Search results for gender toys

Today I thought we’d do another round-up of gendered children’s stuff, since we’ve gotten a number of submissions. So here we go.

Missy C. noticed that the manufacturer’s product description listed on Amazon for one of the Fisher Price Imaginext Sky Racers took for granted that the toy was for boys, not, say, “kids”:

Monica C., meanwhile, noticed another example of the association of girls with a diva-ish princess center-of-attention persona when looking at onesies for sale at My Habit. Options included “born fabulous,” “high maintenance,” “born to wear diamonds,” and “it’s all about me,” among others:

Similarly, Melanie J. saw some baby booties for sale at retail chain JR’s in North Carolina that reinforce the idea that boys are mischievous while girls are materialistic:

You can buy them gendered vitamins as well. Nathan, who writes at 1115, sent in this photo he took at Target:

Pete & Emily in Norwich, UK, noticed that you can now allow your hamsters to inhabit gendered worlds too, if you’d like; they sent us this photo they took at a pet store:

But we do have two counter-examples this time! Jackie H. took a photo of a kitchen set she saw for sale at Meijer, which shows both a boy and a girl using it:

And Isabeau P.S., Jesse W., and Anne Sofie B. all sent in images from the catalog for Swedish toy maker Leklust (two of the images were discussed at Mommyish):

The splashy introduction of the new LEGO friends line earlier this year stirred up a lot of controversy. My goal with this set of posts is to provide some historical perspective for the valid concerns raised in this heated debate. 

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1989-2003: Gender Ahoy!

I discussed the introduction of LEGOs the invention of gendered minifigs, and early efforts to market separately to girls and boys in Part I of this series, covering 1932 to 1988.  The segregation of LEGO into feminine and masculine sets would escalate beginning in 1989.  That year the LEGO group introduced gender to the minifig in a big way with the new Pirates theme. The masculine figs sported copious facial hair and the lone feminine pirate had lipstick and a curved shirt that implied a busty chest.

This pioneering pirate was the first in a long line of token females in otherwise male-dominated action-centric themes. The imbalanced ratio of masculine to feminine minifigs persists today, though it has lessened over time. I have seen several different numbers for this ratio, so I decided to do my own count. I gave TLG the benefit of the doubt and counted as gender neutral any minifigs lacking definitely masculine (facial hair) or feminine (lipstick, eyelashes, cleveage) traits, even when LEGO marketing materials clearly delineate them as male or female.

The following graphs represent masculine minifigs in blue, feminine minifigs in red, and gender neutral minifigs in gray. I have also calculated the masculine to feminine ratio (m/f ratio). Ideally this should be 1, indicating that there are equal number of masculine and feminine figures. This chart shows the aggreagate across all themes for the five key years between 1989 and 1999. The m/f ratio for this data is 3.74 (which is a lot better than the initial 13.5 it starts at in 1989, but not exactly something to celebrate).

The trend to unrepresent feminine figures in the main LEGO product line is mirrored by a tendency to overrepresent them in the “girls only” lines. LEGO released four major “girls only” themes through this time period: Paradisa, Belville, Scala Dolls, and Clikits.  Here’s a quick run down of the “girls only” themes:

• Paradisa deserves props for using standard minifigs, but the building experience is simplified compared to other LEGO sets released the same year  (compare the Sand Dollar Cafe with Wolf Pack Tower). Also it represents men as active job holders (butlers, chefs, ice cream men, and life guards) while the women mostly relax, surf, and go horseback riding.

• Belville is the longest running “girls only” theme and also the pinkest and most gender stereotype reinforcing. The classic LEGO building experience is barely present; the sets favor gigantic pre-fabricated “walls” and floors, and the completed “houses” and “horse stables” don’t even look like their real-life counterparts. The figures are completely out of scale with minifgs, so while it is possible to use pieces from Belville in LEGOLAND and vice versa, it is unrealistic.

• Scala Dolls was essentially LEGO barbie. Here’s the dreamhouse. It has even less construction play than Belville.

• The Clikits jewelry line featured pieces that are barely compatible with regular LEGO bricks (some people might not even think to try.) The line also contained some Bratz-esque characters.

