Search results for missing white women

Course Guide for
SOCIOLOGY OF WORK
(last updated 9/2014)

Developed by Lisa Wade
Occidental College

Disclaimer: I am not a sociologist of work.  If you are, I would love to see someone take a more expert crack at this.  Please feel free to volunteer!

The Social Construction of Work

Work in Popular Culture

Unemployment, Underemployment, and the “Class War”

Unions and Unionization

Economic Change, Globalization, and the Great Recession

Gender and Work

Work and Racial, Ethnic, and National Identity

The U.S. in International Perspective

Specific Occupations

Flight Attendants

Sex Workers

Academia

Just for Fun

Katrin sent in a link to a series of ads created by an organization called Stepping Stone Nova Scotia. Their mission is to advocate on behalf of, and offer resources and services to, prostitutes in the Maritime Provinces of Canada.

The ads, as you can see, depict quotes by friends or family members of prostitutes (“I’m proud of my tramp, raising two kids on her own”) which are intended to humanize sex workers; the bottom of each ad reads “Sex workers are brothers/daughters/mothers too.” They’re also intended to shock the reader into really thinking about prostitutes. The juxtaposition of words like “tramp” and “hooker” with the white middle-class faces of the speakers makes the viewer question our culture’s ease with using those terms, and forces us to see the person behind the prostitute.

Stepping Stone’s executive director, Rene Ross, points out that every time a prostitute is killed—sex workers have a mortality rate 40 times higher than the Canadian national average—media accounts emphasize that the victim was a prostitute, but not that she (or he) was also a mother, daughter, friend or, for example, animal lover. By thinking of sex workers only in terms of their stigmatized occupation, we don’t have to care about them as people.

In New Mexico, where I live, the remains of eleven women (and the unborn fetus of one) were found buried on a mesa outside of Albuquerque in 2009. The women had disappeared between 2003 and 2005, and most, according to police, were involved with drugs and/or prostitution. Why did it take the police so long to find the bodies of these women, and why do their murders still remain unsolved? Some observers have suggested that because the women were—or were alleged to be—prostitutes, there was less pressure to find them after they went missing, or to solve their murders once their bodies were found. As long as the victims were sex workers, then the non-sex worker public can feel safe in the knowledge that they are not at risk. We know that prostitution is dangerous, so it’s expected that some of them will die grisly deaths, and be buried like trash on a mesa outside of town.

I love the motivation behind the ads, and they do make me smile. I hope they have the effect that Stepping Stone intends—making people think of prostitutes as people, not trash. But they’re also funny, and I wonder if they won’t also have an unintended effect, of making prostitutes seem like a joke.

This week I watched the Comedy Central Roast of Charlie Sheen. During the roast, most of the jokes dealt with his well-known history with drug use and prostitution, and “prostitute,” “hooker” and “whore” were used as punch lines in the majority of the jokes, and each “whore” reference incited additional laughter. Sure, many of the women that Sheen paid to have sex were doubtless “high class” call girls, paid well, and not living on the street. But we also know that at least some of these women, as well as the non-prostitute females in his life, were subject to violence and threats of violence. He is alleged to have beaten, shot, shoved, and thrown to the floor a number of women over the years, but because many of these women were sex workers (or porn stars, which is the next best thing), the women were “asking for it.”

Let’s hope that Stepping Stone’s campaign does some good, making us think about sex workers as people, rather than punch lines and faceless victims.

——————————

Margo DeMello has a PhD in cultural anthropology and teaches anthropology, cultural studies, and sociology at Central New Mexico Community College. Her research areas include body modification and adornment and human-animal studies.

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

When Jessie Dress of Austin, Texas started the project Fa(t)shion February for Femmes and Friends, she was responding to what she perceived as a gap in the online community celebrating “fatshion,” or fashion for fat-identified people.   She explains, “I don’t feel like the fatshion blogs I see really represent the kind of radical queer fashion that I’m into and that feels like my community.”   Jessie committed to posting “outfits of the day” (OOTD) every day in February.  Her intention was to celebrate and draw attention to three kinds of politicized fashion projects – first, fatshion;  second, the fashion of femme-identified queers; and finally, the fashion of allies of both fat and femme-identified people.

