I just wrapped up my political sociology class for the semester. We spent a lot of time talking about conflict and polarization, reading research on why people avoid politics, the spread of political outrage, and why exactly liberals drink lattes. When we become polarized, small choices in culture and consumption—even just a cup of coffee—can become signals for political identities.
After the liberals and lattes piece, one of my students wrote a reflection memo and mentioned a previous instructor telling them which brand of coffee to drink if they wanted to support a certain political party. This caught my attention, because (at least in the student’s recollection) the instructor was completely wrong. This led to a great discussion about corporate political donations, especially how frequent contributions often go bipartisan.
But where does your money go when you buy your morning coffee? Thanks to open-access data on political contributions, we can look at the partisan lean of the top four largest coffee chains in the United States.
Starbucks’ swing to the left is notable here, as is the rightward spike in Dunkin’s donations in the 2014 midterms. While these patterns tend to follow the standard corporate image for each, it is important to remember that even chains that lean one way still mix their donations. In midterm years like 2012 and 2014, about 20% of Starbucks’ donations went to Republicans.
One side effect of political polarization is that corporate politics don’t always follow cultural codes. For another good recent example of this, see Chick-fil-A reconsidering its donation policies.
Evan Stewart is an assistant professor of sociology at University of Massachusetts Boston. You can follow him on Twitter.
Tis’ the season for throwing down at dinner. Every year the humor and the horror stories about Thanksgiving hit our social media feeds. This isn’t just about politics, either. Family dinners have a strong symbolic significance. When the stakes are high for a once-a-year gathering, other kinds of social conflicts are primed to play out as well.
In the article, political scientists matched anonymous smartphone location data from over 10 million Americans to precinct-level voting data from 2016. By doing this, they could see who traveled for Thanksgiving that year and how long they stayed at dinner. People who ate in an opposing political district spent less time at dinner, about 30-50 minutes less on average. The pattern was stronger for people coming from Republican districts to dine among Democrats—they split about 50 to 70 minutes sooner. The authors also find that increased local political advertising was also associated with cut-down dinner time.
Sure, these people could be storming out before that second helping. But I think one of the less-appreciated trends in political life is that many of us are just clamming up and cutting out early to spend time elsewhere. There are many perfectly valid reasons to do this, especially if people are made to feel unwelcome or unsafe. These results suggest we could all do a little more to think about keeping people at the table.
Evan Stewart is an assistant professor of sociology at University of Massachusetts Boston. You can follow him on Twitter.
studying emotion have opened up the inner, private feelings of anger, fear,
shame, and love to reveal the far-reaching effects of social forces on our most
personal experiences. This subfield has given us new words to make sense of shared
experiences: emotional labor in our professional lives, collective
effervescence at sporting events and concerts, emotional capital as a resource
linked to gender, race, and class, and the relevance of power in shaping
positive and negative emotions.
these advances, scholars studying emotion still struggle to capture emotion
directly. In the lab, we can elicit certain emotions, but by removing context,
we remove much of what shapes real-life experiences. In surveys and interviews,
we can ask about emotions retrospectively, but rarely in the moment and in
way to try to capture emotions as they unfold in all of their messy glory is
through audio diaries (Theodosius 2008). Our team set out to use audio
diaries as a way to understand the emotions of hospital nurses—workers on the
front lines of healthcare. We asked nurses to make a minimum of one recording
after each of 6 consecutive shifts. Some made short 10-minute recordings. Some
talked for hours in the midst of beeping hospital machines and in break rooms,
while walking to their cars, driving home, and as they unplugged after a long
day. With the recorders out in the world, we couldn’t control what they
discussed. We couldn’t follow-up with probing questions or ask them to move to
a quieter location to minimize background noise.
But what this lack of control gave us was a trove of emotions and reflections, experienced and processed while recording. One fruitful way to try to distill these data, we found, was through visuals. We created wavelength visualizations in order to augment our interpretation of diary transcripts. Pairing the two reintroduces some of the ‘texture’ of spoken word often lost in the transcription process (Smart 2009:296). The following is from our new article in the journal, Qualitative Research (Cottingham and Erickson Forthcoming).
In this first segment, Tamara (all participant names are pseudonyms) describes a memorable situation in which a patient’s visitor assumed that Tamara was a lower-level nursing aid rather than a registered nurse (the full event is discussed in greater detail in Cottingham, Johnson, and Erickson 2018). This caused her to feel “ticked” (angry), which is the word she uses after a quick, high-pitched laugh that peaks the wavelength just after the 30-s mark (Figure 1). The wavelength peak just after the 1:15 mark is as she says the word ‘why’ with notable agitation in ‘I’m not sure why. Maybe cuz I’m Black. I don’t know.’
