Search results for rape culture

In agriculture, monoculture is the practice of relying extensively on one crop with little biodiversity.  In the 1840s, a famine in Ireland was caused by a disease that hit potatoes, the crop on which Irish people largely relied.  At Understanding Evolution, an article reads:

The Irish potato clones were certainly low on genetic variation, so when the environment changed and a potato disease swept through the country in the 1840s, the potatoes (and the people who depended upon them) were devastated.

The article includes this illustration of how monocultures are vulnerable:

The Irish potato famine reveals how choices about how to feed populations, combined with biological realities, can have dramatic impacts on the world.  In the three years that the famine lasted, one out of every eight Irish people died of starvation.  Nearly a million emigrated to the United States, only to face poverty and discrimination, in part because of their large numbers.

The article continues:

Despite the warnings of evolution and history, much agriculture continues to depend on genetically uniform crops. The widespread planting of a single corn variety contributed to the loss of over a billion dollars worth of corn in 1970, when the U.S. crop was overwhelmed by a fungus. And in the 1980s, dependence upon a single type of grapevine root forced California grape growers to replant approximately two million acres of vines when a new race of the pest insect, grape phylloxera (Daktulosphaira vitifoliae, shown at right) attacked in the 1980s.

Gwen adds: The Irish potato famine is also an example of a reality about famines that we rarely discuss. In most famines there is food available in the country, but the government or local elites do not believe that those who are starving have any claim to that food. In the years of the Irish potato famine, British landowners continued to export wheat out of Ireland. The wheat crop wasn’t affected by the potato blight. But wheat was a commercial crop the British grew for profit. Potatoes were for Irish peasants to eat. We might think it would be obvious that when people are starving you’d make other food sources available to them, but that’s not what happened. In the social hierarchy of the time, many British elites didn’t believe that starving Irish people had a claim to their cash crop, and so they continued to ship wheat out of the country to other nations even while millions were dying or emigrating. Similarly, in the Ethiopian famines of the 1980s, the country wasn’t devoid of food; it’s just that poor rural people weren’t seen as having a right to food, and so available food was not redistributed to them. Many people in the country ate just fine while their fellow citizens starved.

So famine is often as much about politics and social hierarchies as it is about biology.

Burk brought my attention to the video game Battle Raper. I found a Battle Raper website, but it was all in Japanese, and I couldn’t find an English version, so I will provide you a short description from Wikipedia:

Battle Raper is a 3D fighting game in which the objective is to strip, grope, and sometimes actively rape the female characters, including a special move by the boss character and only male fighter where the female opponent is forced to perform fellatio as the camera zooms in. Like in most Hentai games, however, the penis is rendered invisible or transparent. There is also a feature in the game which allows the player to have sex with the female characters.

Here is a screenshot (found at Something Awful) of a female character crying because she is being forced to perform oral sex on the male character:

You can also damage your opponent by molesting their breasts or crotch. Once you win the game playing each of the different characters, you open a function where you can look at all the rape scenes. Here’s a shot of a female character’s face as she’s being raped:

Apparently in Battle Raper 2, they took out the rape function.

A simple description of this game will have to do, because I just can’t bring myself to write any commentary about it.

UPDATE: For the record, I’m not saying a) the Japanese are more sexist than other cultures, b) this game is (or isn’t) representative of video games in general or hentai games in particular, c) that video games lead to any particular behaviors or make people act violently, or d) that people shouldn’t be able to play these games in the privacy of their own homes.

It was sent to me as a possible post, I thought it was interesting, and I thought the discussion by some gamers I found on different websites was also fascinating: lots of people saying “Oh, I play violent stuff, but this was unacceptable even for me!” and saying how they put rape in a different category than any other type of violence, so these types of games are worse than “regular” violent video games. I thought of it as a case that might be useful for discussions of cultural representations of rape, and particularly how we often treat rape as a “special” type of crime that is somehow worse than any other type, possibly even murder. Why we do that, and what it means (particularly, how does it impact the stigmatizing of rape victims, who are often treated as though they are permanently broken and defiled?), are sociologically interesting questions.

