I like this post. And it’s the two-year anniversary of Bruce Snowdon’s death. So, here’s my toast to the last sideshow fat man.

He’s so big and so fat it takes four girls to hug him and a box car to lug him.  When he dances you’ll swear he must be full of jelly, cause jam don’t shake that way.  And you know girls!  He is single and lookin’ for a wife, he’ll make some lucky girl a fine husband, why he’s so big and fat, he’ll provide you with a lot of shade in the summertime, keep you nice and warm in the winter time and give you lots of good heavy lovin’ all of the time!

— Carnival Spiel by Ward Hall

On Nov. 9th 2009, Harold Huge, a man billed as the very last sideshow fat man, died.  He weighed 607 pounds or so.

Harold’s real name was Bruce Snowdon.  He had degrees in paleontology, anthropology and chemistry. In 1977, he found himself bored with his work and stumbled across the idea of being a Fat Man:

I had put on a lot of weight between the time I was 20 and 25. I was up to about 450 in those days. I went to the local library, and I was poking through some old circus books and I see this one picture about a sideshow, maybe circa 1905, and I’m looking at this fat man and I’m saying to myself, “He can’t weigh more than 350 pounds.”

Now, I ask myself, how the hell would I go about getting into a sideshow? I’d never even seen a sideshow in my lifetime. In the late ’70s the industry was a very pale ghost of its former self. Instead of thousands, there were maybe dozens left then. So I figured, logically, there’s got to be some sort of trade journal for the carnival industry. It’s Amusement Business. And I’m looking through the AB. Taking a lucky stab, I wrote the editor, Tom Powell. And Tom Powell happens to be a very good friend of Ward Hall. Bingo. I had the job.

In an interview with James Taylor (from which the above quote is also taken), Snowden explained:

I don’t mind being enormously fat… I come from a long line of fat people. My old man tortured himself for 40 years going from 200 to 300 [pounds] and back again. He eventually lost the weight, but he also lost his mind.

Snowdon played Harold Huge for 26 years.  The year of his retirement, in 2003, he played himself in the movie, Big Fish:

So the sociological question I would like to pose is: Why is Snowdon the last fat man?

Marc Hartzman suggests that fat men and woman became less of a curiosity because “waistlines expanded and obesity became less of a laughing matter.  As the years went by, spotting a man who weighed more than quarter of a ton was not that unusual…”  So there’s two  hypotheses: (1) we see fat people everywhere and so it’s no longer a curiosity and (2) obesity has become a very serious matter, not to be played with at sideshows or elsewhere.

Another hypothesis might involve (3) a growing distaste for objectifying and dehumanizing those who are unusual.   As the human rights era evolves, we increasingly embrace difference and promote tolerance.

(4) Perhaps sideshows themselves are simply out-of-fashion, a drab alternative to Avatar in 3D or a Wii.  Or, (5) maybe the internet has made all curiosity easier to quench.  With a click of the button, we can see DD breasts, thalidomide babies, and cats playing the piano… who needs a sideshow?

I can think of reasons to endorse and reject all of these hypotheses.

So, in honor of Snowdon’s 26 years of service and delightful sense of humor (“If there’s a bitchy type of human being, it’s somebody on a diet”), let’s speculate.

Sources: Sideshow World, AOL News, Shocked and Amazed, Randall Levenson photography, and Shapely Prose.

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.

Arlie Hochschild, in her book The Second Shift, discusses a modern tension in American households resulting from a “stalled gender revolution,” i.e., the fact that women and the social construction of femininity have changed and men and masculinity have not caught up with these changes.  These tensions erupt when assigning responsibilities in the second shift of household labor and childcare, which often fall upon wives’ shoulders.  Traditionally, the dominant construction of masculinity does not allow men to participate in housework, such as laundry, since it is threatening to their sense of masculinity.  In fact, as argued by Julie Brines, the economic model of dependency holds for women but not for men.  Men can essentially trade in their salaries for the domestic labor performed by their wife; however, when women out-earn their husbands, they cannot seem to strike a similar bargain.  In this case, since the man is not fulfilling his traditional role as provider, he essentially refuses to further damage his reputation by engaging in “woman’s work” in the home.

Enter Tide:

In this Tide commercial, we see this threatening element of housework, as the “Dad Mom” tries to justify his laundry proficiency by reasserting his masculinity.  At the end, he confirms that he is still a man as he declares that he will “go do pull ups and crunches,” one would assume in order to build up his manly muscles.  Beyond this direct statement of his attempts to embody masculinity, throughout the commercial, we see three themes — normative heterosexuality, competition among men, and the codification of laundry as feminine — used to excuse his role as homemaker.

He first makes the claim that he is at home “being awesome,” and proceeds to explain how.  He stresses his unique (and alluring) mixture of masculinity and nurturing.  By describing himself in this way for the sake of the “Mom Moms,” he alludes to his heterosexuality, a basic element of hegemonic masculinity, in an attempt to establish some sex appeal.

