Hoshi sent us concept artwork for some new characters, all set to be musicians, in development for the online game, RuneScape.  Here they are:

Hoshi notes:

1. The caucasians are well dressed and most likely designed for the cities. The people of color are wearing tribal gear. In other words, they fill the “exotic” and “primative” section in the game, while the white people are the “refined” upper class.

2. The women look like they just finished dancing. They both have one hand on their hips (slightly seductive) and the other hand is in a “flowing” movement. Conversely, the men have balled up fists with their arms held slightly apart. They may be smiling, but their body language shows aggression.

Hoshi started a discussion thread with this observation at RuneScape and her comments have been met with significant opposition.  Summarizing the comments, she explains:

One of the most common arguments that it *isn’t* racist is that this game is set in a medieval setting and there wouldn’t be people of color in the cities. Frankly, I think that’s an absurd excuse. This game freely utilizes magic, monsters, gods, and all sorts of unrealistic things. If you follow the players’ logic, that means it’s more believable to have talking cats than to have a person of color dressed nicely in a city. That’s just messed up.

For more examples of race and gender stereotypes in video and online games, see here, here, here, here, and here.

Jay Smooth speaks to the Asher Roth tweet about “nappy headed hos” and offers some great insights as to how to maintain proper boundaries when blacks and whites form mixed-race communities.

NEW! More with Don Charnas (found here):

Eric S. drew our attention to an ad campaign for Jawbone, a noise cancelling headset.  Eric was disturbed by the way the women were used in the advertising.  Take a look:

It is interesting that a product that must be actively used (it’s for talking) is advertised with such passive women.

Some scholars, Jean Kilbourne among them, have noted that ads often include women who appear to be dead (see here, here, here, and here).  If these women do not appear to be dead, they at least appear doll-like.  Their eyes are blank, staring at nothing.   It seems to me that one or both of these are going on here… in either case, the strategy dehumanizes the women, making them into objects.

Also in women as racks on which to place product: men’s shoes and accessories.

We recently critiqued Facebook’s “neutral” avatar for appearing both white and male.  Both Abby J. and Noah Brier pointed us to the fact that Rob Walker at Murketing has been collecting default avatars.  His collection is really interesting.  First, it demonstrates that the avatars don’t need to be gendered at all.

Flikr:

Hotmail:

Google:

Vimeo:

My space:

Friendfeed:

Yahoo:

Youtube:

Second, it demonstrates that the avatars don’t have to human at all:

Twitter:

Posterous:

Third, his collection also suggests that, when the avatar is human and discernibly gendered, it usually appears to be male.  There’s the Facebook avatar, as well as…

EBay:

Car Domain:

Topix:

Yammer:

The avatar tends to be male, unless the company produces a default male and a default female.

Blip FM:

Goodreads:

This collection reveals that the appearance of a company’s default avatar is by no means inevitable or accidental.  Companies must make choices and they are, indeed, making choices about what kind of person is the default person.

Check out his whole collection.  It is growing.

Jamie R. sent in a link to a video that presents a lot of attention-grabbing statistics (which may or may not be accurate). At first it appears that the avatar could be unisex, but then at about 1:18, we see the “female” avatar:

Did You Know? from Amybeth on Vimeo.

At no other place in the video do we see the female avatar except when the “neutral” one is presented as married…indicating, from the context of the video, that it is not unisex or neutral, but male.

MORE! You may have noticed that our revamping of the site involved putting our names up.  Lo and behold, these male avatars popped up next to our names.

So we went into the admin page to see if we had some other option, like maybe something non-human or a female avatar if necessary.  These were our options:

First, blank is really the avatar you see in the first screenshot, it’s neutral which, in reality, is male.  So there is no way to opt out of having an avatar (our tech guy, Jon, is still working on it).

Second, there is no female avatar option.

Third, though there is no female avatar, there is a Monster and a Wavatar option, whatever the hell that is.   So WordPress is allowing you to represent yourself as a Wavatar, but you’re not allowed to be a chick.

Amazing.

NEW (Apr. ’10)! Keri sent a screenshot of her WordPress menu which, she noted, represents the users with two different skin colors.  It’s a nice counterpoint to much of what we see above:

For more on how certain kinds of people get imagined as just people, while others get imagined as certain kinds of people, visit our posts on the Body Worlds exhibit, “flesh” colored products, Pixar films, gender and clothes, and Plan and Playmobile toys.

Objections to a BuzzFreeProm ad has led the organization to pull it and apologize.  The ad reads: “Go from prom king to queen in three shots or less.”

Lisa Derrick at La Figa had the following exchange with the talent behind the ad:

I will go further.  I think that being a “queen,” in the jail sense, is about being, both literally and figuratively, on the bottom.  The imprisoned, gay men and, for that matter, women, are all on the bottom in this sense.   (The corsage on the prison uniform is a hint that it’s not just about being gay, but about being female.)  The problem with this ad, for me, is that it conflates sex and power.  That the conflation can span so many different categories suggests that it resonates strongly.  And that is what is disappointing to me.  I would prefer to live in a world in which sex and power could be disentangled, as opposed to one that affirmed their entanglement.  Let’s try to keep kids safe some other way, eh?