NEW (Apr. ’10)! Dmitriy T.M., Beth W., Tom M., Abby D., and Jillian Y. all sent in another game with the same theme. The narrative for this one, called Rapelay, is as follows:

The player plays as a chikan (a perverted man who frequently fondles women) in crowded subway trains. A young woman named Aoi has the player arrested for molesting her. Afterwards, the player plans to exact revenge by molesting and raping her entire family (source).

This is the cover:

A still from the game:

Most media coverage won’t offer images, saying that they are too graphic to show.

Originally posted at Gender & Society.

I recently took in a poignant guest lecture on hookup culture by Lisa Wade. During the talk, Wade detailed the link between rape culture and hookup culture. While hooking up encourages women to behave “like men,” it simultaneously creates an environment that rejects feminine traits (kindness, care, empathy). Since then I’ve continuously noticed how we celebrate women who display traditionally masculine characteristics (be aggressive! lean in!). But, we often do so in ways that devalue feminine attributes. It is with this framework in mind that I went to see Wonder Woman.

Donning my “feminist mama” sweatshirt, I expected to be underwhelmed given the mediocre reviews describing the film as just another boilerplate superhero movie. With my critical 3D glasses on, I understood why many were frustrated. Steven Trevor always has a protecting arm over Diana, even after she demonstrates that she’s indestructible. The persistence of the male gaze was also disappointing. I recognize the need to reflect Marston’s 1940’s creation, but expecting Diana to run through forests, scale mountains, and beat down villains in a sensible wedge was as laughable as Steven Trevor’s ridiculous assurance to the audience that his genitalia was “above average.” It is no coincidence that Wonder Woman’s strong but “sexy” image was the one chosen by Douglas to represent her concept of enlightened sexism nearly a decade ago.

At the same time, I think it is important to recognize the film’s strengths. The women cast as Amazonians are athletes in real life with muscular bodies that challenge anglocentric beauty ideals. Diana is a unique combination of sex appeal, acumen, and wit. She is fierce but nurturing, emboldened to take down Ares but driven by her desire to protect children. Her outfit choices are elegant but practical and she even managed to stash a sword in her stolen evening gown. Diana asserted confidence and ability while her male sidekicks over-promised and under-delivered. In short, Wonder Woman seems to encapsulate the kind of feminism Wade described as lost: embracing aggression and kindness, strength and beauty.

Given Diana’s character complexity, I find language lauding the film for its ability to break the “curse of Catwoman” particularly offensive. Perhaps if Hollywood had chosen to produce Joss Whedon’s version of Wonder Woman, where Diana’s uses a “sexy dance” to thwart the villain, it might warrant a film comparison. After all, the Catwoman “plot” was a lurid focus on Halle Berry in a tight-fitting costume, a hypersexualized (de)evolution of a female protagonist. It tanked in the box office because, like most female characters in superhero films, Patience Phillips was a two-dimensional stereotype of femininity – meek, fickle, a tease. She had to “overcome” her feminine traits to succeed and used sex appeal as a weapon. Comparing the films conflates the presence of a female lead with the notion that both films were made for women. It’s like those who questioned if Clinton supporters might vote for McCain in 2008 because he put Palin on the ticket. Having a woman lead doesn’t mean women’s interests are being considered.

Despite these attempts at male wish fulfillment, Wonder Woman’s success was not due to men aged 15-25. Unlike other superhero flicks, Wonder Woman’s audience was roughly 52% women, and women and older audience viewers continue to build its momentum. When the Alamo Drafthouse risked litigation to host an all-female screening it sold out so quickly it added more women-only events to respond to the demand. Nevertheless, the comparison to Catwoman persists as does the dominant narrative that films outside of the Captain America framework are a “gamble.”  Ignoring the success of films like Wonder Woman (Arrival or Get Out or Moonlight) allows executives to deflect the fact that most “flops” were made with an exclusively white, heterosexual, male audience in mind (I’m looking at you Cowboys & Aliens).  Yet celebrating Wonder Woman as a “triumph,” allows us to pretend that similar female protagonists dominate the screen instead of calling more attention to the fact that women still only accounted for 32% of all speaking roles in 2015 or that non-white actors are continuously overlooked at the Oscars.

