Search results for blind

A new submission from Rucha S. inspires me to bring back our 4-year-old boob products post.  Hers is added last, so enjoy the scroll!

Sent in by Jessica F. and found at Trend de la Creme. Boob hot water bottles:

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Boob ice cubes:

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A boob/rocket-shaped “stress toy”:

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The boob glasses don’t even make sense:

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Taylor S. sent us this picture of “boob stress relievers” sold at a flea market:

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Pitseleh S. found these boob clogs at boinkology.  You can also get these clogs with piercings or tattoos.

In comments to another post, Tim pointed us to this ad:

Many, many more after the jump.

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Yesterday NPR discussed the results of a new study on charitable giving by the Chronicle of Philanthropy.  The study affirmed that lower income people give a larger percentage of their income to charity, but also discovered that how much wealthy people give is strongly correlated with the type of neighborhood they live in.

It turns out that wealthy people who live mostly with other wealthy people give the least amount of money to charity, on average.  Here are five zip codes with high-densities of rich people according to the IRS (= % of “wealthy filers”) and the percent of their incomes that they donated to charity (= “percent given”):

In contrast, here are five zip codes with a great deal of economic diversity.  In this case, the far right column shows a dramatic increase in the percent of their incomes that they donate to charity:

Wow, so rich people in Manhattan donate less than 1% of their income to charity, whereas the rich in Brooklyn give 35%.  That’s a pretty amazing divergence!

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There are (at least) three explanations for this finding.   One is that living in a diverse neighborhood makes you more inclined to give, whatever your inclination before moving there.  Another is it that generous rich people move to diverse neighborhoods and stingy rich people isolate themselves.   A third is that some other variable (e.g., political affiliation, religiosity) is correlated with both neighborhood preference and generosity.

A social psychologist interviewed by, Paul Piff, suggests that it’s the first explanation.  Rich people tend to be isolated, he says, so they just don’t notice that other people need help. But, if they see need, they do show compassion.

I’m sure Piff knows his stuff, but if I had the opportunity to follow up with him on this argument, I’d ask him more about what he means by “see.”  It seems to me that anyone that reads the news these days will be exposed to plenty of evidence of economic need and, if you care enough to dig for it a little bit, you’ll find stunning data documenting income inequality and heart-rending stories of widespread suffering.  It may be easy to be isolated, but I imagine one would have to at least occasionally turn a blind eye to these things.

But perhaps knowledge about need isn’t sufficient; perhaps we only “see” need when we come into direct contact with human beings, the ones with who become familiar to us. There is evidence that we find it easy to blame strangers for their misfortune, but chock it up to bad luck when it’s us, our friends, or our families.  So perhaps raising consciousness about poverty isn’t enough, perhaps we really do need to get the rich to rub elbows with the disadvantaged.

In any case, the results are pretty impressive and no doubt have some wide-ranging implications for how to make us a more compassionate and generous society.

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.

Earlier this week I wrote a post asking Is the Sky Blue?, discussing the way that culture influences our perception of color.  In the comments thread Will Robertson linked to a fascinating 8-minute BBC Horizon clip.  The video features an expert explaining how language changes how children process color in the brain.

We also travel to Namibia to visit with the Himba tribe.  They have different color categories than we do in the West, making them “color blind” to certain distinctions we easily parse out, but revealing ways in which we, too, can be color blind.

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.

In the first half of the twentieth century, the black press solidified its role as a pillar of the community and an anchor for popular opinion. In the tumultuous period between the Great Depression and the first stirrings of the Civil Rights Movement, World War II forced black Americans to rethink their struggle for equality as well as their position in the international political arena.* Editorial cartoons became a powerful forum for airing views on the war, a lens through which the readership could view domestic race relations in the context of America’s geopolitical stature and the specter of colonialism and fascism.

Two major black newspapers with national readerships, the Chicago Defender and the New York Amsterdam News, were largely supportive of the war. Black Americans broadly supported World War II. The so-called Double-V campaign rallied black community groups and media under a banner of patriotism, with the aim of encouraging racial integration and equality. But despite the overall pro-war sentiment, the black press also featured cartoons that offered a platform for critiquing blacks’ paradoxical position in the war on a domestic and global scale.

One cartoonist, Bill Chase, reflected early isolationist sentiments among blacks. An Amsterdam News cartoon from June 8, 1940 titled “Be Careful Uncle Sam shows a pensive Uncle Sam staring across the Atlantic at plumes of smoke. He stands upon strewn papers marked “lynching,” “lack of equal educational facilities,” “unemployment” and “no social security menials.” In a pointed reference to past wars and current national priorities, Uncle Sam says, “George Washington once said—’no entangling alliances’”:

In the June 17, 1944 Defender cartoon, Jan Jackson used a feminine metaphor to portray a double-standard in the politics of government intervention. A half-naked black woman chained to a post, arms outstretched in desperation, watches as two soldiers, labeled “liberation forces,” scurry across the Atlantic toward a mirror image of an endangered white woman on the distant shore of “enslaved Europe”; the headline is the soldiers’ empty promise, “We’ll Be Back”:

That the feminized white Europe is depicted ironically as “enslaved,” while the rescuers turn their backs on a refugee of actual slavery, reveals the absurdity of aiding a “just war” while ignoring a  homegrown humanitarian crisis.

