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The U.S. is not a very race-literate society.  We aren’t taught much about the history of race relations or racial inequality in school and almost nothing about how to think about race or how to talk to one another about these theoretically and emotionally challenging issues.  Many Americans, then, don’t have a very sophisticated understanding of race dynamics, even as most of them want racial equality and would be horrified to be called “racist.”

In teaching Race and Ethnicity, then, I notice that some of the more naive students will cling to color-blindness.  “Race doesn’t matter,” they say, “I don’t even see color.”   Being colorblind seems like the right thing to be when you’ve grown up being told that (1) all races are or should be equal and (2) you should never judge a book by its cover.  It is the logical outcome of the messages we give many young people about race.

But, of course, color blindness fails because race, despite being a social invention, still matters in our society.  Enter the ongoing scandal about the Cadbury candy bar ad featuring Naomi Campbell, sent in by Dolores R.,  Jack M., and Terri.  The ad compares the Dairy Milk Bliss Bar to Campbell.  It reads: “Move over Naomi, there’s a new Diva in town.”

The ad has been called racist because it compares Campbell to a chocolate bar; chocolate is a term sometimes used to describe black people’s skin color or overall sexual “deliciousness.”  The ad, then, is argued to be foregrounding skin color and even playing on stereotypes of black women’s sexuality.

So what happened here?  One the one hand, I see the critics’ point.  On the other, I can also imagine the advertising people behind this ad thinking that they want to link the candy bar with the idea of a diva (rich, indulgent, etc.), and choosing Campbell because she is a notorious diva, not because she’s a black, female supermodel.  They could argue that they were being colorblind and that race was not at all a consideration in designing this ad.

The problem is that being colorblind in a society where race still colors our perceptions simply doesn’t work.  The truth is that race may not have been a consideration in designing the Cadbury ad, but it should have been.  Not because it’s fun or functional to play with race stereotypes, but because racial meaning is something that must be managed, whether you like it or not.  This is where Cadbury failed.

In my classes, I ask my earnestly-anti-racist students to replace color-blindness with color-consciousness.  We need to be thoughtful and smart about race, racial meaning, and racial inequality.  Racism is bad, but color-blindess is a just form of denial; being conscious about color — seeing it for what it is and isn’t, both really and socially — is a much better way to bring about a just society.

Cadbury, for what it’s worth, has apologized.

See also the Oreo Barbie, the Black Lil’ Monkey Doll, the Obama Sock Monkey, Disparate Pricing for Black and White Dolls, and Accidentally Illustrating Evil with Skin Color.

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.

Sorry for the late post today! We’re both busy with travel plans. Lisa is on her way to New Orleans as I type. I will be in Oklahoma from June 2-8 and won’t be able to check comments or update posts while I’m there, so be patient with slower than usual responses from me.

NEWS:

We have a new Sociological Images essay, “Secrets of a Feminist Icon,” now available in the Spring 2011 issue of Contexts magazine. The essay, based on a post on the same topic, discusses the famous “You Can Do It!” poster associated with Rosie the Riveter, including several myths about its creation and use. You can download the essay here.

We’re always excited when we get linked to BoingBoing. This month they reposted a video we posted by Jay Smooth about media, agenda setting, and the Donald Trump “presidential candidacy” fiasco/joke.

Gwen was quoted in a Globe and Mail story about a used car dealership that compared sexually experienced people to used cars. She was also quoted in a Huffington Post article about racial representation and a recent Dove ad.

If you’re interested in writing a post for Soc Images, check out our Guest Post guidelines.

This is your monthly reminder that we’re on Twitter and Facebook.

Finally, if you’d like to learn more about us, you can visit our personal websites here (Lisa) and here (Gwen).

Melissa H.J., Lizzy F., Dmitriy T.M., Kari B., Kalani R., Lisa C., and Anna C. all sent us links about the recent blog post at Psychology Today that many of you have probably already heard about, since it caused quite the outcry. The article, by evolutionary psychologist Satoshi Kanazawa, apparently went through multiple title revisions, starting out as “Black Women Are Ugly,” changing to “Why Are Black Women Less Physically Attractive Than Other Women?”, and eventually becoming “Why Are Black Women Rated Less Physically Attractive Than Other Women, But Black Men Are Rated Better Looking Than Other Men?”, before being removed from the Psychology Today website altogether. However, as we know, nothing on the internet is ever really gone, and images of the original post are widely available. I’m using one from BuzzFeed.

Kanazawa apparently specializes in claiming that there are clear, definite, “objective” differences in attractiveness (and also intelligence, and also everything else important) between different races. Also, you can tell who is a criminal and who isn’t just by the way they look (an article illustrated with an image of O.J. Simpson) and, as an added bonus, “virtually all ‘stereotypes’ are empirically true”. We know this is objective because there are graph-y science things, with numbers:

To summarize his point: Women are more attractive than men. And when one of his Add Health interviewers measures a study participant’s attractiveness on a 5-point scale, this is “objective.”  Because they are researchers, and therefore anything they say is objective. And according to objective measurements, Black women aren’t attractive at all. In fact, they’re “far less attractive” than other groups of women. See?