Diana showcases a physical resilience seldom credited to women – let’s celebrate that. She encapsulates a kind of feminism that Wade rightfully notes is nearly nonexistent. Diana is a warrior who is agentic, driven, nurturing, protective, and merciful. She exhibits masculine strength without having to cast aside her feminine traits.  She voices concern for those who cannot protect themselves but she is a trained killer. By labeling Wonder Woman not feminist enough we overlook the crux of the problem: Wonder Woman’s empowerment narrative was likely tempered because Hollywood doesn’t really care about appealing to women. Highlighting the importance of Diana’s feminist dichotomy challenges Hollywood to build on that momentum and make a sequel without pandering to young, heterosexual, male audiences. In doing so, my hope is that in the future we have so many superheroes like Diana (strong because of their femininity, not strong despite it) that critics will have ample — and equivalent — characters for comparison.

Francesca Tripodi, PhD is a sociologist who studies how participatory media perpetuates systems of inequality. This year she is researching how partisan groups interact with media and the role community plays in legitimating what constitutes news and information as a postdoctoral scholar at Data & Society. Francesca would like to thank Caroline Jack and Tristan Bridges for their helpful feedback on this piece.

Robin Thicke’s song, “Blurred Lines,” achieved international recognition in 2013. But the lyrics were also heavily criticized as promoting sexual violence by celebrating “blurred lines” around sexual consent. Indeed, the song and video prompted an online photo essay in which women and men are depicted holding up signs with words they heard from their own rapists — some of which were almost direct quotes from Thicke’s song. The song received a great deal of negative and positive press all at the same time.

It’s not a new argument to suggest that many elements of what feminist scholars refer to as “rape culture” are embedded in seemingly pleasurable elements of pop culture, like songs, movies, and television shows. And Robin Thicke’s song served as an example to many of how we not only tolerate rape culture, but celebrate it and render it “sexy.”

Recently, Rebecca Traister discussed just how much rape culture even informs what we think of as “good sex” in her piece “The Game is Rigged.” In it, Traister challenges the notion that all consensual sex is good and shows just how messy the debate about what qualifies as “consensual” really is. In many ways, our national discussion around sexual assault and consent is taking up themes raised by feminists in the 1980s about what actually qualifies as consent in a society in which violence against women is considered sexy.

Compared with “Blurred Lines,” Justin Bieber’s newly released hit single, “What Do You Mean?” has been subject to less critique, though it reproduces the notion that women do not actually know what they want and that they are notoriously bad and communicating their desires (sexual and otherwise). In the song, Bieber asks the woman with whom he’s interacting:

What do you mean?
Ohh ohh ohh
When you nod your head yes
But you wanna say no
What do you mean?

The lack of clear consent isn’t just present in the song; it is what provides the sexual tension. It’s part of what is intended to make the song “sexy.”

Sexualizing women’s sexual indecision is an important part of the way rape culture works. It is one way that conversations about consent often over-simplify a process that is and should be much more complex. The song itself presents Bieber nagging the woman to whom he’s singing to make a decision about their relationship. But there are many elements suggesting that the decision she’s being asked to make is more immediate as well — not only about the larger relationship, but about a sexual interaction in the near future. Throughout the song, the click of a stopwatch can be heard as a beat against which Bieber presses the woman to make a decision while berating her for the mixed signals she has been sending him.

Bieber is presented as the “good guy” throughout the song by attempting to really decipher what the woman actually means. Indeed, this is another element of rape culture: the way in which we are encouraged to see average, everyday guys as “not-rapists,” because rapists are the bad guys who attack women from bushes (at worst) or simply get them drunk at a party (at best).

The controversy over the ad in Bloomingdale’s 2015 holiday catalog urging readers to “spike your best friend’s eggnog when they’re not looking” shows that this kind of rape culture is also casually promoted in popular culture as well.  But, the larger discourse that Bieber’s song plays a role in promoting is the notion that women do not know what they mean or want. Bieber plays the role of someone simultaneously pressuring her for sexual advance (“Said we’re running out of time”), helping her work through her feelings (“What do you mean?”), and demanding results (“Better make up your mind”). And, like the Bloomingdale’s advertisement, this is not sexy.