The message that these themes send to children about gender is clear — certain things are for girls only. Namely: fairy tales, equestrianism, the color pink, vanity, and being a homemaker. Boys shouldn’t want these things and the girls that don’t are lesser for it.

The chart below aggregates figures from the first three of those lines across all years they existed (since Clickits was a jewelry line, it didn’t really feature figures).  Beyond the inversely unbalanced the m/f ratio of 0.18 (roughly one masculine figure for every five feminine figures), it is also important to note that the percentage of neutral figs is incredibly low, so playing with these sets reinforces the either/or of gender roles:

Lest you think girls get all the special treatment, fear not, boys get their share of “boys only” themes. We’ve already discussed Trains and Technic which have long, proud, histories and exist in a blue and black anti-Belville realm (Technic even had Belville-sized masculine articulated figures for a while). In 1998 the ill-fated Znap bucked the trend of “boys only” themes being for advanced builders. It was simple to put together (like K’nex), but never caught on despite being viral. 1998 also saw the creation of a Technic subtheme with even more testosterone than usual: Competition. 2001 saw TLG try to bridge the gap between DUPLO and SYSTEM (for boys) with Jack Stone. 2001 was also the launch of TLG’s attempt to get in to the action figure market: Bionicle. This is arguably a gender-neutral theme, but considering that TLG forgot to include girl’s names for an online character creator for Bionicle’s successor, it’s clear that TLG does not think boys and girls can enjoy the same toys.

As a final note on this era, observe this graph of the m/f ratio on minifigs over time. Notice how it is on the decline (towards gender balance) before sharply increasing in the early 2000s? We’ll explore the reasons for that in the next installment.

Read Part III of A Historical Perspective on the LEGO Gender Gap.

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David Pickett is a social media marketer by day and a LEGO animator by night.  He is fanatical about LEGO and proud to be a nerd. Read more from David at Thinking Brickly.

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 splashy introduction of the new LEGO friends line earlier this year stirred up a lot of controversy. My goal with this set of posts is to provide some historical perspective for the valid concerns raised in this heated debate. 

1932-1977: The Brick Era

The LEGO Group started as a family business with the motto “only the best is good enough.” The company produced primarily wooden toys for the first two decades of its existence. It wasn’t until 1958 that the iconic LEGO brick was patented as we know it today. LEGO bricks were originally marketed as toys for both boys and girls. The 60s saw the introduction of new elements to the LEGO system like wheels, windows and hinges. Marketing images from this era tend to feature boys and girls equally.

In the 70s we encounter the first LEGO theme marketed specifically at girls: Homemaker. The sets aren’t very different from the rest of the products offered at that time (there’s some bricks and you build stuff), but the pictures of smiling girls playing with the sets clearly mark them as “girls only.” Homemaker sets are clearly meant to be furniture for dolls.

Dolls are popular toys, so finding ways to integrate the LEGO experience into this existing model of play was a shrewd business strategy for TLG, but one that nevertheless perpetuated stereotypes.

The 70s also saw TLG experimenting with different types of human-like figures. The first figures (sometimes called maxifigs to contrast with their later mini brethren) were built from regular LEGO bricks and new head pieces. These appeared in a line of sets with the uninspired name “LEGO Building Sets with People.” These line as a whole was marketed at both boys and girls, but some sets were more targeted. Co-existing for a brief period with the maxifig was a proto-minifigure. The minifig we all know and love today was next.

1978-1988: The Golden Era

In 1978 the minifigure first appeared as we know it today and, after an awkward period of co-existence with the maxifigs, the “minifig” became the standard for tiny plastic people. The minifig is now as iconic as the LEGO brick and equally important in defining the LEGO brand, over the years has tried to introduce other types of figures, but none of them have the staying power of the minifig.For the next decade LEGO minifigs existed in a gender neutral utopia. One can argue that the hairstyles are slightly gendered, but keep in mind that unisex hairstyles were all the rage at the time. When people talk about wanting to get back to the “good old days” of LEGO, this is generally the decade they are referring to.

In response to the LEGO Friends launch a lot of people have been passing around these images from an early 80s ad campaign:Even at this time, however, LEGO was promoting gendered play.  The short-lived Scala Jewelry theme, for example was a major deviation from the core LEGO product line. There is virtually no building in these sets, they are completely superficial — a triumph of style over substance.