It turns out White women are most attractive. Man! Who would have thought?

There are a lot of other gems, such as the fact that Black women, though objectively less attractive, bizarrely rate themselves subjectively more attractive. It’s like they don’t know they’re ugly!

I’m sick of this article and will leave it to you to click over and read the whole thing if you feel so inclined. Let’s just summarize some of the major issues, and then all move on with our lives:

First, he treats race like a real, biological, meaningful entity. But race is socially constructed; there is no clear biological dividing line that would allow us to put every person on the planet into racial categories, since societies differ in the racial categories they recognize and “race” doesn’t map along unique sets of genes — there is more genetic variation among members of a so-called race as there are between members of different races.

Aside from that, the idea of measuring beauty objectively, completely separated from all cultural influence, is problematic, especially when you start looking at differences by race/ethnicity. In The Beauty Bias: The Injustice of Appearance in Life and Law, Deborah Rhode discusses how perceptions of attractiveness have varied over time and across cultures and discusses the global history of slavery, colonialism, and race-based systems of domination that make it impossible to separate out our perceptions of what is beautiful and sexually appealing from historical ideologies that insisted that non-White peoples were unattractive (unless in an exotic way, when that was useful, and also, the Irish were hideous despite being European). Joane Nagel’s book Race, Ethnicity, and Sexuality: Intimate Intersection, Forbidden Frontiers is another good source on this topic.

It is simply impossible to separate out even scientists’ ratings of attractiveness from the cultural context, one in which supposedly “Caucasian” features and light skin are repeatedly held up as the ideal of attractiveness (so even famous non-White people often find themselves lightened in media images) while dark skinned people are constructed as unattractive or even scary.

Given that history, it’s not shocking that White women would be rated most attractive and Black women least. What’s shocking is that a scholar at the London School of Economics would think you could uncritically accept those rankings as proof of objective reality, rather than the outcome of constant, long-standing cultural messages about attractiveness that resulted from efforts to legitimize and justify social and political inequalities.

UPDATE: Reader JA provided a link to another post at Psychology Today in which researchers looked at the data Kanazawa used and question his analysis and results.

UPDATE 2: The comments section has largely devolved into a flame war with lots of insults flying around, so I’m closing comments since I won’t be around to moderate them for the next week. I will go in and clean out the comments threads when I get a chance.

Esther C., Erin R., and Scott P. sent in an interesting video, “Sexy Girls Have It Easy,” showing woman testing how her physical appearance affects whether she can get free things. She asks for a number of free things — ice cream, baked goods, a cab ride, carousel rides, and so on — while dressed in two ways to see if she is treated differently when she conforms more closely to standards of feminine beauty:

Documentary : Sexy Girls Have It Easy from Examples of Film & TV work on Vimeo.

It’s a non-scientific test, obviously, since she doesn’t ask the exact same people for free things dressed each way. Some commenters at Vimeo argue that she acts more confident and positive when she’s dressed up, and thus people are reacting to her attitude, not her appearance. Yet, even if this is true, we can’t necessarily separate our perceptions of someone’s confidence from their appearance, which may influence whether we interpret behavior as “confident” or as “pushy.”

Thoughts?

While the last fifty years have been characterized by increasing freedoms for women, this has not been true for men to the same degree.  Women have entered masculine arenas throughout society, from where they work to what they wear, but men have not been freed to pursue feminine interests.  Men still face teasing, ridicule, stigma, or even violence for daring to do “girly” things.  Being a dancer or an elementary school teacher comes with raised eyebrows, askew glances, and questions as to one’s sexual orientation; enjoying “chick flicks” or preferring Cosmos to Coronas likely attracts teasing; and wearing a dress or high heels is essentially tolerated only on Halloween.

So girly things are still a no man’s land.

Unless.

Unless a very high status man — a man whose masculinity is undeniable, a leader among men — explores that land and plants a man flag.  If a man is so manly as to have begun to define manliness itself, then that man can change the very definition, thereby de-feminizing, and therefore de-stigmatizing an activity.  What once would have been cause for ridicule suddenly becomes unremarkable, i.e., man-approved.

Marco Roso, of DIS Magazine, sent me an example of such a transformation: the alice band.  Known to Americans as headbands,” an alice band is a loop or horseshoe-shaped hair accessory designed to push hair back away from the face.  It is a distinctly feminine accessory.  Or at least it was.  European footballers have begun wearing them to keep their hair back while playing.  While  a man lower on the masculine social hierarchy may have been teased relentlessly for donning such a girl-associated item, these high-status, wildly-admired men seem to be changing the social construction of the alice band.

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.

