I recently across two examples of cross-species education.  Both illustrate that what we often consider instinctual must also often be learned, revealing that nature and nurture are not competitive forces, but deeply interconnected.  The first is adorable to the point of making me cry from laughter, the second is so sad I can hardly stand it.

Here’s the first.  A sheep tries to teach a young bull how to head butt.  Words don’t do justice to the care and patience shown by this teacher.

Perhaps the bull just isn’t ever going to understand, but the fact that the sheep seems to understand that the bull doesn’t understand, and then thinks of an idea of how to fix that, is amazing to me.  Presumably, he would take as much care with a young sheep who would be predispositioned for head-butting, but might still benefit from some instruction.

Here’s the second.  Remember the movie Free Willy, where the captive killer whale is freed by a little boy?  Well, in true Hollywood irony, the whale that played Willy, Keiko, wasn’t freed at the end of the movie, of course.

After the movie was released in 1993, however, people joined in a movement to free him.  After 22 years in captivity, humans — who count as animals in this story — spent a decade and 20 million dollars trying to rehabilitate him to the wild, attempting to teach him how to feed himself and bond with wild whales.  He continued to seek out humans, even after he was left to fend for himself, and died in 2003 from pneumonia.

There are lots of lessons to take from this story.  One is the importance of nurture in making us what nature intended us to be.  Keiko was a social individual who learned how to be a captive killer whale.  Given the opportunity, he never could be the wild killer whale he once had the potential to be.  Or, at least, we’ll never know if he could.

Whenever we talk about human biological imperatives, we should remember the patient sheep and the friendly killer whale.  We need each other to become human, and we can become human in many different ways, depending on what is demanded of us.  Nature never works alone. Without each other, we simply don’t become recognizably human at all — as one of the worst cases of child neglect taught us only too well — regardless of our biological potential.

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.

A recent Guinness ad has been getting a lot of kudos and I want to join in the praise.  It involves a set of guys who get together to play a pick-up game of wheelchair basketball and then join each other at a bar to celebrate the game.  Lots of people have mentioned that it’s nice to see (1) a lack of objectification of women as a form of male bonding  and (2) a nice representation of people with disabilities.  Both of those things are great in my book.

But here’s another thing I really liked: their retreat to the bar and their formation once they got there.  They sat in a circle.

Why is this neat?  Because scholars have found that male and female friendships tend to be different.  Male friendships tend to be more “shoulder-to-shoulder” than “face-to-face.”  Men are more likely to get together and do stuff: they watch football together, go out and play pool, have poker nights, etc.  Women are more likely to spend time just talking, confessing, disclosing, and being supportive of each other’s feelings.

The benefits of friendship are strongly related to self-disclosure.  And so men’s friendships — if they don’t involve actual intimacy — often don’t offer the same boost to physical and well-being as women’s friendships.  The fact that these guys sit down together at a bar, in a circle, in order to engage in some face-to-face time after their shoulder-to-shoulder time… well, that’s really nice to me.

Thanks to Rebecca H. for submitting the commercial!

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.

Lauren McGuire pointed us to a post by Gilligan at Retrospace inspired by a scene in the 1963 Western, McLintock!  The movie included a scene in which George McLintock, played by John Wayne, uses a shovel to spank his estranged wife, played by Maureen O’Hara.

The spanking scene apparent stuck quite the chord, as it was used repeatedly in the promotional materials.

Gilligan suggests that the spanking of adult women by adult men was a midcentury theme, from Kiss me Kate to comic books:

Here’s an Q&A from the New York Daily Mirror, circa 1950s (thanks to @perstornes):

Lady spanking is a manifestation of the infantilization of women.  The idea that they are not men’s equals, but are expected to obey them as subordinates and can be punished when they do not behave.  Of course, materials riffing on the spanking adult women today (outside of porn and fetish communities) would probably inspire an outcry, but that leaves open the possibility that the gendered power asymmetry simply manifests in other ways.  Adult women are still infantilized (see posts here, here, and here) and dominance/submission is still sexualized in mainstream materials (consider our post asking what love is supposed to look like).

Originally posted in 2010; re-posted in response to a new example. Images borrowed from here, here, here, here, here.  H/t Retrospace.

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.