Second, there is a competitive element to his dialogue as he boasts to other dads about his ability to dress a four-year-old and skills at folding a “frilly dress with complete accuracy.”  By making it a competition, he rationalizes his participation in housework. Boom!

Finally, this “dad mom” uses the “brute strength of dad” in combination with the “nurturing abilities of my laundry detergent” to complete this basis household task.  The task of doing laundry and the detergent, itself, is codified as feminine.  This combination is a “smart” one because this is exactly what women need: more men doing the laundry.

Amanda M. Czerniawski is an Assistant Professor of Sociology at Temple University. She specializes in bodies and culture, gender and sexuality, and medical sociology.  Her past research projects involved the development of height and weight tables and the role of plus-size models in constructions of beauty.  Her current research focuses on the contested role of the body in contemporary feminist discourse.

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

Cross-posted at The Social Complex.

From the people who brought you greasy chicken wings, overpriced beer, and casual sexism while you wait…

Do these ads really require commentary?

The first video is able to squeeze heightism, sexism, and homophobia into one commercial spot.  And the second video is so blatantly playing off of the societal notion that short men have very little social worth (and zero sexual worth) that they even have a line in it that refers to height specifically: “why do you have to be so tall?”

These ads are especially good for those who believe that women have a monopoly on heightism.  Hooters’ target consumer base is nearly exclusively male and so their ads are designed to appeal to that base.  So here we have ads targeted at a male audience which attempt to humiliate short men through comedic effect for the purpose of highlighting their low grade frozen seafood and sophomoric titillation – and you still think shallow women are to blame for heightism?

Pay special attention to the dialogue.  Every word is designed to legitimize the widely held belief that short men are socially inferior.  In one section, an African American male diner looks over to the short man who is getting attention from the “Hooter’s Girls” and says “I don’t get it”, followed by a close up of an out-of-place female diner; her mouth agape with disbelief from what she is witnessing.

Of course, the gag is supposed to be that short men are generally “losers” but this particular short man is a “winner” at Hooters because “Shrimp Is In This Summer”.

I would have loved to be in the pitch meeting at the advertising firm that came up with these ads:

“Get it?  Shrimp = Short Men!  Because “shrimp” is a common slur used against short men.  Get it?  Funny, right?  And it’s O.K. because they had a professionally dressed, diverse group of people commenting on the strangeness of the whole scenario.  And the short guy was laughing…he was having a blast.  It’s all in good fun.”

Hilarious, right?

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Geoffrey Arnold is an associate with a mid-sized corporate law firm’s Business Litigation Practice Group.  When Geoffrey isn’t chasing Billable Hours in the defense of white-collar criminals, he is most likely writing about social justice with a special emphasis on height discrimination at his blog: The Social Complex.  See also Geoffrey’s guest post introducing the concept of heightism as a gendered prejudice.

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

My colleague and co-author, Lisa Wade (you’d know her better as one of the people behind SocImages), gave a seven-minute speech at an Occupy Teach-In at our shared institution, Occidental College.  She said I could post it for you.

In the video she says she’s optimistic about the movement because it’s deeply sociological, drawing our attention to the way we organize our society, not just the individuals in it.  She contrasts this ability to critique the system with the early years of the Great Depression, during which many of the unemployed felt like they had failed their families because of personal faults (leading to a rise in the suicide rate).  Then, using the truly inspirational story of the 1955 Montgomery bus boycott (in which people walked to work and rode carpools for over a year!), she warns students that the movement is about to stop being fun and require real commitment. She ends by asking the the audience whether they can rise to the occasion and make the sacrifices needed to move Occupy forward to achieve specific demands.

Also see the three-minute bit on hook up culture that she did for MTV Canada.

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

Tower Heist (2011) the new movie starring Ben Stiller and Eddie Murphy, is the latest installment in blatantly racist movie-making. Stiller plays a high-end condo manager in Manhattan who bails out a local criminal (Murphy) to steal a stash of cash that one of the wealthy condo residents swindled from the condo staff. It’s been nearly thirty years since Murphy played nearly the same character in his breakout role in 48 Hours, and the fact that he is still cast as a jive-talking criminal speaks to how little has changed when it comes to the portrayal of black Americans in popular culture.

Hyperbolic racial stereotypes are still sooooo amusing for some.  As LA Times film critic Betsy Sharkey writes, “Murphy and Stiller are a good pair, with Murphy once again mainlining his ghetto-comedy crazy and Stiller suited up for another straight-man gig. These are the kinds of roles they both do best, and their face-off in the front seat of an out-of-control car is worth the price of admission.” (Now reverse the names in this quote to see how racialized and racially offensive it is.)

Perhaps more disturbing is the way in which film critics are talking about this movie as a comback for Eddie Murphy  (“Eddie Murphy’s Road to Reddemption,” “Tower Heist: Murphy is Back on Top,” “‘Tower’ Heist Features Eddie Murphy Back in ‘Classic ’80s Form“). What does it mean when playing an insultingly stereotypical black criminal is deemed “redemption” for a black actor whose movies have grossed nearly $7 billion worldwide? And where, exactly, did Eddie Murphy go? The Shrek series grossed nearly $3 billion worldwide, while his Nutty Professor and Doctor Dolittle franshises grossed $428 million and $470 million, respectively. Murphy has appeared in a steady stream of successful movies in the past decade, including Dreamgirls for which he was nominated for an Academy Award.