I have posted before about the ways those who handle the dead may try to humanize themselves so as to avoid the stigmas often associated with their jobs. Individuals who have jobs that require them to touch or be around dead bodies often find they are negatively stereotyped as creepy, gross, or as taking advantage of families in times of pain. They engage in various strategies to try to resist those stereotypes, including redefining the job and attempting to present it as something valuable and respectable (a “funeral director,” after all, sounds much nicer and more professional that “undertaker” or “mortician”).

In my previous post I discussed the Men of Mortuaries calendar, which presented shirtless male funeral directors in hunky poses. Now we have an example of women doing something similar. Christie W. sent in a link to the Funeral Divas website, which clearly tries to present women working in the funeral industry in a positive light:

From the site’s homepage:

A Funeral Diva is a strong, confident and successful woman who works in the funeral industry. She is not ashamed of her career! She is proud to serve hurting families!

So here, women who work in the funeral industry are hip, fun, successful career women — not creepy people who like being around dead bodies, and not individuals who profit from families’ grief.

Of course, in addition to presenting female funeral directors positively, the site also attempts to support women working in a field that has been male-dominated since preparing and burying our dead moved from an informal family activity to a formal business. However, women’s presence in this industry is growing. In 2008, the New York Times reported that women made up 35% of mortuary school students in 1995, while in 2007 60% were female; at some schools women make up nearly 75% of the student body. Interestingly, the article focuses on how the funeral industry has changed to include more concern for handling grieving individuals and, thus, the increased need for “the caring factor” — which presumably makes women seem like a better fit for the job, as they are assumed to be for other types of jobs that require lots of nurturing and emotional work.

Despite this, an article in the Christian Science Monitor discusses the barriers women in the industry continue to face. This year, New York’s Attorney General filed a lawsuit against one mortuary school, the Simmons Institute of Funeral Services, and its CEO, alleging repeated sexual harassment of female student and discrimination against pregnant women, a violation of Title IX.

So women in the funeral industry have to contend with the general negative stigma associated with their job, as well as the usual issues faced by women entering a previously male-dominated field. Funeral Divas is an interesting attempt to address both of these sets of problems at once.

Emma M.H. sent us a commercial for Cougar Life, a dating site that promotes itself as a place to meet older (but still sexy!) women interested in dating younger men. Despite the name, the site actually welcomes women of all ages. When you go to the website, you specify whether you’re looking for a “cub” (women aged 18-35) or a “cougar” (aged 35-65). Similarly, Emma was struck by how young the women in the ad look:

So though the company brands itself as a site about cougars — which would imply an emphasis on middle-aged and older women — here it markets itself almost entirely with women who would fall into no more than into the “cub” category or the very lowest end of 35-65 age range that defines cougars on the site, while the song declares they’re “all cougars.” It’s possible the company thought that women who look older than 40 would be unacceptable even to potential customers of a dating website specifically promising the ability to meet such women. But it also seems like the term “cougar” is being used to apply to a wider array of women than when it first entered pop culture — not just older women who date younger men, but practically any woman past her early 20s who has a voracious sexual appetite. Cougar Life draws on this, assuring us it was recently voted the “wildest dating service in America.” The defining feature may be less age than the idea that a woman is not just sexually available, but almost predatory in her search for sex — that is, that she seeks sex in a way we generally find acceptable only for men.

UPDATE: Reader Anna caught a mistake I made. The “cub” category was for the men seeking women on the site, not for younger women. She explains,

If you look at the site carefully, the “cubs” category means men the ages of 18-35, not women of these ages. Choose “looking for a cub” and the pictures are all male, and that term is often used for the younger male partner of an older women. The only women “available” on the site are 36 years old and over, so the site in effect bans both middle aged men and young-ish women from participating.

Thanks, Anna!

Kelebek and Laurie L. both let us know about a recent example of the use of images of dead or brutalized women in fashion advertising. A recent catalog, titled “Deadly Deals,” from the Australian clothing chain Rivers, included this image (via The Age):

And way back in July of last year, Caroline submitted an article from Amazing Women Rock about an ad for Beymen Blender, an upscale clothing boutique in Istanbul. The ad shows a woman’s dismembered body hanging from meat hooks; it and the rest of the photos below may be triggering for those sensitive to images of violence toward people, so I’m putting it after the jump.

However, Dmitriy T.M., Melissa F., and Noelle S. found an example from the October 2010 issue of Interview magazine that inverts the usual gender pattern by showing a woman with brutalized men. The photo shoot was apparently supposed to evoke the types of torture and murder used by organized crime in Russia.

In this case, Naomi Campbell is shown in positions of dominance over an extremely pale-skinned, and clearly badly injured, man. So those images reverse not just the usual gender dynamic in images of violence and brutality in fashion photos, but also the frequent pattern of seeing naked or partially-naked Black bodies displayed as props around more fully-clothed White bodies (though Campbell is certainly scantily clad and sexualized). I suppose you could see this as undermining or commenting on the images we often see of violence toward women in fashion. Yet we could also argue that it does so by reinforcing the association of Blackness, in particular, with violence and aggression. And the photo shoot includes the same sexualization of violence seen so often in the fashion industry.

Thoughts?

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