Here is something quite simple, sent along by Judy B.  It’s a screenshot of Gimp, an open source image editing application.  An optional plug-in, created by a user, offers a series of filters for images, including ones that “beautify.”  One of the options is “skin whitening.”

This is one more reminder that we live in a racist society that conflates whiteness with beauty.  Remember, too, though, that someone — very possibly a set of people — had to make a conscious decision to include skin whitening as an option and position it as a sub-category of beautification.  Then they had to, literally, type the words into the program and make it so.

This shit doesn’t just happen.  It’s not random.  Racism isn’t just an ephemeral cultural thing.  It involves actual decisions made by real people who, if not motivated by racism, are complicit with it.

Cross-posted at Racialicious.

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.

Earlier this week, Marty posted about the increasingly huge share of income going to the richest Americans. And as we’ve seen in the past, Americans tend to way — way — underestimate how unequal the U.S. is.

This video (via Upworthy) does a great job illustrating the distribution of wealth, and how it compares to Americans’ perceptions of both the real and ideal distribution. Even if you know all this stuff, and can recite the statistics, the visual representation of exactly what that means is still jarring.

Gwen Sharp is an associate professor of sociology at Nevada State College. You can follow her on Twitter at @gwensharpnv.

Trigger warning: Graphic descriptions of sexual assault.  Note: The opinions expressed in this post belong to Sezin Koehler alone and should not be attributed to anyone involved with Project Unbreakable.

Robin Thicke’s summer hit Blurred Lines addresses what he considers to be sounds like a grey area between consensual sex and assault. The images in this post place the song into a real-life context.  They are from Project Unbreakable, an online photo essay exhibit, and feature images of women and men holding signs with sentences that their rapist said before, during, or after their assault.   Let’s begin.

I know you want it.

Thicke sings “I know you want it,” a phrase that many sexual assault survivors report their rapists saying to justify their actions, as demonstrated over and over in the Project Unbreakable testimonials.

You’re a good girl.

Thicke further sings “You’re a good girl,” suggesting that a good girl won’t show her reciprocal desire (if it exists). This becomes further proof in his mind that she wants sex: for good girls, silence is consent and “no” really means “yes.”

Calling an adult a “good girl” in this context resonates with the the virgin/whore dichotomy. The implication in Blurred Lines is that because the woman is not responding to a man’s sexual advances, which of course are irresistible, she’s hiding her true sexual desire under a facade of disinterest. Thicke is singing about forcing a woman to perform both the good girl and bad girl roles in order to satisfy the man’s desires.

Thicke and company, as all-knowing patriarchs, will give her what he knows she wants (sex), even though she’s not actively consenting, and she may well be rejecting the man outright.

Do it like it hurt, do it like it hurt, what you don’t like work?

This lyric suggests that women are supposed to enjoy pain during sex or that pain is part of sex:

The woman’s desires play no part in this scenario – except insofar as he projects whatever he pleases onto her — another parallel to the act of rape: sexual assault is generally not about sex, but rather about a physical and emotional demonstration of power.

The way you grab me.
Must wanna get nasty.

This is victim-blaming.  Everybody knows that if a woman dances with a man it means she wants to sleep with him, right? And if she wears a short skirt or tight dress she’s asking for it, right? And if she even smiles at him it means she wants it, right?  Wrong.  A dance, an outfit, a smile — sexy or not — does not indicate consent.  This idea, though, is pervasive and believed by rapists.

And women, according to Blurred Lines, want to be treated badly.

Nothing like your last guy, he too square for you.
He don’t smack your ass and pull your hair like that.

In this misogynistic fantasy, a woman doesn’t want a “square” who’ll treat her like a human being and with respect. She would rather be degraded and abused for a man’s gratification and amusement, like the women who dance around half naked humping dead animals in the music video.

The pièce de résistance of the non-censored version of Blurred Lines is this lyric:

I’ll give you something to tear your ass in two.

What better way to show a woman who’s in charge than violent, non-consensual sodomy?

Ultimately, Robin Thicke’s rape anthem is about male desire and male dominance over a woman’s personal sexual agency. The rigid definition of masculinity makes the man unable to accept the idea that sometimes his advances are not welcome. Thus, instead of treating a woman like a human being and respecting her subjectivity, she’s relegated to the role of living sex doll whose existence is naught but for the pleasure of a man.