A Defender cartoon published on June 16, 1945, just before the armistice, directly aligns the U.S. with the smoldering legacy of Nazi rule. Under the headline “Blind Leading The Blind,” a haggard America  steps forward from the ashes of bombed-out Europe, leading a disheveled, bloodstained Germany by the hand. Both men wear spectacles with blacked-out lenses displaying the words “race hate”:

As the war effort shifted from Europe to Asia, editorial cartoons took on an anti-colonial dimension. The Defender‘s September 8, 1945 cartoon elucidates Japan’s dual identity as both a fascist power and a non-white challenge to the global order. The inspiration for the cartoon is a report on the same page that a battleship from Mississippi docked at Tokyo Bay displaying “the Stars and Bars of the Confederacy while on deck the band played Dixie”:

The paper quips that the commander might as well have added “another bit of ‘Mississippi culture’ to the exhibit—perhaps a lynched Negro hanging from the mast or Senator Bilbo filibustering on the poop deck.”

The cartoon displays a hodgepodge of Americana: a ship, a cowboy, a rambunctious marching band, and the offensive flag.  The details expose the irony of a racist America exporting its warped civilization to a non-white country. The black soldiers walk out of a separate entryway marked “for colored.” Heading a parallel procession of white soldiers is a farcical southern vigilante holding rope and a rifle. A black soldier pats a disheveled Japanese civilian on the shoulder and says, “I know just how you’re going to feel, bub!”:

The Japanese rulers may have been fascists, but the visual satire suggests that blacks were in solidarity with Japanese civilians, who were now being invaded by another colonizer. As the cartoon headline notes, “Asiatics Are Colored Too.” Yet the black soldier’s complicity in this metaphorical lynch mob is underscored by the tool he carries: a shovel in lieu of a gun.

Despite broad support for the war in the black press, these editorial cartoons convey America’s peculiar hypocrisy through powerful imagery of suffering and anger. Yet the subtlety of the messages expresses measured, subsurface criticism—perhaps acknowledging that World War II, for all its ethical contradictions, provided a touchstone for concentrating black solidarity and political capital. In deploying these visual idioms to motivate the struggle against fascism, the images succeeded, even if the Double-V campaign itself fell short of redeeming the struggle for “victory at home.” The fight against fascism and Nazism overseas didn’t translate into enlightenment of the American body politic of race. But by mobilizing around the the Allies, black America, and its media, cast a new light on racism in the global context—a perspective later reflected in the strands of pan-Africanism and anti-colonialism in civil rights campaigns. A “white man’s war” could not serve as a real vehicle for black empowerment, but as it stretched to every corner of the globe, the trauma of modern warfare generated a new race consciousness, and new visions, that redefined blackness on the world stage.

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Michelle Chen is a doctoral student in history at the City University of New York Graduate Center. In her plebian life, she is a contributing editor at In These Times, a co-producer with New York’s WBAI, and an editor at CultureStrike, a project focused on the intersection of the arts, immigration and activism. Her work has appeared in The Nation, Colorlines.com, Alternet, Ms. Magazine, Newsday, and her old zine, cain.

 References after the jump:

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Solomon Asch was a social psychologist famous for his experiments in conformity.  In 1962 he collaborated with Candid Camera, a TV show, to show just how easy it is to reverse an innocuous social norm: the direction one stands in an elevator.

Does it still work?  Watch this University of South Florida replication:

Asch did many such experiments, including showing that people will agree with others when asked a simple question, even if they suspect everyone else is wrong.  The implications are obvious.  Social pressure is incredibly powerful and we’ll do things that seem pretty bizarre just to fit in.  How one stands in an elevator, of course, is a trivial matter and has almost no consequences short of feeling funny.  Imagine how much we’ll be willing to do when the consequences are even a little bit greater.

For more great social psychology: entering a theater full of bikers, doing nothing, change blindness, norm breaching, Milgram’s obedience experiment (plus the original flyer).

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.

Last week Andrew, Michael S., Will S., Katrin, and Tom Megginson all brought our attention to some of the racist tweets that appeared after the premiere of The Hunger Games. Apparently some viewers were shocked to find that some of their favorite characters from the books were played by African American actors (and some critics seem to have felt that Jennifer Lawrence didn’t look starved enough for her role). Buzzfeed and Jezebel posted some examples of the response to the African American characters:

In fact, Suzanne Collins did include descriptions that would seem to clue a reader in that they’re not supposed to assume that every character in the book is Caucasian (cropped from Buzzfeed):

But of course, the apparent lack of reading comprehension of many fans of the book is rather beside the point by now. What these reactions indicate is the invisibility of non-White people in pop culture, and the sense of distress, disappointment, and even outrage some can feel when they are expected to accept non-Whites in what they see as “neutral” roles. And, more disturbingly, it illustrates the degree to which the humanity of non-Whites can be erased, and highlights racialized associations. “Some black girl” is, by definition, not an “innocent girl.” It’s funny to say that the death of a character that touched you in the book is less moving if you imagine the character as African American. We’ve seen this type of reaction before, such as when Idris Elba was cast in Thor. Or the equally negative response to the suggestion that Donald Glover, an African American actor, should audition for the starring role in the newest Spider-Man remake, as Lindy West points out at Jezebel: “…it’s a proprietary thing-if Spider-Man is black, then he isn’t ours anymore. He’s theirs.”

