…”Obama’s Baby Mama.” Way to racialize the democratic nominee and his wife. See it here.

Thanks to an anonymous tipster!

NEW: Pat C. sent in an image (found here) showing the FOX News caption referring to Michelle Obama as a “baby mama.”

Thanks, PT!

In case you haven’t seen the FOX News commentary in which the host suggests that a fist bump between Obama and his wife is a secret terrorist signal, you can see it here.  (And I thought this was bad.)

Here’s an image of the infamous terrorist signal:

NEW! It’s not an image, but Patrice Evans has an interesting essay on the “fist bump heard ’round the world,” arguing we should celebrate National Fist Bump Day.

The graph below, from the New York Times, challenges a stereotype about Asian-Americans and their choice of major in college.  The author writes:

The report found that contrary to stereotype, most of the bachelor’s degrees that Asian-Americans and Pacific Islanders received in 2003 were in business, management, social sciences or humanities, not in the STEM fields: science, technology, engineering or math.

The article also discusses the way in which the category “Asian-American/Pacific Islander” makes invisible the dramatic discrepancy between the educational attainments of Asians who’s families immigrated from different places.  For example, they write:

…while most of the nation’s Hmong and Cambodian adults have never finished high school, most Pakistanis and Indians have at least a bachelor’s degree.

The SAT scores of Asian-Americans, it said, like those of other Americans, tend to correlate with the income and educational level of their parents.

And, to a great degree, the success of a given Asian immigrant group in this society is correlated with the wealth of the nation from which they immigrated.

Elizabeth A. at blogofstench sent us her post on this ad for “Disaboom, a site of news, networking and such for people with disabilities and their hangers-on.” 

She notes how the site and the ad challenge the stereotype of disabled people as asexual but, much like Viktoria in Bizarre magazine, does so by conforming to normative standards of attractiveness.  But I really liked her observations regarding the extent of his disability. She writes:

…not only is this guy the picture of modern white bourgeois hegemonic masculinity, but I can’t shake the feeling that he’s also passing as non-disabled. Tattoos aside, he looks like a non-disabled guy sitting down in a chair that just happens to have wheels. While some people indeed use wheelchairs with no back and no handlebars and a low-slung profile, other people with disabilities have much more obvious tools that they use; an electric wheelchair, for example, can have six wheels, headlights and tail lights, a control box with joystick and horn, storage pouches on either side, footrests, leg braces, head rest, reclining seat, adjustable cushions and posture support, a backpack on the back and an obvious computer on board, all of which are much more obvious than a discreet little set of wheels under your butt… I feel that the Disaboom ad downplays the unavoidable obviousness of some mobility aids in its attempt to make the guy in the picture seem more stereotypically “non-disabled.”

Not to mention, I might add, a disability that interferes with urination and defecation or one that caused involuntary body movements.

A while ago I posted a set of ads for engagement rings, asking what those ads had to sell you in order to also sell you a diamond ring (see the post here).  Then Miguel sent us the ad below, writing: “This ad is almost too honest.”  Indeed.  Notice that it also supposes that it is the quality of the ring, and not the quality of the groom, that makes a woman happy on the day she says “yes” to marriage.

The relationship between clear skin and sexuality has an interesting history.  In an effort to establish dermatology as a medical subspeciality, aspiring dermatologists strategically linked, in the popular imagination, young women’s acne and lasciviousness.  Doctors argued that acne was a sign of sexual desire or God forbid, masturbation or worse.  Parents worried, then, that this would make their daughters unacceptable marriage partners (at a time when that was disasterous for women) and so would pay a great deal of money to doctors who would promise to cure their daughters of this scarlet dot.  Thus, dermatology was born.

Later, of course, acne became seen as a boy’s issue… But since we had different expectations for boys (in terms of both beauty and sexuality), acne was seen as a “stage” to be endured instead of a “problem” to be cured.  This is more or less like it was when I was a kid in the 1980s.

But today, of course, clear skin is linked to sexual attractiveness, especially for women (thanks, in part, to our friend evolutionary psychology).  And, with dermatologists at their beck and call, upper class teenagers (and adults) no longer have to endure bad skin. Thus, science, sex and skin care seem like natural bed fellows.  Consider this ad:

It’s a subtle threat: “Why not wake up in great skin.” Why would we care?  Who is laying next to you?  Does he know what you look like without make-up?  Without beer goggles?  Without make-up and beer goggles!? And what happens if he finds you disgusting in the bright light of morning?  (This, of course, is a very effective marketing tool because sexual attractiveness is linked to happiness. There is a price to pay for not finding a mate and, we are told over and over and over, that price is very high.)

I also see in the ad a perpetuation of the medicalization of sexual desirability (whether that be “purity” or “beauty”). The “3-step skin care” and “consultation” is a subtle medicalizing and scientizing of the make-up industry.  Lots of make-up companies use the notion of “science” to market their product (i.e., “Prescriptives”) and many of them link this with what is “natural” as well (i.e., Aveda).

Thanks to Jason for sending along the image!

Yesterday, one of my favorite blogs, Sociological Images, picked apart amputee alt model Viktoria’s appearance in Bizarre Magazine.

What makes Viktoria “bizarre”? Is it her amputated leg? Is it the fact that she has an amputated leg and is still incredibly sexy? Or is it that she has an amputated leg and still considers herself a sexual person? Is this empowering? And to who? Surely the disabled are desexualized in this country, so it’s nice to see that challenged even, I suppose, in a magazine about weirdos. And yet, I suspect her sexuality is acceptable, fetishizable, only because she conforms to expectations of feminine beauty. In the big scheme of things, does she reproduce the standard of beauty, unattainable for most women, that crushes women’s self-esteem and sense of self-worth? And will disabled women, most of whom (like most non-disabled women) could never dream of being so beautiful, actually look at her and be able to identify? Or will this just draw attention to another way in which they don’t match up?

