related to intellectualism–liking school, studying hard, being smart, reading, and even caring about ideas–have become feminized. As a result, boys and men express less interest in and invest less in school, and girls and women are kicking their asses, scholastically speaking.

We previously featured an advertising campaign for Wrangler that told men to “stop thinking.” And this week Monika P. and Kat B. sent in an ad campaign for Deisel with the slogan: “be stupid.”

There’s a whole commerical (embedded below), but the general thrust is that smart people are doin’ smart stuff, but Diesel is “with stupid.” Because “stupid is the relentless pursuit of a regret free life.”  And while smart people may have “the brains,” stupid people have “the balls.” Besides, they say, “if we didn’t have stupid thoughts, we’d have no interesting thoughts at all.” Which doesn’t make the slightest bit of sense, but whatever.

And in case that doesn’t convince you, they concede that “smart has the authority,” but stupid has “one hell of a hangover.” Sign me up.

Ultimately the message is that smart people are repressed and confined, they have no fun, and nothing exciting ever happens to them.  So being smart is framed as (but isn’t) the opposite of all these things.   They leave you with the thought: “You can’t outsmart stupid.”

 

 

UPDATE! That said, Reader Kyle Munkittrick offers a compelling rebuttal at his blog, Pop Transhumanism.

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.

Jersey Shore has come to end, we’re (genuinely) sad to say. We know we had fun. But is it possible we also saw something, dare I say it, subversive about beauty, gender and sexuality? I think so.

A panel discussion on the show and “Guido culture” at Queens College yesterday (you read that right), included New York State Senator and Jezebel heroine Diane Savino, who knows from stinging cultural analysis.

[Savino] explained, “‘guido’ was never a pejorative.” It grew out of the greaser look and became a way for Italian-Americans who did not fit the standard of beauty to take pride in their own heritage and define cool for themselves.

When she was growing up, everybody listened to rock; girls were supposed to be skinny with straight blonde hair (like Marcia Brady on “The Brady Bunch”); guys wore ripped jeans, sneakers and straggly hair.

The 1977 film “Saturday Night Fever” marked a turning point. “It changed the image for all of us,” Ms. Savino said. As Tony Manero, John Travolta wore a white suit, had slicked short hair, liked disco music and was hot. “It was a way we could develop our own standard of beauty,” she added.

In the same way, Virginia Heffernan writes in this weekend’s New York Times Magazine, Italian-Americans in the Northeast originally disdained their own accents until movies like “Mean Streets, Saturday Night Fever, Working Girl and, of course, Taxi Driver.” Those representations, she says, led to a “hammy” reclamation of an identity that had been mirrored back to them through Hollywood. These were second and third generation immigrants, who had mostly reached the middle class but maybe didn’t feel wholly a part of the mainstream, who telegraphed their identity through stylized symbols like Italian flags and red sauce that felt potent but no longer limited their social mobility.

That goes for the ladies too. Female beauty that took on a showily “ethnic cast” was distinct from what was already being sold. As Regina Nigro recently put it on The Awl:

We (I) laugh at bon mots like “You don’t even look Italian!” (the insult that Sammi “Sweetheart” flings at the blonde blue-eyed “grenade” …) but, ridiculous as it is, that assessment betrays a value system: Skinny blonde pale WASP princesses are deemed not attractive when measured by the JS aesthetic. And this seems curious and laughable to us.

“You don’t even look Italian!” is crazy funny but is the underlying judgment (dark hair/olive skin/Italian-looking = pretty; the inverse = not pretty) any worse than any other standard of beauty? It’s an alternative perspective, one that I suspect is so funny partly because it is so unfamiliar.

Of course, there is plenty about the Jersey Shore sexual aesthetic that is broadly familiar. The worst insult is to call a woman fat (or a “hippo”); big, exposed boobs are a baseline requirement, and the men are judged by the attractiveness of the women they acquire. (The other guys repeatedly mock The Situation about the looks of the women he brings home; Ronnie taunts him that he hasn’t brought home a girl anywhere near as pretty as Sammi).

And yet it’s oddly refreshing how much artifice itself is celebrated, with everyone participating mightily, and openly, in becoming the ideal Guido. No one is just born one, or supposed to make it look effortless. There are communal visits to tanning salons and unblinking references to fake breasts, and everyone takes hours to get ready. Vinny describes a girl admiringly: “Fake boobs, nice butt, said she was a model.”

Heffernan, writing about regional accents being reinforced by the show, uses Sammi as an example: “Every part of Sweetheart’s identity – including her skin color, which on the show is not an inborn marker of ethnicity but a badge of achievement (in the tanning bed) – is the product of intense calculation.” And Heffernan didn’t even get to Sammi’s hair extensions, which are brandished for emphasis.