BuzzFreeProm has since put up an apology:

Other anti-drug and anti-drinking ads: an anti-meth campaign reminiscent of reefer madness, a vintage hanna-barbara anti-drug commercial, bizarre anti-drinking and driving messages, and threatening women with unattractiveness.

In this cartoon, titled “Plane Dumb” (1932), Van Beuren’s Tom and Jerry put on black face in order to disguise themselves in Africa.  Putting on black face affects their intelligence as they go from being smart to dumb. Idoicy ensues. The “natives” come out at the very end:

Thanks to Steve W. for the link!

For more vintage racist cartoons, see these clips from Fantasia, these Bugs Bunny stills, this racist reinterpretation of Snow White, and this Bugs Bunny cartoon that caricatures the Japanese.

And this one’s just for fun.

NEWS!

In addition to friending us on Facebook, you can now follow us on Twitter!

FROM THE ARCHIVES:

April last year:  This fascinating Italian anti-immigrant poster suggests that, if immigration to Italy is allowed, immigrants will persecute the native Italians like U.S. colonizers did American Indians.  It’s a pretty amazing tactic.

NEWLY ENRICHED POSTS (bottom of post may not be safe for work!):

Total Drek revised an xkcd cartoon on the difference between causation and correlation.  So we added it to our original post.

Sex sells ‘n stuff:

Sarah Haskins makes fun of euphemistic references to female genitalia.  We added her video to our post on our efforts to avoid using the real terms.  

Related to discomfort with women’s genitalia, Taylor D. sent in a link to even more vintage ads for Lysol as a douche, which we added to this post.

We added a vintage ad to our sex sells post.  This one tells men that if they don’t buy Firestone tires, they won’t get laid.  Women?  Well I guess they don’t drive.  

Also in sex sells, we updated our post on the sexualization of food, this time with a Max Factor ad and a not-to-be-missed Hardee’s commercial featuring Padma Lakshmi having quite the sensual experience with a bacon burger (scroll all the way to the bottom). 

We also added another image to our post with examples of sex as “scoring.”

Now to sperm: We added three more images affirming the idea that we were all once a mighty sperm (eggs, apparently, just add nutrition, if that) to this post on the weird ways in which sperm are socially constructed.  In one of them, a condom ad suggests that one condom could have prevented the holocaust by dressing a sperm up as Hitler.  Another example dates back to the beginning of the idea in 1694.

On race and ethnicity:

We added material to two posts in our series on how and why people of color are included in ads aimed at white people.  First, we added a set of photographs taken by Joshua B. at Office Max to our post showing how people of color are often portrayed as being more, eh em, colorful.  Second, we added an image to our post on how people of color are literally background or arranged so that the focal point (visually or through action) is the white person or people in the ad.

We added images of sculptures that comically/stereotypically (depending on your point of view) represent European countries to this post about stereotyping nationalities. The installation was supposedly by 27 different artists, but it turns out to be a hoax; all of them were created by a single Czech artist.

Also in ethnic stereotypes, we added a cartoon from Life magazine suggesting that monkeys are insulted by being given Irish names.  We added it to our collection of anti-Irish sentiment from the 1800s.

And visit this post to see our newest example of using the notion of the “savage” to sell in the 1950s.

Miguel sent us an image of a “White” Obama, which we added to our post that asks “What do Black and White look like, anyway?”

Philip D. sent us a set of Crown Royal ads that reportedly target a “general” and a specifically African American audience, respectively, which we added to our post about marketing products to different groups. 

On gender: 

Elizabeth M. sent us a link to fashion designer Nina Ricci’s new line of shoes.  They’re high high HIGH heels!  We added it to some other real hobblers here. 

Women cannot be counted on to hold it together in the face of low calorie sweets… or at least that’s what another commercial tells us. 

Ben O. sent us a link to a company that makes pink protective gear for female construction workers.  We added it to our post featuring pink handcuffs for cops.  

There’s now another image up from the Evan Williams bourbon “The Longer You Wait” ad campaign. 

Keely W. sent in a link to the new Fling candy bar, just for girls.  We added it to our post on gendered candy marketing.

The Daily Show spoofed the obsession with Michelle Obama’s clothes.  Andrea G. sent in the link and we added it to our collection of examples of this obsession.  We also added a picture of the cover of a new book: Michelle Style: Celebrating the First Lady of Fashion.

We added a picture of a sink that looks like a woman’s lower half to our post about urinals shaped like women’s bodies. 

And, finally, does a month go by where we don’t update our BOOBS! post?  Rarely.  This time, though, we’ve got something special: Jezebel offered us a photo essay of a boob shaped milk cartoon, from fridge to trashcan.  Visit our updated post here (scroll to the bottom) and enjoy this teaser:

This post is dedicated to Frankie Manning.  Frankie died this morning of complications related to pneumonia   He was one month shy of his 95th birthday.  I will really miss him.  Frankie is a lindy hop legend.  He choreographed the clip below and is the dancer in the overalls.