I think the best discussion of the implications of the Hunger Games tweets comes from Anna Holmes, whose take was posted by The New Yorker. I’ll leave you with a quote and strongly suggest you go check out the full article:

Hunger Games Tweets—there are now more than two hundred up on the blog—illuminated long-standing racial biases and anxieties. The a-hundred-and-forty-character-long outbursts were microcosms of the ways in which the humanity of minorities is often denied and thwarted, and they underscored how infuriatingly conditional empathy can be…If the stories we tell ourselves about the future, however disturbing, don’t include black people; if readers of “The Hunger Games” are so blind as to skip over the author’s specific details and themes of appearance, race, and class, then what does it say about the stories we tell ourselves regarding the present?

At The Color Line, sociologist C.N. Le highlighted an instance in which racist language was used in reference to pro-basketball player Jeremy Lin.  A headline at ESPN read, “Chink in the Armor.”  “Chink” is a term used to denigrate the Chinese and Asians more generally.

Le observes astutely that the word likely wasn’t meant as a slur, but instead a pun.  And, in fact, ESPN “quickly and decisively” took action, changing the headline, firing the person who wrote the headline, and suspending a sportscaster who repeated the phrase.

Instead of outright racism, Le suggests that the appearance of the word is symptomatic of a (false) belief that we’re in a colorblind post-power society.  In this society, every group is on equal footing, so making fun is just equal opportunity offensiveness; it may be off-color, but it’s all in good fun (think of South Park as an example).  The approach assumes that slurs like “chink” are no more harmful than slurs like “cracker.”

Le was disappointed to see that this kind of ongoing insensitivity to real power differences remains, but pleased to see ESPN react so swiftly and strongly to it.

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Lisa Wade is a professor of sociology at Occidental College. You can follow her on Twitter and Facebook.

The Physicians Committee for Responsible Medicine (PCRM) sponsored two new billboards in Albany, NY, warning residents that cheese makes you fat in what is possibly most irresponsible way ever. The first features an obese man’s disembodied torso and the words, “Your abs on cheese.” The second features an obese woman’s butt and thighs and the words, “Your thighs on cheese.” The images make a very clear statement: fat people are disgusting.
The PCRM advocates for a vegan diet. The aim of this campaign is to get Albany residents to reduce their cheese intake, as cheese is a common source of saturated fat and, according to the PRCM, a major contributor to obesity in the United States. In Albany, home to several dairy farms, 63 percent of adults are obese. This is higher than the statewide obesity level of 59 percent. Obesity prevention is a valid cause, to be sure, but at what cost to other health issues?

According to their website, the PCRM is “a nonprofit health organization that promotes preventive medicine, conducts clinical research, and encourages higher standards for ethics and effectiveness in research.” For an organization so concerned with ethical standards, the PCRM has sunk pretty low with this offensive and damaging campaign. In the jargon of health communication ethics, the PCRM have committed a common and classic misstep: the failure to consider the unintended consequences of their message.

Just like a single food item (in this case, cheese) is not responsible for the entire obesity epidemic, obesity is not the only serious health problem facing Americans. We are also struggling with our body image and self-esteem as we cope with the barrage of photoshopped and unrealistic “ideal bodies” in the media. The National Eating Disorders Association states that “in the United States, as many as 10 million women and 1 million men are fighting a life and death battle with an eating disorder such as anorexia or bulimia. Millions more are struggling with binge eating disorder.”

In the medical hegemony, physical health tends to outrank mental health in “importance.” But the line between physical and mental health issues is not always clear, especially with the confluence of obesity, body image disturbance, eating disorders, and self-esteem. The PRCM is wearing blinders to these interrelated health issues in their dogmatic pursuit of a singular, isolated objective.

Physicians are taught to “do no harm.” The PRCM needs to understand that insensitive words and pictures are absolutely harmful to our health. There are better ways to educate and motivate people to make healthier food choices; ethical health campaigns do not sacrifice one health issue to promote another.

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Leah Berkenwald is a graduate student of Health Communication at Emerson College, in collaboration with the Tufts University School of Medicine, and holds a MA in American Studies from the University of Nottingham. She is currently designing a social marketing campaign on body image for the Massachusetts Institute of Technology. She also works as the Online Communications Specialist at the Jewish Women’s Archive, and blogs at talkinreckless.com.

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