Closer examination of media critics’ analysis reveals a nostalgia for Eddie Murphy’s breakthrough role as a criminal in 48 Hours. Jon Niccum writes that inTower Heist “Murphy shows flashes of the aggressive, non-family-friendly persona that made him a superstar following 48 Hours. Aggressive?  Non-family friendly?

To summarize, Eddie Murphy grossing oodles of money as a successful director, producer, writer, and actor in films featuring him as a doctor, a veterinarian, a dedicated father, and the voice of a beloved donkey in the second highest-grossing animated film of all time is considered some sort of failure, but playing a jive talking felon is redemption. Huh?

There are many ways to interpret this — that Hollywood and movie critics (and many in society) are more comfortable with black actors playing damaging, stereotypical roles involving criminality, violence, and deviance (remember back in 2002 when Denzel Washington finally won the Oscar for playing a crooked cop?); that male actors are failures if they appear in family-friendly movies, regardless of how economically successful these movies may be; that to be considered successful, male actors have to appear in movies geared towards male audiences.

Whatever the reason(s), it is embarassing for Hollywood and its “critics” to continue to be so ignorant. Eddie Murphy called out the movie industry’s racism at the 1988 Academy Awards during his presentation of the Best Picture award: “I’m going to give this award, but black people will not ride the caboose of society and we will not bring up the rear anymore. I want you to recognize that.” Two decades later, Murphy finds himself riding the caboose, furnished by the creators of Tower Heist.

Scholars who study journalism, myself included, have found that efforts by journalists to stay neutral often backfire, resulting in exactly the opposite effect they desire.  Journalists, for example, may try to balance “both sides” of a contentious issue, seeking out authoritative sources to give a credible account of each position.  But, in seeking out authoritative people, they simultaneously offer a public platform to the very people who are already powerful.

Along these lines, Describing early coverage of the Vietnam War, Hallin (1986: 25) writes:

…most of the reporting, in the best tradition of objective journalism, ‘just gave the facts.’  But they were not just any facts.  They were official facts, facts about what the president said and what ‘officials here believe.’  The effect of ‘objectivity’ was not to free the news of political influence, but to open wide the channel through which official influence flowed (my emphasis).

More, because journalists need highly-authoritative sources in order to do their job, they need to cultivate relationships with them.  Likewise, authorities need reporters to help them get their stories to the public.

Powerful reporters and powerful people, then, become… friendly.  Reporters may try to avoid saying these that their regular sources wouldn’t want said, partly because they like them and are influenced them, and partly because they need them for the next story and the next.

I thought of this research when Jay Livingston posted this picture, on the Montclair SocioBlog, of Alan Greenspan and David Brooks having lunch together:

Note: The photo was removed at the request of the person who took it. Sorry.

Greenspan is the former Chairman of the Federal Reserve, Brooks is a decorated journalist.

Source: Hallin, D. (1986) The ‘Uncensored War’: The Media and Vietnam. New York and Oxford: Oxford University Press.

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.

Indeed, even time is a social construction.  This point is well-illustrated by our bi-yearly clock-switching ritual in the name of “daylight savings.” Writes Economist Nick Rowe at Worthwhile Canadian Initiative:

I’ve heard stories about people who set their watches 10 minutes fast, so they won’t be late for meetings. It’s hard to understand how it could work. Do they forget they set their watches 10 minutes fast? Because if they remember, they should be able to figure out they’ve got an extra 10 minutes, so there’s still plenty of time to grab a quick coffee before the meeting starts. If it works, they must be fooling themselves.

This weekend the government will tell us all to put our watches back one hour. They want us all to do everything one hour later. It’s hard to understand how it will work. Do they think we will all forget we’ve set our watches one hour slow? What’s more, they can’t even force us to change our watches.

But I know it will work. We will (almost) all set our watches one hour slow, and we will (almost) all start doing (almost) everything one hour later, by the sun, compared to what we would have done if we hadn’t changed our watches. But why?

Why?  Because, as I’m sure Rowe’s well aware, collective agreements matter.  In this case, you’ll be early!  For everything!  Doctor’s appointments, classes, meetings, dates… you’ll show up for lunch and the restaurant will still be closed… you’ll drop off your kid and the school won’t be open… you’ll arrive at happy hour and the drinks will be full price!  Tragedy!  You’ll get fired for leaving work early everyday and piss off your spouse with an alarm clock that goes off an hour before it needs to.   There are real consequences, in other words, for deviating from the norm… even when it is a total fabrication.

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.

This is a whimsical trailer for an animated movie with a progressive pro-environment message based on Dr. Seuss’ The Lorax.  Pretty to watch, fantastical, heart-warming, and progressive… it draws you in and then, just as yoiur defenses had been lowered, BAM! It ends with a sexist joke.

Sigh.

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.