Contrast this with Technic, which is all substance and no style. These complicated sets (originally called Expert builder sets) are clearly for boys. Boys also seem to have taken over LEGO trains. It’s great that TLG provides a range of products for builders of all skill levels, but why is it that the products for girls are always on the low-skill side of the spectrum and the high-skill side always reserved for boys?

The segregation of LEGO into feminine and masculine sets would escalate in the next 15 yrs, however, and I’ll cover that development in the next installment.

Read Part II of A Historical Perspective on the LEGO Gender Gap.

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David Pickett is a social media marketer by day and a LEGO animator by night.  He is fanatical about LEGO and proud to be a nerd. Read more from David at Thinking Brickly.

Cross-posted at Ms. and Caroline Heldman’s Blog.

The Hunger Games should serve as a wake-up call to Hollywood that women action-hero movies can be successful if the protagonist is portrayed as a complex subject — instead of a hyper-sexualized fighting fuck toy (FFT).

In its first weekend, The Hunger Games grossed $155 million, making it the third highest opener of all time (behind the last Harry Potter film and The Dark Knight), despite a marketing budget half the size of a typical big-studio, big-budget film. It seized the records for top opener released outside of July, top non-sequel opener and top opener with a woman protagonist. By the second weekend, The Hunger Games had made $251 million in the U.S. — the fastest non-sequel to break the quarter-billion-dollar mark.

While the movie arguably plays up the romance angle more than the books, The Hunger Games is still squarely an action thriller, set in a dystopic future world where teens fight to the death in a reality show.

Its success is largely based on the wide appeal of its teenage hero, Katniss Everdeen, who makes it through the movie without being sexually objectified once — a rarity in action films. Katniss is a believable, reluctant hero.

Katniss succeeds with audiences where other women heroes have failed because she isn’t an FFT. Fighting fuck toys are hyper-sexualized women protagonists who are able to “kick ass” (and kill) with the best of them — and look good doing it. The FFT appears empowered, but her very existence serves the pleasure of the heterosexual male viewer. In short, the FFT takes female agency and appropriates it for the male gaze.

From an ethical standpoint, Hollywood executives should be concerned about the damage girls and women sustain growing up in a society with ubiquitous images of sex objects. But it appears they are not. From a business standpoint, then, they should be concerned about the money they could be making with better women action heroes. But so far, they seem pretty clueless.

Hollywood rolls out FFTs every few years that generally don’t perform well at the box office (think Elektra, Catwoman, Sucker Punch), leading executives to wrongly conclude that women action leads aren’t bankable. In fact, the problem isn’t their sex; the problem is their portrayal as sex objects. Objects aren’t convincing protagonists. Subjects act while objects are acted upon, so reducing a woman action hero to an object, even sporadically, diminishes her ability to believably carry a storyline. The FFT might have an enviable swagger and do cool stunts, but she’s ultimately a bit of a joke.

For a breakdown of why FFTS lack believability and appeal, check out the Escher Girls tumbler, a site that critiques the ridiculous physical contortions of FFTs that allow them to be both sex objects and action heroines.  Contortions like this:

As Mark Hughes from Forbes.com points out, movie studios artificially limit their profits when they target only male audiences (by, for instance, by portraying women only as FFTs). With the phenomenal success of The Hunger Games, Hollywood can no longer deny the bankability of believable women action leads. Forty percent of the audience for The Hunger Games is male, proving that a kick-ass woman lead who isn’t reduced to a sex object can appeal to all genders. That should put dollar signs in executives’ eyes.

Hollywood is now on a quest to find the next Katniss Everdeen. Whoever she is, the question will be: Do executives know better than to turn her into a fighting fuck toy?

I’ve posted in the past about differences I’ve noticed in the language used in signs in the girls’ and boys’ clothing sections at Target, which seemed to reinforce the idea that boys are rough and rowdy while girls are sweet. Eric B. sent in another example that he recently saw in Target’s infants’ department. The store he went to had five aisles; each aisle had a set of large signs along the top. Three of the five were focused on boys, and they all emphasize activities:

So boys actively do things (they play, they learn to feed themselves, they discover) that merit adult attention and admiration. What about girls?