In the 1980s, there was a lindy hop revival.  Lindy hop is a partner dance invented by African American youth in Harlem dancing to swing music in the early 1930s. Named after the “hopping” of the Atlantic by Charles Lindbergh Jr., it became wildly popular in the 1930s and ‘40s, traveling from the East to the West Coast and from black to white youth. Since its resurgence, Lindy Hoppers have enjoyed a national scene with websites, workshops, competitions, and city-wide social events that draw national and international crowds.

Though lindy hop was invented by African Americans, lindy hoppers today are primarily white.  These contemporary dancers look to old movie clips of famous black dancers as inspiration.  And this is where things get interesting:  The old clips feature profoundly talented black dancers, but the context in which they are dancing is important. Professional black musicians, choreographers, and dancers had to make the same concessions that other black entertainers at the time made. That is, they were required to capitulate to white producers and directors who presented black people to white audiences. These movies portrayed black people in ways that white people were comfortable with: blacks were musical, entertaining, athletic (even animalistic), outrageous (even wild), not-so-smart, happy-go-lucky, etc.

So what we see in the old clips that contemporary lindy hoppers idolize is not a pure manifestation of lindy hop, but a manifestation of the dance infused by racism. While lindy hoppers today look at those old clips with nothing short of reverance, they are mostly naive to the fact that the dancing they are emulating was a product made to confirm white people’s beliefs about black people.  Let’s look at how this plays out:

This clip, from the movie Hellzapoppin’ (1941) is perhaps the most inspirational clip in the contemporary lindy hopper’s arsenal:

By the way, the dancers are in “service” outfits because of the way lindy hop scenes featuring black dancers were included in movies.   Typically they would have no relationship to the plot; they would occur out of nowhere and then disappear.  This was so that the movie studios could edit out the scene when the movie was going to be shown to those white audiences that were hostile to seeing any positive representation of black people at all.  If you want to see how the scene above emerged (black “help” suddenly discovering musical instruments and spontaneously congregating), you can watch the extended clip here.

The clip features a dance troop called Whitey’s Lindy Hoppers. You can see other famous dance segments in Boy! What A Girl! and Day At The Races.

The clip below, from the Ultimate Lindy Hop Showdown (2006), reveals how powerfully contemporary lindy hoppers have been influenced by clips like the ones above.  Watch for how the styling, moves, and trick reflects the clips above:

Another good example can be found here (but the angle, audio, and visual quality are not very good).

So we have a set of (mostly) white dancers who naively and wholeheartedly emulate a set of black dancers whose performances, now 70 to 80 years old, were produced for mostly white audiences and adjusted according to the racial ethos of the time.  On the one hand, it’s neat that the dance is still alive; it’s wonderful to see it embodied, and with so much enthusiasm, so many years later.  And certainly no ill will can be fairly attributed to today’s dancers.  On the other hand, it’s troubling that the dance was appropriated then (for white audiences) and that it is that appropriation that lives on (for mostly white dancers).  Then again, without those dancers, there would likely be no revival at all.  And without those clips, however imperfect, the dance might have remained in obscurity, lost with the bodies of the original dancers.

As a white lindy hopper myself, for over ten years now, who desperately loves this dance, I find this to be a deep conundrum.

I don’t know what Frankie would have had to say about this critique.  But I do know that he loved lindy hop to his last days and he was grateful for the revival.  Here he is dancing with Dawn Hampton, another legend of lindy hop, at the age of 94:

I’lll miss you, Frankie. And I’ll keep on dancing, embodying, with ambivalence, all the great contradictions of the dance and the history of this country.

UPDATE: A couple commenters asked how, exactly, the dance was changed in order to appeal to white audiences.  This is actually really difficult to say, since few films of social dancing (black dancers dancing only for other black dancers) exist.  But we have some theories.  Evan, in the comments, had this suggestion:

For white audiences of the time, Jazz was Hot Black jungle music – Black people were sex crazy hedonists, and you can see it in the moves, the exaggerated body undulation. the speed. the sweat. the rhythmical drum.

It was like watching a tribe around a fire.

I’m with Evan.  I’d like to also add that, as a person with a trained eye for lindy hop, I see two things in those clips:

(1) I see incredibly effective technique. Unbelievable strength and precision. It’s fantastic.  (By the way, Frankie explained that, by the time they got to the take you see in the Hellzapoppin’ clip, they’d performed that routine more than 20 times in a row… they were amazing athletes.)

(2) But I also see, layered onto and facilitated by that technique, an effort to make the dance appear more out-of-control than it is. They are wild-ing the dance.

At least, that’s how it looks to me.

More than that, though.  As a dancer who has also been inspired by those clips, I know how to do that.  I know how to exaggerate the out-of-control look.  I won’t go into the technical details (I did, and then deleted!), but it’s do-able.  And it’s not that it’s not cool… adding the drama is fun and exciting to watch… but there’s a historical reason why lindy hop has that dimension and that is worth thinking about.