The result was Fa(t)shion February for Femmes & Friends – an inclusive space for posting OOTD for those who find themselves outside the mainstream fashion ideal.  What started as her small personal project with a close group of friends has since exploded, with over 350 people participating in some way – a number that grows by the day:

Fa(t)shion February participant Gazel (of Gazelma)

The aim of the project is to “queer” fashion in a number of ways – to celebrate the subversive possibility of fashion.  What’s exciting about how the Fa(t)shion February project has developed is the many different ways this aim has been realized.  For example, an amazing conversation has emerged through the project regarding the  “fat experience.”  Fa(t)shion February was created to be explicitly inclusive of those who are often missing from the fatshion dialogue – that is, individuals on the fattest end of the fat spectrum.  This privileging of “bigger fats” is an attempt to further radicalize the fatshion phenomenon, but it has come with its own set of dilemmas.  Some users expressed fear of participation because they aren’t “fat enough” or aren’t fat-identified.  In response to a conversation on The Rotund, Jessie wrote on her tumblr,

The kinds of difficult – but incredibly important – dialogues that are happening in and around the project are part of what makes it succeed in its mission to use fashion as a tool of social activism and community building.

[The rest of the post is after the jump just because it’s somewhat long.]

more...

Cross-posted at Ms. and Family Inequality.

In the early 1990s, Arline Geronimus proposed a simple yet profound explanation for why Black women on average were having children at younger ages than White women, which she called the “weathering hypothesis.”

It goes like this: Racial inequality takes a cumulative toll on Black women, increasing the chance they will have health problems at younger ages. So, early childbearing might pose health risks for White women, but for Black women it makes more sense to start earlier — before their health declines. Although it’s hard to measure the motivations of people having children, her suggestion was that early childbearing reflected a combination of cumulative cultural wisdom and individual adaptation (for example, reacting to the health problems experienced by their 40-something mothers).

She showed the pattern nicely with data from Michigan in 1989, in which the percentage of first births that were “very low birthweight,” increased with the age of Black women, but decreased for White women, through their twenties:

Source: My graph from Geronimus (1996).

If the hypothesis is correct, she reasoned, the pattern would be stronger among poor women, who experience more health problems, which is also what she found.

The most recent national data, for 2007, continue to show Black women have their first children, on average, younger than White women: age 22.7 versus 26.0. And the infant mortality rates, by mothers’ age, also show the lowest risk for White women at older ages than for Black women:

Source: My graph from CDC data.

Note that, for White women, mothers have children in the early thirties face less than half the infant-mortality risk of those having children as teenagers. For Black women, waiting till their lowest-risk age — the late 20s — yields only a 14% reduction in infant mortality risk. So it looks like waiting is much more important for White women, at least as far as health conditions are concerned.

The implications are profound. If you base your perceptions on the White pattern, it makes sense to discourage early childbearing for health reasons. But if you look at the Black pattern, it becomes more important to try to improve health problems at early ages — and all the things that contribute to them — rather than (or in addition to) trying to delay first births.

—————————-

Cohen’s previous posts featured on SocImages include ones on the recession and divorce datathe relationship between cell phone use and driving deathsmeasuring the number of welfare recipients, delusions of gender dimorphism, and the gender binary in children’s books.

As a fan of both sci fi and pre-WWII pop culture, I naturally have a lot of affection for Alex Raymond’s Flash Gordon. There’s much to be enjoyed about the original comic strip (which basically invented the style that led to the creation of super-hero comics), the 1936 serial starring Buster Crabbe, and even the 1980 movie, which I’ve mentioned before.  The 1970’s softcore porn version, Flesh Gordon, is also a lot of fun.  Although the various incarnations get pretty complicated, the basic story is of a regular guy from Earth who ends up on a bizarre alien planet, where he inadvertently becomes a hero in the struggle against Emperor Ming, the tyrant who has been keeping the whole planet under his thumb.  With the recent rebirth of big budget sci fi and comic book adaptations, the time almost seems perfect for a new Flash Gordon movie.  It’s never quite been done cinematic justice, and the basic story would hold up well to a modern interpretation.

Unfortunately, there’s one rather big problem: Emperor Ming.  As the name implies, Flash’s nemesis is an unreconstructed “yellow peril” Asian stereotype.  Despite being an alien, he’s undeniably portrayed as the worst sort of racist view of a Chinese ruler.  He’s a vindictive, inscrutable tyrant with an affection for ornate finery and a lecherous eye for (white) Earth women.  In the original comic he has bright yellow skin, long fingernails, a high-collared robe, and a Fu Manchu goatee.

Unsurprisingly, the serial was faithful to this version, casting a white actor named Charles Middleton and putting him in the same kind of “yellowface” make-up that was common in those days for portrayals of Asian characters.  Of course, the actual skin tone was irrelevant in a monochromatic film.

Concerns about racism never even entered anyone’s mind until the 1980 film.  By that time, it was necessary to be at least a little racially sensitive (but not too much).  The answer was to leave Ming basically unchanged, while pretending there was never anything Asian about him.  Swedish actor Max von Sydow was given a look that was immediately recognizable as the classic Ming, but with just enough of the Asian elements replaced with a more futuristic, “alien” look for plausible deniability.