Oh, they sleep:

For other examples of how we reinforce the boys are active/girls are passive binary, see our posts on the binary in Lego City, in kids’ meal toys, and in magazines.

Time for another round-up of gendered kids’ items!

Will L. noticed something interesting recently at Old Navy. The boys’ section offered two styles of jeans, Skinny and Regular:

But when he looked at the corresponding section in the girls’ clothing, he found not Skinny and Regular, but Skinny and…Super Skinny:

Caro Reusch sent us an example of kids;’ t-shirts with messages about what we value for men and women. She saw the following at a mall in Berlin:

The blue one says “My daddy is stronger than yours,” while the pink announces, “My mommy is prettier than yours.”

Similarly, Lindsey B. saw two themed bibs for sale at Target. The blue bib is a doctor and the pink one is a ballerina:

Shantal Marshall, a postdoc student at UCLA with a Ph.D. in social psych and blogger at Smartie Pops, noticed that Crayola has a new product out, the Crayola Story Studio.  It lets you upload a photo of yourself, have it turned into a cartoon, and then it’s inserted into one of 3 themed templates: Disney Princess, Spiderman, or Cars. You can then print off various versions of coloring books based on those templates. The commercial for the Spiderman version shows a boy excitedly becoming a superhero:

For the Disney Princess version, we see a girl excited to become a princess, then dancing in the background with her very own Prince Charming:

As Shantal said, it’s a bit dispiriting that Crayola’s slogan for these items is “give everything imaginable,” but the pre-existing templates, and their marketing, don’t seem to include an imaginable alternative to the “boys = superheroes” and “girls = princesses” division we see so often in kids’ toys.

Madelyn C. saw a store in Warsaw, Poland, that just goes ahead and makes the gendered division of the toy industry explicit:

Finally, Jessica M. sent in a link to a GOOD post by Christopher Mims about the Toy Industry Association’s 2011 Toy of the Year Awards. There are general categories of toys, such as educational, innovative, and action, but of course also girl and boy categories (also, I personally can’t think of “boy toy of the year” without thinking of Madonna’s outfit in her “Like a Virgin” performance at the first MTV Video Music Awards, but maybe the ’80s are sufficiently behind us that the phrase resonates differently for most people). Anyway, Mims discusses the gendered messages in the commercials for the nominees in the two categories. Among other things, the categorization is rather confusing. Hexbugs are nominated in the boy category, even though commercials for them show girls as well:

Also, Mims points out that the boys’ category “includes a strong undercurrent of Beyond Thunderdome via WWE.” Exhibit A: The commercial for Beyblade Metal Masters, “performance tops” to be used in “strategic battles”:

Playing with tops has gotten super hardcore, I guess. Probably they should look into a sponsorship from an energy drink.

Cross-posted at Cyborgology.

As part of my research into the popularization of tattooing, I have accumulated quite a few interesting links on tattoo toys for children. I don’t mean those temporary tattoos we all used to get from the vending machines at popular chain restaurants. This toys I am talking about have drawn flack from parents as being “inappropriate” for kids, creating an example of a burgeoning “moral panic”. Some examples include: tattoo inspired toddler wear, tattoo machines for kids, and of course, tattooed Barbie dolls.

Tokidoki Barbie:

Toys like these have been released every few years since the 1990s, when tattooing was ranked as the 6^th fastest growing industry in the country (Vail 1999). But we are now seeing more children’s tattoo toys spring up, dovetailing with the increasing popular interest in the craft. We may very well be observing a second Tattoo Renaissance (Rubin 1988), especially given the expansion of the industry and the artistic flowering that has occurred since the tattoo reality TV shows first emerged in summer 2005. 

I believe we are we observing a cultural paradigm shift (Kuhn 1962) regarding tattooing.  Cultural trends are slowly reshaping popular conceptions of tattooing, turning them from “marks of mischief” (Sanders 1988) into an “ironic fad” (Kosut 2006) of consumer capitalism. Whereas tattooing was once largely reserved for working-class men, sailors, carnival performers, and exotic dancers, we have since seen the practice become widely popular amongst all races, genders, and classes.