Now really, I think that SocImages went a little overboard with Viktoria (especially when they dismissed her comments about sexuality as “standard porn star talk”). Maybe it’s because I know her little better than they do, but I think that they oversimplify the genuine place that she comes from in choosing to be a model. However, they do bring up an important discussion that’s been nagging me for some time. What is an alternative model, and what is an alt model’s role in visual culture? In my life, at various points, I came up with 3 different definitions. I believe in each of them, and I have a problem with each of them as well. Here they are below. Which one resonates with you? Do you think it’s a combination of the three below, or something completely different? Opinions, please.

1. The model who challenges society’s notions of beauty.

Examples:

Kenyan-born trans model Biko Beauttah, photographed by Bode Helm.
Velvet D’Amour, photography credit unavailable.

I love these models, but the issue here is that, while they appear to push the boundaries of beauty in some direction, they usually wind up brutally reinforcing another traditional notion in the process. For example, trans models make us rethink gender/beauty, but with their self-presentation they usually reinforce the ideal of a sleek, hairless feminine figure, thus fueling the hair-removal industry. In fact, epilator-manufacturer Philips Norelco has already found a way to to capitalize on this to great effect – just watch this ad. And large models like Velvet D’Amour and skinny-by-comparison but still-considered-plus-size recent ANTM winner Whitney Thompson help to redefine weight in modeling, but what makes them “legitimately beautiful” in the eyes of the mainstream world is their “correct” bone structure, their blond hair. Without some “redeeming quality” of this sort, the world doesn’t recognize them as models, and wouldn’t even give them a shot at making a difference. Mainstream media often presents them as beautiful “in spite of,” not “because of.” While their individual messages are empowering (I love Velvet’s interviews), I don’t find our culture’s use of these models empowering at all.

2. The hottie with strange hair/tattoos/piercings/latex.

Examples:

Mosh, photographed by Vance.
Scar13, photograhed by Nadya Lev.

Like it or not, it’s a valid definition – arguably the most widely-embraced one at that. This idea is epitomized by the Suicide Girls motto: “redefining beauty, one hot, naked chick at a time.” Underneath all the hair dye and black eyeliner, the ideal remains the same: symmetrical faces, clear skin and slim figures with a slightly above-average degree of variation as compared to mainstream modeling. Alterna-porn sites and alt modeling agencies such as Nocturnal Models helped cement this concept, but the biggest reinforcement came from self-proclaimed “alt photographers” and “alt models,” in whom they chose to include and exclude as they built up their online “spheres of influence.” This definition doesn’t make me happy now, though I had no problem with it at 21, when all I did was go clubbing and take pictures that reminded me of how I felt when I was dressed-up on the dance floor. When I realized that my own photography was reinforcing the same standards of beauty that make it difficult for women to have a healthy self-image, I took a step back.

3. The self-made persona.

Examples:

Feisty Diva wearing a hairpiece she created, photographed by Nadya Lev.
Anachronaut, photographed by Nadya Lev.

Another definition of alt model is someone who completely reinvents themselves from head to toe. This could be someone you’d never otherwise notice on the street, yet through inventive styling, self-applied makeup, self-styled clothing and hair, they create a whole new persona for themselves. The ultimate example of this is Mana, who goes from being a middle-aged man to a gothic Loli. These people make up their own beauty, owning their look from head to toe for the purpose of expressing an artistic ideal, proving a political point, etc. But are are they really “models,” or artists who allow you to take their portrait? It’s the most positive concept to me, but is it a valid definition of “model”?

So there you have it. Three definitions, some of which conflict with each other. And still, even after writing all of this out, I’m not sure if I’m even satisfied with my own personal definition, which draws on all three. Something’s bothering me. Something’s missing. Anyone have any idea?

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Nadya Lev, a photographer, blogs for the Coilhouse.

Dawn A. sent us these posters for The Sarah Connor Chronicles.  Notice how, in three out of four posters, the women are not making eye-contact and, in all of them, they are in a passive pose with a passive facial expression.  Dawn adds:

I’m alarmed by the disembodiment of the character.  While she may be a part of the Terminator series, would we ever see Arnold Schwarzenegger (or other male characters) portrayed like this in posters?

Thanks Dawn!

NEW: After a discussion with my friend Jason, I decided to offer some more images and commentary as food for thought.

Here are the Terminator posters I could find featuring Schwartzenegger.  There are a lot of things separating and potentially separating these posters from those above other than gender: about 20 years, maybe the moral of the movies/series or the feeling of the show, and surely producers/directors etc.  Even so, I think it’s worth putting up the images for contrast.

Back to The Sarah Connor Chronicles:  Below are some additional promotional images that do not reproduce the passivity we see in the first set.  Word on the street is (or so I have heard some people say), the women are not as feminized in the series as they are in the promotional material (which, if true, is interesting in itself).

Still, Jason notes that the empowerment of the women in the series as protectors, comes at the cost of disempowering John Connor and that disempowerment is achieved, in part, through his feminization.  His task, then, as the series progresses, is to finally become a “man.”  At that point, supposedly, he would no longer need the protection of women. 

So, femininity is still associated with weakness.  And, insofar as femininity is equated with weakness, and women are more-or-less required to do at least some femininity (lest they be called “dykes” or “bitches”), women are more-or-less required to appear at least a little bit weak in their daily lives.