We can compare Figure 1 that visualizes Tamara’s feelings of
anger with the visualization of emotion in Figure 2. “Draining” is the
description Tamara gives at the beginning of this second segment. The peak just
after the 15-second mark is from a breathy laugh as she describes her sister “who
has MS is sitting on the bedside commode” when she gets home from work. After
the 45-second mark, she has a similar breathy laugh but in conjunction with the
word ‘compassionate’ as she says ‘I’m trying to be as empathetic and
compassionate as I want to be, but I know I’m really not. So I feel kinda
crappy, guilty maybe about that.’ Just before the 1:30 mark she draws out the
words ‘draining’ and ‘frustrating’ before finishing: ‘because you leave it and
you come home to it…you know…yeah.’ We can see that the segment ends with
longer pauses, muted remarks, and sighs, suggesting low energy and representing
the drained feelings she expresses, particularly in comparison to the lively
energy seen in the first segment when she discusses feeling angry.
A second example comes from Leah, recorded while driving to work. Here she is angry (“pissed off”) because she has to work on a day that she was not originally scheduled to work. This segment is visualized in the waveform shown in Figure 3.
In contrast to her discussion of being pissed off and working to ‘retain enough righteous indignation’ to confront her boss later (in figure 3), we see a different wavelength visualization in her second segment (figure 4). In that segment, she describes her lack of enthusiasm for continuing the shift. She reflects on this lack of desire (‘I don’t want to stay’) by stepping outside her own feelings and contrasting them with the dire circumstances of her young patient. This reflexivity leads her to conclude that she has reached the limits of her ability to be compassionate.
be sure, waveform visualizations are only meaningful in tandem with what our nurses say. And they do not
provide definitive proof of certain emotions over others. They can’t fully
identify the sighs, deep inhales, uses of sarcasm, or other subtle features of
spoken diary entries. They do, however, offer some insight into how speed,
pitch, and pauses correspond to different emotional expressions and, arguably,
levels of emotional energy (Collins 2004) that vary across time and interactions.
there is little that can serve as a substitute for hearing the recordings
directly, the need to protect participants’ confidentiality compels us to turn
to other means to convey the nuances of these verbalizations. Visualization of
wavelengths, in combination with transcripts, can lend themselves to further
qualitative interpretation of these subtleties, conveying the dynamics of a
segment to others who do not have direct access to the recordings themselves.
out the full, open-access article on this topic here and more on the experiences of nurses here.
Marci Cottingham is assistant professor of sociology at the University of Amsterdam. She researches emotion and inequality broadly and their connection to healthcare and biomedical risk. She is a 2019-2020 visiting fellow at the HWK Institute for Advanced Study. More on her research can be found here: www.uva.nl/profile/m.d.cottingham
2004. Interaction Ritual Chains. Princeton, New Jersey: Princeton
Marci D., Austin H. Johnson, and Rebecca J. Erickson. 2018. “‘I Can Never Be
Too Comfortable’: Race, Gender, and Emotion at the Hospital Bedside.” Qualitative
Health Research 28(1):145–158. https://doi.org/10.1177/1049732317737980
Carol. 2009. “Shifting Horizons: Reflections on Qualitative Methods.” Feminist
Catherine. 2008. Emotional Labour in Health Care: The Unmanaged Heart of
Nursing. NY: Routledge. [
Modern policing is often characterized by quasi-militaristic tendencies, from “wars” on drugs and crime to its use armored vehicles and automatic weapons. The Department of Defense 1033 Program, which provides military equipment slated for storage to law enforcement agencies, is a popular way that police and sheriff’s departments acquire military gear. According to data from the Defense Logistics Agency, acquisitions of military equipment by state and local law enforcement sharply rose to a peak in 2016, and then have declined in recent years. But what explains participation in the DOD’s program? Which police departments acquire the most military equipment?
In a recent study published in Criminology,David Ramey and Trent Steidley investigate whether law enforcement agencies participated in the program and how much gear they acquired using 1033 program participation and U.S. Census and American Community Survey data. They find that participation in the 1033 — but not the value of gear acquired — is greater in areas of higher violent arrests. They also find that, after controlling for crime rates and other factors, higher local Black and Hispanic populations correlate with higher levels of participation and greater value acquired.