G8 Tat2 Maker by Spin Master Toys:

Beginning with the Tattoo Renaissance of the 1960s (Rubin 1988) and more recently with the expansion into reality television (Lodder 2010), we have seen the cultural cache of tattooing shift in favor of middle-class notions of identity work (Atkinson 2003); that is, towards seeing the body as a vehicle for expressing oneself, towards actively controlling and crafting the body as a form of empowerment, and towards the development of “distinctive individualism” through appearance (Muggleton 2002). The highly narrative focus of tattooing contained in popular reality TV shows like “LA Ink” or “NY Ink” only bolster these trends, as new tattoo enthusiasts invest deeply-held meanings into each tattoo.

But these trends do not mean that tattoo toys aimed at children are any less offensive to some. Largely, it appears to be a generational divide: youth are much more supportive (in fact, largely celebratory) towards body art like tattoos and piercings, but the baby boomers continue to view tattoos through the lens of deviance.

For people of my parents generation, tattoos continue to be a symbol of deviant proclivities. Some have even called it a “disease” plaguing the youth of today. I have taken issue with such an interpretation of tattooing, especially by social scientists who continue to conceptualize the practice as an indicator of mental pathology or emotional instability, and have proposed a “pro-social” conception of contemporary body modifications like tattooing and piercing [you can read my work here]. In my opinion it is just a matter of time before prominent and visible tattoos become commonplace in professional and public settings, tattooed Barbie notwithstanding.

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David Paul Strohecker (@dpsFTW) is a PhD student at the University of Maryland, College Park. He studies issues of intersectionality, consumption, and popular culture. In addition to his work on the popularization of tattooing, a project on the revolutionary pedagogy of public sociology, and more theoretical work on zombie films as a vehicle for expressing social and cultural anxieties. He previously wrote for the blog Racism Review and currently blogs at Cyborgology.

For more from Strohecker, see his posts on facial tattoos, the origins of zombies, QR codes and the digital divide, and laughing at disability.

If you would like to write a post for Sociological Images, please see our Guidelines for Guest Bloggers.

Course Guide for
SOCIOLOGY OF GENDER
(last updated 09/2011)

Developed by Mary Nell Trautner, PhD
University at Buffalo, SUNY

Social Construction of Sex & Gender

• Changing age at first menstruation
• The social construction of sperm
• Overlap between male and female bodies: Infants’ gazes
• Overlap between male and female bodies: Breast reductions for men
• Gender ambiguity
• Third gender in Oaxaca

Intersexuality

• Sexual differentiation
• The Phall-o-Meter
• Caster Semenya

Patriarchy / Oppression

• Negative portrayals of men perpetuate patriarchy
• Oppression as a double bind: Women in politics

Patriarchy as Male Dominated

• Women in the Fortune 500
• Women in government
• Managing images of powerful women

Patriarchy as Male Identified

• Men as default category
• Men are “people,” women are “women”
• Example of “heroism” equated with men
• “Power” associated with masculinity

Patriarchy as Male Centered

• Looking for women’s presence in movies: The Smurfette Principle
• Looking for women’s presence in movies: The Bechdel Test
• Database of Bechdel Test movies

“Doing Gender,” Gender as Performance

• Using sex differences to infer gender differences
• Sex, gender, and toilet signs
• Learning how to stand like a girl
• When men stand like women
• Child pageants and the performance of gender
• Babies perform gender, too
• Where gender stereotypes come from

Intersectionality

• Social construction of race (“A Girl Like Me” video)
• Race, gender, and “good hair” (“Good Hair” trailer)
• Race, class, and gender
• Preference for light skinned women

White privilege

• White privilege
• White privilege as flip side of racial profiling
• Whites as default category (skin colors)
• Whites as default category (hair colors)

Childhood Gender Socialization

• Gendered language in TV toy commercials
• Kids’ rooms
• Barbie and math scores
• Barbie’s proportions
• Job segregation seen in gendered toys 1
• Job segregation seen in gendered toys 2
• Domestic toys for girls
• Breastfeeding dolls
• Save up for breast enhancement surgery
• Dora the Explorer makeover
• Learning to be a bride
• Gender roles hurt boys too