Indeed, the music video takes this a step further. Bieber is shown at the beginning paying John Leguizamo on a street corner and asking him to make sure “she doesn’t get hurt.” We later find out that John was paid to orchestrate a kidnapping of both Justin and the woman. Both are taken by men in masks, driven to a warehouse in the trunk of a car, and tied up. Justin is able to free them, but they are still in a room with their kidnappers.

They back up to a door that leads outside the building and see that they are one of the top floors. Justin turns to the woman, holds out his hand and asks, “Do you trust me?” She takes his hand and they both jump out of the building. They jump and fall to the ground, landing on a parachute pillow only to discover that the whole thing was a trick. The kidnapping was actually an orchestrated ruse to bring her to a party that they entered by leaping from the building away from the men who’d taken them. The men in masks all reveal themselves to be smiling beneath. She smiles at Justin, recognizing that it was all a trick, grabs his face, kisses him and they dance the night away in the underground club.

Even though the song is about feeling like a woman really can’t make up her mind about Justin, their relationship, and sexual intimacy, the woman in the video is not depicted this way at all. She appears sexually interested in Justin from the moment the two meet in the video and not bothered by his questions and demands at all. Though it is worth mentioning that he is terrorizing her in the name of romance, indeed the terror itself is a sign of how much he loves her — also a part of rape culture. This visual display alongside the lyrics works in ways that obscure the content of the lyrics, content that works against much of what we are shown visually.

Part of what makes rape culture so insidious is that violence against women is rendered pleasurable and even desirable. Thicke and Bieber’s songs are catchy, fun, and beg to be danced to. The women in Thicke’s video also appear to be having fun strutting around nude while the men sing. The woman in Bieber’s video is being kidnapped and terrified for sport, sure, but it’s because he wants to show his love for her. She’s shown realizing and appreciating this at the conclusion of the video.

Rape culture hides the ways that sexual violence is enacted upon women’s bodies every day. It obscures the ways that men work to minimize women’s control over their own bodies. It conceals the ways that sexual violence stems not just from dangerous, deviant others, but the normal everydayness of heterosexual interactions. And all of this works to make sexualized power arrangements more challenging to identify as problematic, which is precisely what makes confronting rape culture so challenging.

Originally posted at Feminist Reflections and Inequality by (Interior) Design.

Tristan Bridges is a sociologist at the College at Brockport (SUNY) and CJ Pascoe is a sociologist at the University of Oregon. Pascoe is the author of Dude, You’re a Fag:  Masculinity and Sexuality in High School, and together they are the editors of Exploring Masculinities: Identity, Inequality, Continuity and Change.

SocImages News:

Apparently this was the month of finding out that SocImages is quoted in awesome places! Thanks to a friend, I learned that a post is quoted in the current edition of Our Bodies, Ourselves. Um, amazing!

And I also stumbled across a generous endorsement of the site in Kate Harding’s fantastic new book Asking For It: The Alarming Rise of Rape Culture — and What We Can Do About It.

You like!  Here are our most appreciated posts this month:

• Fetal alcohol syndrome and the social control of mothers (4,000+ likes, 10,000+ views)
• Media spin on violence against police (1,400+ likes, 3,700+ views)
• Netflix responds to criticism, changes its sexist definition of Pocahontas (600+ likes, 3,800+ views)
• Michael Kimmel on why everyone needs feminism (500+ likes, 1,300+ views)
• Does the Broken Windows Theory justify heavy policing of minor crimes (300+ likes, 1,600+ views)

Thanks everybody!

Editor’s pick:

• What is creepiness?

Top post on Tumblr this month:

• “Tourist, shame on you!”: Disaster tourism after Hurricane Katrina (8,400+ notes)

Upcoming Lectures and Appearances:

I’m excited to have a number of talks scheduled for this year. If you’re in Baton Rouge, LA; Huntington, WV; Portsmouth, OH; Witchita, KS; or Omaha, NE, please feel free to come by and say “hi”!