However, these racial patterns are not linear. Agencies operating in areas with very small and very large minority populations have low probabilities of program participation, but agencies that serve a more diverse community are most likely to obtain military equipment through the 1033 program. For those that do participate, increases in minority populations correlated with higher dollar values of equipment acquired, with each subsequent increase garnering even more gear than the last (an exponential increase). In other words, program participation increases in response to racial demographics up to an extent, but once an agency decides to participate, the value of military equipment requested dramatically increases as minority populations increase.
Trends in police militarization highlight two patterns. Law enforcement agencies respond to increasing crime rates with police militarization, possibly in an attempt to deter further crime. In contrast, the racial effects found in this study follow a “minority threat” model, as military acquisitions correspond to the presence of racial minority groups. This research illustrates how race, net of the crime rates in an area, can pattern not only where police operate, but how they operate.
Ryan Larson is a graduate student from the Department of Sociology, University of Minnesota – Twin Cities. He studies crime, punishment, and quantitative methodology. He is a member of the Graduate Editorial Board of The Society Pages.
Martha McCaughey and Beth Davison on November 4, 2019
For feminists, liking Barbie is tough. This top selling American toy has long been criticized for fueling sexist stereotypes, because women are not actually focused on dream houses, dream dates, beauty, and unbridled consumption.
And yet Mattel has made attempts to refashion the doll as women’s positions in society have changed. By the 1990s Barbie had careers as a firefighter, police officer, and in the military. She had also been a racecar driver, a pilot, and a presidential candidate. However, the 90s also gave us the infamous Teen Talk Barbie whose voice box had been programmed to say, “Math class is tough.”
The Barbie Liberation Organization (B.L.O.) switched Teen Talk Barbie’s voice box with that of talking G.I. Joe, and put the altered dolls back into their original packages and back onto store shelves. They released videotapes to major television news outlets explaining their action and calling attention to Mattel’s outdated gender ideology. With G.I. Joe saying, “Let’s sing with the band tonight” or “Wanna go shopping?” and Barbie saying, “Dead men tell no tales” the B.L.O.’s media-savvy culture jam threw our gendered expectations into sharp relief.
In addition to the B.L.O., women’s groups expressed concern that Barbie’s math-anxious statement would discourage girls from pursuing math and math-related fields, and so Mattel removed the offending remark from Barbie’s voice box.
Inspired by the B.L.O. and other culture jammers, for Barbie’s 50th anniversary in 2009 I initiated a “Barbies We Would Like to See” exhibition on my campus. The exhibition included Muslim Girl Barbie (made from a 1960s Skipper doll), Stay-At-Home-Dad Ken, Public Breastfeeding Barbie, and Lesbian Wedding Barbie—to name a few.
And now, as Barbie turns 60, we can see how participatory social media has made it possible for anyone with a dream for Barbie to share it instantaneously and widely. For example, Black Moses Barbie videos on YouTube use Barbie dolls to depict imagined moments in history with Harriet Tubman, and photographer Mariel Clayton creates elaborate scenes with Barbies—sometimes violent, sometimes sexual, sometimes both—which she photographs and shares on her public Facebook page. There are entire Instagram accounts devoted to depictions of Barbie and social critiques made through Barbie, for instance Sociality Barbie, the anonymous Instagram feed with over 800,000 followers that depicts Barbie as a Portland, Oregon hipster. In our documentary video on Barbie in the age of digital reproduction (produced by Martha McCaughey and Beth Davison, linked above), we see how these artists and Barbie hackers go much farther than Mattel to re-imagine gender and pop culture. Indeed, they make curvy Barbie, released in 2016, and the gender-neutral Creative WorldTM dolls, released this year, look pretty conventional.
In line with Rentschler and Thrift’s (2015) argument that feminist meme propagators do feminist cultural production, Barbie artists and activists sharing their altered dolls on social media are doing feminist cultural production and creating “feminist community-building media” (Rentschler 2019). In this age of digital reproduction Mattel can neither thwart nor ignore what people want to do with their dolls. Indeed, the changes Mattel has been making to their dolls can be seen as a direct result of the willingness of artists, activists, and fans to playfully engage with—rather than simply criticize—their dolls.
Barbie has always been malleable. Thanks to feminist media, perhaps Mattel can now acknowledge what Barbie hackers have long known: that gender, like the doll itself, is plastic.