Gender & Language

• Changes in use of male/female pronouns
• Stereotypes of men’s and women’s language
• Smurfette and sexist language
• Ad—“If only men and women spoke the same language”

Gender & Mass Media

• Gendered body postures
• Sexism in hip hop
• Photoshopping 1
• Photoshopping 2
• Photoshopping 3
• Women of color in advertising
• Women of color associated with animals
• “You can never be too thin” ad
• Breast products
• Sexualization of violence: Dreamworlds 3 and Lady Gaga
• Dead-looking women in fashion
• Ads showing women dominating men
• Increasing sexualization of online video game ads
• Sexualizing and gendering food
• Comparing covers of Maxim and Cosmo

Gender & Work

• Data behind the Wal-Mart lawsuit
• Women in the Fortune 500
• Underrepresentation of women in Hollywood
• Gender gap in science and tech jobs
• Toys and career interests: Science and tech jobs

The Wage Gap

• Lifetime earnings by sex and race/ethnicity
• Earnings and hours worked, 1975-2009
• Earnings by education and age
• Occupational wage gap, 2010
• Job segregation and wages
• Wage gap by age, 1979 and 2008
• Comparing the wage gap across countries

Gender & Sports

• Participation in sports – high school
• Gendered organization of sport: Ski jumping for men only
• Images of women in sports: College teams
• Images of women in sports: Hope Solo
• Images of women in sports: Serena Williams
• Images of women in sports: Candace Parker
• Women bodybuilders
• Women collegiate athletes support the men’s teams
• Gender in figure skating
• Costume requirements in figure skating

Sexuality: Homophobia

• CJ Pascoe discusses homophobia as gender policing
• Example of gender policing: A boy’s pink toenails in the J. Crew catalog
• Example of gender policing: Yankee fans verbally assault Red Sox fans
• Attitudes towards gays and lesbians
• How terminology affects acceptance: “homosexual” versus “gay”

Sexuality: Sexual Behavior

• Orgasm for women
• Social desirability in online dating profiles
• Hook-up culture
• How porn is shaping our sex lives

Gender & the Body

• The Breast Portrait Project
• Asian eyelid cosmetic surgery
• Gendered reactions to male and female nudity
• Making bodies conform: Gymnast Shawn Johnson

Physical appearance and beauty work

• Physical attractiveness bias: Susan Boyle example
• Beauty work: Lifetime spending of men and women
• Beauty work: Routines and spending
• Trends in cosmetic procedures, 2000-2009
• The Beauty Myth – Naomi Wolf

Obesity and overweight

• Invisibility of “plus-sized” women
• Lane Bryant’s lingerie ad
• Can you be fit and fat? Health at Every Size
• Fighting the obesity “epidemic”
• Fatness as a shield from unwanted attention
• Can a feminist diet?

Gender and Family

• Gender and interracial marriage
• Gender gap in leisure time
• Housework
• Housework, international comparisons
• Gender non-conformity in kids
• Shared parenting as class privilege
• Nanny chain
• Gendered parenting in ads

Hegemonic Masculinity

• Changing images of masculinity
• Masculinity and violence
• Violent masculinity in energy drinks
• Masculinity and food marketing
• Men talk about their masculinity
• Comedic take on masculinity
• Satirizing men’s hygiene products

Intimate Partner Violence

• When do we intervene?
• Victim blaming: Headlines
• Percent of women who think DV is okay, by country

Sexual Harassment

• Who’s responsible for sexual harassment?
• The Toronto Slutwalk
• Women’s taxis as a response to harassment

Forced Sex & Sexual Assault

• Rape culture: Rape simulator game
• Rape culture: Celebrating incapacitated women
• Rape culture: T-shirts
• “No” doesn’t really mean “no”
• Yale fraternity: “No means yes, yes means anal”
• What counts as “real” rape: Polanski

Anti-Rape Campaigns

• UK campaign telling men not to rape
• Scottish campaign: Effective or sensationalist?
• Women don’t “ask for it”

Visions for the Future

• Degendering dance
• Positive portrayal of transgendered people
• Resistance to objectifying advertising
• Signs that show women as people
• Media showing range of women’s bodies
• Belly activism

If you would like to write a Course Guide for Sociological Images, please email us at socimages@thesocietypages.org.