• Louisiana State University – Baton Rouge (Oct 8): Featured Guest and Panelist for a screening of The Hunting Ground
• Marshall University (Oct 26): “Sex, Rapture, and Resistance on College Campuses”
• Shawnee State University (Oct 27): “Sex, Rapture, and Resistance on College Campuses”
• University of Nebraska, Omaha Undergraduate Sociological Symposium – Keynote speaker (Nov 13): “The Power of Public Sociology”
• Wichita State University Sociology Club and Sociology Department Gender & Sexuality Conference – Keynote speaker (Mar 4): “Online Feminist Pedagogy: Talking about Gender and Sexuality with the World”

Social Media ‘n’ Stuff:

SocImages is on twitter, facebook, tumblr, and pinterest.  Follow us! I’m on facebook, twitter, and have recently started playing around on instagram. Also on twitter, regular contributors @gwensharpnv, @familyunequal, and @jaylivingston.

Finally…

Please make me less lonely on instagram! I mostly post pictures of Louisiana, cocktails, and cats, but here’s one of a baby in a 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.

We rounded out the year with 6,850,000 visits and nearly 10,000,000 page views.  We are proud and honored to enjoy over 35,000 Facebook friends and 15,000 Twitter followers, plus nearly 10,000 on Pinterest and almost 1,000 on our two-month-old Tumblr page.  A huge thank you to everyone for your enthusiasm and support!

Highlights:

• Our 6th birthday.
• A home page.
• A shiny new Tumblr.
• A 5,000th post.
• New Pinterest pages: the social construction of flavor, “women” vs. “people”, marketing feminism, the mean girls meme, and rape culture (see them all here).
• Two new syndication relationships with Business Insider and Policy Mic.
• Tweets from Piper Kerman, Shankar Vedantam, and Amanda Palmer.
• New Course Guides: sociology of work and occupations, family and society, the sociology of Asian Americans and Pacific Islanders and women’s history (see them all here).
• A gig writing for Salon.

Best of 2013!

Over the last week we’ve highlighted our favorite and most loved posts from 2013.  Here’s the list in case you missed it!

Reader’s Choice (plus # of Facebook likes before we re-posted)

• From the Mouths of Rapists: The Lyrics of Robin Thicke’s Blurred Lines (174,000)
• The Balancing Act of Being Female; Or Why We Have So Many Clothes (31,000)
• Gender and the Body Language of Power (21,000)
• Stand Your Ground Laws Increase Racial Bias in “Justifiable Homicide” Trials (20,000)
• Surprise! Your Flight Attendants are all Strangers! (16,000)
• My Two Cents on Feminism and Miley Cyrus (15,000)
• Men Feel Bad around Smart, Successful Women (7,500)
• Shifting Discourses of Motherhood: The Victorian Breastfeeding Photo Fad (7,000)
• How Do Physicians and Non-Physicians Want to Die? (5,800)
• Double Standards and Blurred Lines at the VMA Awards (5,400)
• Most Women Would Rather Divorce than be a Housewife (5,100)
• Re-Touching the Consequences of Extreme Thinness (5, 100)

Editor’s Picks

• African-American Travel and Jim Crow Segregation
• Why Are People Changing Their Minds About Same-Sex Marriage
• The Marketing Tactics of Firearm Manufacturers
• Children’s Books and Segregation in the Workplace
• Men and Women Use Uptalk Differently: A Study of Jeopardy
• What are Rappers Really Saying about the Police?
• On the Sexualized Insult (Not for the Faint of Heart)
• The Unsung Heroes of the Crash Landing in San Francisco

And this Happened…

…the fruits of my obsession with flight attendants.   If you read these, you might be obsessed too!

• The Surprisingly Racist Reason We Don’t Tip Flight Attendants
• Before the Stewardess, the Steward: When Flight Attendants Were Men
• Domestic Behavior as Both Gendered and Raced: Who Does What for Airlines?
• International Politics and the First African American Flight Attendants
• Are Flights Full? Airline Advertising vs. Real Life
• Hanging onto the Stewardess at Delta Airlines
• Surprise! Your Flight Attendants are all Strangers! (also a reader’s pick)
• The Unsung Heroes of the Crash Landing in San Francisco (also an editor’s pick)

Happy New Year everyone!  Here’s to wonderful things in 2014!

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 Miley Cyrus performance at the VMAs has received quite the reaction.  She appears to have shocked celebs as well as the media, and has even been blasted by a group of angry parents. The Internet outrage over her performance has spawned multiple offshoots, including a backlash against people slut-shaming Miley, as well as criticisms about her appropriation and exploitation of black culture.