Martha McCaughey is Professor of Sociology at Appalachian State. She is the author of The Caveman Mystique: Pop-Darwinism and the Debates Over Sex, Violence, and Science, and Real Knockouts: The Physical Feminism of Women’s Self-Defense.She blogs on sexual assault prevention at See Jane Fight Back.
Rentschler, Carrie, 2019. “Making Culture and Doing Feminism.” Pp. 127-147 in Routledge International
Handbook on Contemporary Feminism Ed. by Tasha Oren and Andrea Press.
Carrie and Samantha Thrift, 2015. “Doing Feminism in the Network: Networked
Laughter and the Binders Full of Women Meme” Feminist Theory 16:3:329–359.
We bowed our heads in prayer to mourn yet another loss. It was the third murder in a week. The police captain called a meeting together to develop collaborative alternatives to enforcement so the mostly Black and Latino civilian volunteers could get more involved in promoting crime control. Lakeside, where I was conducting research, is in the heart of South LA’s “Black Belt”. The neighborhood is characterized by high rates of gang crime and violence, extreme poverty, widespread resentment toward police and is the site of the most destructive riots in US history. “We have to take our community back!” one meeting participant said as his voice cracked from the tears and frustration welling up inside him. Agreeing that something had to be done, the captain broke us into groups to spitball ideas. One popular idea was to canvass the affected neighborhood. Volunteers would pass out business cards and encourage residents to call with information about the shooting.
The cards that we handed out door-to-door were simple—bold lettering against a light background, the organization’s name and phone number, and a promise to protect anonymity—but they could also be socially impactful. Until then I was focused solely on power struggles in “community policing,” a post-riot policy that calls for greater civilian participation in law enforcement. Calling 9-1-1 is perhaps the clearest example of civilians “coproducing” social order. And canvassing with these cards only reinforced just how crucial civilian involvement is for law enforcement; their information and the lack thereof can directly shape case outcomes.
Then I started looking more closely at the cards and flyers that police and civilians passed around at community meetings. Visual rhetoricians look at textual and/or visual data and pick apart the “blocks of meaning” that authors arrange when composing documents such as flyers. Composition is a rhetorical act; its intention is to convince an audience. We can interpret these blocks on two registers, the presented and the suggested. The author presents a woman being robbed by an anonymous figure and frightened as a result. They explain how we, the audience, can change our daily routines to minimize our chances of being victimized and give us police contact information. Sociologist David Garland helps us see the suggested elements. He might point to this as an example of the new role of police as a key socializing institution, reflected here in the evocation of a specific outlook. Fear of crime today is at an all-time high; so high, in fact, that it far exceeds the realities of crime victimization in the US. This flyer gives us the sense, however, that crime is everywhere, every day, and that we ought to fulfill our civic responsibility to defend the community.
Drawing on over two years of ethnographic fieldwork and nearly two hundred documents, my new project, The Social Life of Flyers, seeks to understand what these artifacts do in community policing. Specifically, I seek to better understand the nature of flyers—their presented and suggested elements—and their bureaucratic functions beyond canvassing. My findings will reveal how police restrict rather than amplify civilian power in collaborative crime control. This work builds on my recently published coauthored book, The Limits of Community Policing, and can shape future ethnographic studies, research on police bureaucracy, and the craft of visual sociology.
Daniel Gascón is an assistant
professor of sociology at the University of Massachusetts Boston. For more on
his latest work, follow him on Twitter.
For centuries, nations have expanded geographically and economically by taking land and labor from indigenous people. One of the narratives used to justify this colonialist expansion portrays indigenous land and space as empty, simply there for others to occupy. This narrative is known as indigenous absence.
Kleinman and Kleinman write that this kind of erasure is also applied to indigenous communities and families through the lens of health and suffering. For example, as in this Pulitzer prize-winning photo taken by Kevin Carter for TheNew York Times, the media often portrays indigenous communities as if they are in a state of constant helpless suffering, leaving any local action, support or voices out of the narrative. This implies that indigenous communities and families cannot adequately help themselves and require outside intervention from a supposedly more qualified source. Colonizers then use this logic to pursue their goals under the guise of providing help.
Chris Sanders’ Lilo & Stitch illustrates the narrative of indigenous absence through its portrayals of Lilo’s family, while using the presence of aliens (and a social worker) to advance this narrative and represent a justified state intervention.