The animated versions of Ming, in both the Filmation’s Flash Gordon series and the later Defenders of the Earth, took this idea a step further.  Ming was given green skin, as if to say, “See, this guy’s clearly an alien!  How could you accuse him of representing an Earthly race?”

Even with these attempts at a more extraterrestrial appearance, however, anyone who’s at all familiar with longstanding racist depictions of Asian men can recognize Ming as an embodiment of that unfortunate tradition.  Meanwhile, more sympathetic characters who are clearly of the same race as Ming, such as his traitorous daughter Aurra and her lover Prince Barin, were unambiguously white.  They did have yellow skin in the original comics, but even then they were less recognizable Asian than Ming.  Later portrayals, even the cartoons in which Ming is green, show them as totally caucasian.  The message seems to be that the more evil you are, the more alien you are, and alien in this case looks a lot like Chinese.

Naturally, when the Sci Fi Channel decided to adapt Flash Gordon for TV in 2007, they were eager to avoid anything that could be perceived as racism.  Their answer to the Ming problem was to completely remake the character, removing every bit of his previous look to create a very white sort of fascist dictator.

There was a lot wrong with this adaptation (it was unwatchably boring, for one), but one of the complaints against it was that Ming was lackluster and missing everything that had made him a memorable villain.  Regardless of his origins, we expect certain things from Ming: a bald head, facial hair, an ornate robe.  Exoticism.  So what is to be done?  There can be no Flash Gordon without Ming the Merciless, but it’s possible that Ming is a character too wrapped up in racism to ever escape.

In my idle moments I’ve given some thought to how Hollywood could pull off a successful Flash Gordon revamp, and the only idea I have for Ming is this: don’t run away from his faux-Chinese heritage; push it in the other direction.  Cast a Chinese actor as Ming, and make Aurra, Barin, and the rest of their people equally Chinese.  Eliminate Earth entirely, setting the story in the future and making Flash’s planet one that was colonized by the United States, while Ming’s planet was colonized by China.  You don’t need exposition for this- just imply it with production design.  For Ming’s costumes, create a futuristic variation on what Chinese emperors actually wore, rather than just an American’s simplistic idea of the look.  Do away with Ming’s predatory behavior toward Flash’s girlfriend.  It’s a creepy and dated element regardless of his race.  Finally, sweep away the blond=good/dark=bad undertone of the original by making Flash Gordon black.  After all, it would make a great role for Will Smith, a charismatic action hero who’s been hurting for a sci fi property that’s actually worth watching.

As for the role of Ming himself, there are plenty of aging action stars who could pull it off.  Given the inevitable campiness of the project, Jackie Chan might work.  I’d suggest Chow Yun Fat, except that it could be hard to distinguish his version of Ming from the character he played in the last Pirates of the Caribbean movie.

But would this be enough to redeem the character and the franchise?  Maybe privileged white fans like me need to accept that some characters and stories have too much bigotry in their history to ever be redeemed.  After all, nobody is trying to create an acceptable new version of Uncle Remus (although I say this with hesitation, because it seems possible that someone in a locked room at Disney might right now be doing that very thing).  If there is to be no more Flash Gordon, I’ll accept that, but I do wish someone could find a way to solve the problem of Emperor Ming.

———————————

Dustin Collins is pursuing an MA at the Ohio University School of Film.  When he has time between classes and screenings, he blogs about film, pop culture, and Betty Boop at okaywithme.

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

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.

Ironically* titled “Disabilities Downplayed for ‘Britain’s Missing Top Model’ Contestants” (my emphasis), this article discusses a new televised modeling competition featuring only disabled models:

Among the eight lovely ladies who will duke it out onscreen are women without limbs, some who are partially paralyzed and one who is deaf.

See the images below or click here for the slideshow.

I have many of the same questions about this program that I have about Viktoria’s spread for Bizarre Magazine and Elizabeth had about Disaboom advertising. Notice that, of the eight contestants, at least seven appear white. Half are (let’s face it) artificially blonde. And they all more-or-less conform to contemporary Western standards of beauty. In only one photo (maybe two) is the disability even visible.

I guess, basically, what I’m asking is: Are we trying to challenge a hierarchal system by gaining access to the top of the hierarchy? From there, who will we look down upon? And, if there’s no one to look down upon, what was the point of gaining access?

As Audre Lorde famously said: “The master’s tools will never dismantle the master’s house.”

.

* Catherine writes: “Apparently this is an attempt to challenge the fashion world, but if we’re “downplaying” the disabilities, aren’t we attempting to obey the rules of the fashion world? What’s the point?” Special thanks to Catherine D. for the link!

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.