What has been largely been missing from the conversation (with a few notable exceptions) is the lack of outrage at the 36-year-old man who ground up on Miley’s 20-year-old ass while singing his summer megahit rape culture anthem.

Far fewer people are expressing concern about the catchy song in which a husband and father outlines with complete confidence his ability to infer when “good girls” “want it.”  The same guy who, when discussing the lyrics to his song, tells an interviewer:

Even very good girls have a little bad side. You just have to know how to pull it out of them.

The guy who boasts that he based his hit song on the time-honored masculine performance of hollering at bitches:

We started acting like we were two old men on a porch hollering at girls like, ‘Hey, where you going, girl? Come over here!’ That’s why, in the video, we’re doing all these old men dances. It was great.

That does sound pretty great, Robin.

Overall, the 2013 VMA debacle provides a painfully accurate example of the sexual double standard we have for women and men.  A woman who performs sexuality (for whatever reason) is to be castigated, while a man who engages in the exact same performance (and who has unabashedly doubled down on his support for the rape myth that no means yes) hardly raises an eyebrow.

Brett Wheeler is a part-time psychology professor who is pursuing a PhD in positive psychology. His research interests include human sexuality, humor, and how these variables contribute to well-being.

Summer means writing!

We’re all breathing a sigh of relief now that the semester is over!  Gwen and I are both looking forward to making lots of progress on writing projects over the summer!  Myra Marx Ferree and I should be finishing our sociology of gender textbook within months and I can hardly wait!

Twitter love:

We reached a milestone on Twitter.  12,000 followers and counting!

12,000 followers means lots of love!

We freaking love you too, Eli!

Upcoming lectures and appearances:

I am officially on sabbatical and writing full time, but I’d love to use my flexible schedule to do lots of public speaking as well.   I have great talks on the value of friendship, the biology of sex differences, the politics of genital cutting and, of course, hook up culture.  And I do a pretty decent AKD induction ceremony/commencement speech.

I’ve already scheduled my first talk for next year. I’ll be part of the Bastian Diversity Lecture Series at Westminster College in Salt Lake City.  Looking forward to it already!

Virtual friends:

We continue to be thrilled to see SocImages’ posts cross-promoted on other sites.  Here are some graduation season-themed highlights of the month:

• Los Angeles Times, The Hook Up Culture Bogeyman
• PolicyMic, 9 Things Professors Wish You Understood about the Real World (with gifs!)
• BlogHer, 2/3rds of College Students Think They’re Going to Change the World
• Huffington Post, Social Class and the College Choices of High School Valedictorians

New Pinterest board on rape culture:

In response to the sudden public interest in sexual violence, we decided to begin a rape culture Pinterest board.  I recommend visiting with a stiff drink in hand.  If you’re sensitive to images of sexual violence, I wouldn’t go at all.

SocImages has 25 Pinterest boards and some of them aren’t horribly depressing!  You can visit our new guide or check out some of our more popular themes: sexy toy make-overs, what color is flesh?, gendered housework and parenting, “subliminal” sexual symbolism, and violence in fashion.

The national movement against sexual assault:

SocImages continues to follow the national movement to use Title IX to reform sexual assault adjudication on college — and now, rumor has it, middle school and high school — campuses.  Dartmouth, UC Berkeley, and USC, among others, are the most recent schools to file complaints with the federal government.

This month we posted about the role of social networking in the movement and covered the faculty votes of “no confidence” in higher level administrators at Occidental College.  I also had the opportunity to give a 12 minute interview to KPFK about the developments at my campus (you can listen here, starting at 28:30).

Social media:

SocImages is on Twitter, Facebook, Google+, and Pinterest.  Lisa is on Facebook and most of the team is on Twitter: @lisawade, @gwensharpnv, @familyunequal, @carolineheldman, and @jaylivingston.

In other news…

I thought I’d share this nice shot from just after commencement at Occidental College.  To my left and right are two of the professors who have joined with students to lead the national movement against sexual assault: Dr. Caroline Heldman and Dr. Danielle Dirks.  In other words, some badass chicks right there.  Follow them on twitter @carolineheldman and @danielledirks!

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.