When we first meet Lilo, she is swimming alone in the ocean, without any supervision. We then learn that Lilo and her older sister Nani’s parents have recently died in a car crash, leaving Nani to care for Lilo. While the film shows their local community in the beginning, this community is absent when it comes to caring for Lilo or Nani. Nani is also repeatedly portrayed as an incredibly incompetent guardian. Because of this, the family’s biggest threat and the most major plot device is the presence of an evil social worker, who could take Lilo away. Thus, the very premise of the plot depends on the absence of a competent guardian for Lilo, and the fact that her household and community are inadequate and have failed her, creating a supposedly dire need for state intervention– so dire that the social worker identifies himself as “a special classification” that they bring in when “something has gone wrong.”
When Stitch joins the family, he creates chaos and jeopardizes Nani’s job search, all of which make the household appear even more unsuitable for Lilo. Stitch is thus used as a plot point that furthers the narrative of indigenous absence by exacerbating Nani’s caretaking challenges. At the same time, however, we see that Stitch fits in well with the family and is a valuable friend for Lilo when she has no one else. Both Lilo and Stitch are portrayed as unruly and badly behaved. In fact, Lilo fits in so poorly with the white community around her, that the only creature she can befriend is an alien. By choosing not to give Lilo anyone from her own community that she can relate to, the film furthers the notion that the indigenous community is absent and is a space for others to fill. Furthermore, the fact that she is portrayed as so deranged that she can only be expected to befriend an alien emphasizes Lilo’s otherness and implies that Lilo requires correction by an external force.
The most iconic phrase from the film is “Ohana means family,” and it’s marketed as a wholesome Hawaiian phrase. However, for Lilo, “Ohana” is policed and threatened by outsiders throughout the movie—both by a social worker and an invading alien military force; in fact, Lilo can only keep Stitch at the end by invoking state law.
This mirrors a history of state violence against indigenous children in the form of residential schools and forced adoptions, which were justified by the same narratives of safety and health that are used to question Nani’s competence as a guardian. Social workers and child welfare professionals participated in and often facilitated these colonial efforts. Frantz Fanon, referring to health and medicine, explains, “colonization sought a justification for its existence and the legitimization of its persistence….” Thus, the plot of Lilo and Stitch can be viewed as a microcosm of colonialism.
Lena Denbroeder is a recent graduate of Barnard College where she studied economics. Her professional interests include working towards health and housing equity, and approaching healthcare and health policy through a social justice lens.
Fanon, Frantz. 1982. A Dying Colonialism. New York: Grove Press..
Kleinman, Arthur, and Joan Kleinman.
1996. “The Appeal of Experience; The Dismay of Images: Cultural Appropriations
of Suffering in Our Times.” Daedalus
125 (1): 1–23.
Sanders, Chris. 2002. Lilo & Stitch. Walt Disney Pictures.
As the primary season heats up, the spotlight is back on political advertising and social media. Recent controversies over “fake” ads on Facebook raises questions about the ethics of campaign strategies that target voters with misinformation. It doesn’t help that many of these tech companies are not exactly transparent about processes for addressing biased or misleading content on their platforms.
Some of the results are surprising. What on earth is General Mills doing buying political ads? It turns out they were part of a charity campaign partnership with groups like HRC. Other top spenders include public service announcements from advocacy groups like truth and Every Town for Gun Safety.
It looks like the Trump campaign has spent the most on Snapchat this year across two organizations: the MAGA Committee and Donald J. Trump for President. Among the Democrats, Elizabeth Warren sits at the top, followed by Pete Buttigieg, Kamala Harris, and way down at the #50 spot, Joe Biden.
I also looked at how these ads break down for each of the major campaign groups. Snapchat provides the number of impressions each ad got, as well as how much it cost. Dividing the two lets us measure “virality” by looking at how many views each campaign gets for every dollar they spend on the platform.
These patterns follow the conventional wisdom that the Trump campaign gets a lot of “free” media for stirring the pot, because strong emotions (both positive and negative) drive higher attention. Lots of research in political sociology on the media shows why this happens. The patterns among Democrats also tell us a lot about who is investing in new media and targeting a younger audience through new platforms, as well as who is actually turning that investment into attention.
Evan Stewart is an assistant professor of sociology at University of Massachusetts Boston. You can follow him on Twitter.
About Sociological Images
Sociological Images encourages people to exercise and develop their sociological imaginations with discussions of compelling visuals that span the breadth of sociological inquiry. Read more…