No character more desperately self-produces than The Situation and his third-person pronouncements. Men are not inscluded [sic] from all this ritual artifice. In the last episode, J-Woww practically goes into heat when she sees some “juicehead gorillas” on the beach, and she lists “Human Growth Hormone” among the attractions. This, by the way, leads The Situation to mumble defensively, “Big is out and lean is in.”

That’s because on The Jersey Shore, men’s bodies are just as scrutinized as women’s, and their beauty rituals are as elaborate, expensive, and time-consuming as those of the women. Maybe even more so — in addition to blowouts, tanning sessions, and agonizing over which appliqued shirt will set them apart from the gelled masses, they spend hours at the gym, something we never see the girls do.

As much as the cast performed all this around the clock during the show’s taping, the audition tapes seen here and in the video below are even more extreme, mixing ethnic calculation with the general famewhoring savviness reality producers have become accustomed to.

Looking at this through what we know now: Sammi calls herself a “hookup slut” but aside from a few flirtations, turned out to be conventionally monogamous on the show. Vinny, in straight-up costume, claims he has to take off his pants “to really show you the magic,” but turned out to be the mildest-mannered cast member, one who unashamedly adores his doting mother. Underneath playing to the producers, though, is a more personal kind of construction, and a more particular one. And ironically, although the cast members’ self-creation was one of the most entertaining parts of the show, some underlying sense of unembarrassed authenticity, even wholesomeness, made it most worth watching.

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Irin Carmon is a reporter at Jezebel.com, from where we’re super pleased to have borrowed the post below. Her work has also appeared in the New York Times, Boston Globe, The Village Voice, and others; more information is at www.irincarmon.com.

If you would like to write a post for Sociological Images, please see our Guidelines for Guest Bloggers.

Parker F. sent us a fun vintage ad that reminds us that chocolate wasn’t always seen as a woman’s indulgence.  The ad below, for Fry’s Chocolate Cream (found at the BBC) features a man delightfully, and conspiriatorally, popping a chocolate, with the copy “Go on– spoil yourself!”   The message (indulgence) is so familiar, but the subject (a man) less so.

I think, if the ad ran today, it’d likely feature a woman and, instead of reading “5 big pieces… for only 4¢,” it’d read “5 big pieces… for only 40 calories.”

Today, it seems that efforts to sell chocolate to men involve hypermasculinization, as in the recent Snickers advertisements featuring Mr. T.the linking of Easter candy with professional wrestling, and Yorkie’s “Not For Girls” candy bars.

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.

Gwen mentioned recently that the real purpose of television wasn’t to entertain you, but to collect a predictable audience that networks could then sell to companies.  Commercials.  Commercials are the reason that programming exists.

In that light, it’s interesting to see what’s happening on Hulu, a website devoted to watching television programs.  Jody and Karyn G. sent in this screen shot of a prompt at the beginning of a show asking, nicely, what kind of “ad experience” she would “prefer”:

First, I think the question is hilarious.  “Ad experience” is an awesome euphemism for “effort at manipulation.”  And, of course, the real question that is being asked is “Who are you?”  Like with Facebook, they need to know.

Second, asking the question is a new tool for marketers made possible by a this new way of delivering programming to one person at a time.  Presumably, I am only one person and either a “him” or a “her.”  If the marketers can ascertain this, they can target their commercials even more effectively than when they were advertising on Spike TV and during Oprah (because they are only guessing who is watching in those cases, but I’m straight up telling them in this one).

Of course, this all depends on us being predictable and obedient consumers… and I bet some of us very much aren’t.

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.

If you’re designing a cover for a book by a Chinese or Japanese writer, or with a Chinese or Japanese setting, it seems that there are some compulsory elements which must be included. For variety’s sake, there are four elements, but you MUST use at least one of them. Advanced designers, of course, may use two or more.

Element 1: Blossoms (preferably cherry, but anything red or pink will do)

Element 2: Fans (preferably held so as to partly obscure a woman’s face (or genitals), and if you can get blossoms on the fan, you get bonus points)

Element 3: Dragons (for use only on crime novels, or other exciting tales)

Element 4: Female Necks (preferably that of a geisha, but any female neck will do in a pinch)

You’ll notice that only women are allowed on the cover of Chinese and Japanese literature. Ideally, they will be either expressionless (some might say demure or inscrutable), or at most vaguely melancholy.

For more on this trend, see this article from Hyphen Magazine, which features a brief interview with ace designer Henry Sene Yee. It was that article which also drew my attention to two covers featured above, those for On a Bed of Rice and The Street of a Thousand Blossoms.

(To be fair, I ought to note that several of these covers are actually very nice–it’s just that they lose rather a lot of their impact because of the familiarity of the elements used.)

James Morrison (jrsmorrison@yahoo.com.au) is a writer, editor and graphic designer who lives in Adelaide, Australia. He writes about book covers and book design at causticcovercritic.blogspot.com, and used to write about novellas at Book Slut.  He blogs at Caustic Cover Critic. Thanks to Lisabee for the hat tip.