In Melinda Hugh’s Lame Lines parody of Thicke’s song she sings, “You think I want it/ I really don’t want it/ Please get off it.”  The Law Revue Girls “Defined Lines” response to Blurred Lines notes, “Yeah we don’t want it/ It’s chauvinistic/ You’re such a bigot.”  Rosalind Peters says in her one-woman retort, “Let’s clear up something mate/ I’m here to have fun/ I’m not here to get raped.”

There are no “blurred lines.” There is only one line: consent.

And the absence of consent is a crime.

Sezin Koehler is an informal ethnographer and novelist living in Florida. You can find her on Twitter and Facebook.  

“Next to being a Hollywood movie star, nothing was more glamorous.” This breathless statement, quoted in Femininity in Flight, was uttered by a flight attendant in 1945.  At the time being a stewardess was quite glamorous.  Like motion pictures do today, airlines trafficked in “the business of female spectacle.”  They hired only women who they believed to represent ideal femininity. Chosen for their beauty and poise, and only from among the educated, and slender, they were as much of an icon as Miss America.  And they were almost all White.

Victoria Vantoch tells the story of the first African American flight attendants in a chapter of her new book, The Jet Sex.  Patricia Banks was one of the first Black women to sue an airline for racial discrimination.  She graduated from flight attendant training school at the top of her class and applied to several airlines.  But it was 1956 and the U.S. airlines had never hired a Black woman.  After 10 months of trying, an airline recruiter pulled her aside and admitted that it was because of her race.  Which, of course, it was; airlines disqualified any applicants that had broad noses, full lips, coarse hair, or a “hook nose” (to weed out Jews).

Banks sued. After four years of litigation, Capital Airlines was forced to hire her.  She postponed her marriage and took the job (airlines only hired single women as flight attendants). When she put on her uniform for the first time, she said:

After all I had gone through, I couldn’t believe I was finally wearing the uniform. I had made it. I was going to fly. It was such an accomplishment.

Individual women weren’t the only ones pushing to integrate the flight attendants corps.   International surveys showed that citizens of other countries knew that America had a “race problem” and this was a problem for then-President John F. Kennedy and Vice President Lyndon Johnson.  They needed to do something flashy and they turned to flight attendants to do it.  If they could make Black women the face of such an iconic and high-profile occupation, they thought, it would help restore America’s reputation.  According to Vantoch, Johnson “made stewardess integration his personal cause.”

That was 1961; in 1964 Johnson signed the Civil Rights Act mandating equal treatment in the workplace.  The following year, in response to even more lawsuits, approximately 50 Black women were hired by airlines.  This would make them 0.33% of the workforce.

Patricia  Banks and her fellow first African American flight attendants, including Mary Tiller and Marlene White, would continue to face racism, now from co-workers, passengers, and supervisors.  Banks would quit after one year, citing exhaustion in the face of emotionally draining feminine work and a constant onslaught of racism.  She was a great flight attendant, though, and proud to show the world that a Black woman could shine in the occupation.

Here’s Patricia Banks, telling the story in her own words at Black History in Aviation. It’s worth a watch; she’s amazing:

Cross-posted at VitaminW and Pacific Standard.

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.

The great majority of Americans might find the post-recession expansion disappointing, but not the top earners.

The following table reveals that our economic system is operating much differently than in the recent past.  The rightmost column shows that the top 1% captured 68% of all the new income generated over the period 1993 to 2012, but a full 95% of all the real income growth during the 2009-2012 recovery from the Great Recession.  In contrast, the top 1% only captured 45% of the income growth during the Clinton expansion and 68% during the Bush expansion.

Of that weren’t enough, the next chart offers another perspective on how well top income earners are doing. In the words of the New York Times article that included it:

…the top 10% of earners took more than half of the country’s total income in 2012, the highest level recorded since the government began collecting the relevant data a century ago… The top 1% took more than one-fifth of the income earned by Americans, one of the highest levels on record since 1913 when the government instituted an income tax.

We have a big economy.  Slow growth isn’t such a big deal if you are in the top 1% and 22.5% of the total national income is yours and you can capture 95% of any increase.  As for the rest of us…

One question rarely raised by those reporting on income trends: What policies are responsible for these trends?

Cross-posted at Reports from the Economic Front.

Martin Hart-Landsberg is a professor of economics at Lewis and Clark College. You can follow him at Reports from the Economic Front.