Breastfeeding is widely believed to carry significant health advantages for infants and the American Academy of Pediatrics (AAP) would like to see all mothers breastfeed their children for at least 12 months, with no supplemental food for the first six.

Breastfeeding, however, is a big job.  Even if a newborn takes to breastfeeding without any problems (some mothers struggle mightily with less-than-cooperative infants), mothers must feed their children around the clock (they now recommend every two hours, 24-hours a day for newborns).  If it takes a half hour to settle the baby down and fill it up, you’ve got an hour and a half before the next feeding time.

Mothers who have the privilege to stay home with their babies — for three, six, or even twelve months — then, are going to find it much easier to follow the AAP guidelines.  For mothers who return to work, those who work in flexible positions that award some degree of autonomy and respect will also be more likely to continue breastfeeding.   In other words, a lawyer with a private office and a work schedule under her own control can stop several times a day and express milk to bring home to her child; in contrast, a woman working the cash register at McDonald’s with a boss hovering over her doesn’t have the same autonomy or privacy and may be forced to give up breastfeeding.

It shouldn’t be surprising, then, that breastfeeding rates are higher among more educated women and White and Asian women.  Both of these variables tend to correlate with class privilege:

There are some interesting things, however, that don’t correlate with this class thesis.  First Hispanic women are more likely to breastfeed than White women and people with less than a high school education are more likely to breastfeed, especially at six and 12 months, than people with a high school education.

I can think of some reasons why… I’ll let you discuss it in the comments.

Borrowed from Philip Cohen’s Family Inequality Blog.  For more data on rates of breastfeeding, including U.S. state comparisons and changes in rates over time, see here.

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.

Amanda brought our attention to a photo project by L. Weingarten called “A Series of Questions.” The ongoing project is designed to draw our attention to how the kinds of questions we ask transgender people makes them feel like inexplicable Others. From a description of the project:

The subjects, self-identified people of transgender, transsexual, genderqueer, gender-variant, or gender non-conforming experience, hold signs depicting questions that each has had posed to them personally — some by strangers, others by loved ones, friends, or colleagues. Presented on white wooden boards, the questions are turned on the viewer, shifting the dynamics under which they were originally asked, and prompting the viewer to cast a reflective, self-critical eye upon him or herself, revealing how invasive this frame of reference can be.

In other words, these questions get asked not only because transgender people break the rules, they get asked because the rest of us can be so inflexible, utterly confounded when other around us challenge our assumptions about the world.

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.

Cosmopolitan Magazine has been around since 1886 so it has seen quite a great deal of change over that time. The evolution of The Cosmopolitan Magazine into what is known today as Cosmo shows just how dramatic that change has been. In its early days, The Cosmopolitan was billed as a woman’s fashion magazine that included articles on the home, family, and cooking, but also included articles like “Some Examples of Recent Art” and “The Progress of Science.”

Later it became more focused as a showcase for new fiction and published works by authors like Upton Sinclair, Sinclair Lewis, Kurt Vonnegut, Willa Cather, and H. G. Wells. Typically, each issue would have five to eight short-stories, a full novelette, a full short novel, and some article on fashion and health. During this time, the cover art was almost exclusively illustrated — even when the covers featured celebrities.

With the introduction of television, there was a drastic decline in the demand for fiction-based magazines. In response to the waning sales there was a radical shift in the direction of Cosmopolitan. In the mid sixties, Helen Gurley Brown stepped in as editor in chief. She brought with her the message of sexual freedom for single women, and started replacing the cover illustrations with photos of young models in minimal clothing.  Sales increased as a result.

Since then the magazine has become more sexually centered. It still features many articles on having pleasurable sex and maintain fulfilling relationships. There is a much greater emphasis on how women can make themselves more desirable to men. One look at the website reveals the tone of the magazine. These are the first three articles listed:

“4 Traits Men Find Irresistible”
“What Men Secretly Think of your Hair and Makeup”
“What You Should Do if He Cheats”

The late Kurt Vonnegut (who had multiple short stories featured in Cosmopolitan in the fifties) had this to say about the magazine: “One monthly that bought several of my stories, Cosmopolitan, now survives as a harrowingly explicit sex manual.”  Indeed, browsing through the cover art of the past few years gives one the impression that there are an infinite number of sex positions. It is hard to feel sexually liberated while reading a magazine that talks about the vagina (or Hoo-Ha) like it’s something you can buy at a pet store. They have also been criticized for perpetuating a nearly impossible standard of beauty and for retouching models to make them appear thinner.  Today Cosmopolitan retains almost no reminants of its origins. It is fascinating to see how it has shifted with the culture and how our culture has changed because of it.

Sources: here, here, here, here, here, here, and here.

—————————–

Lauren McGuire is a SocImages intern and an assistant to a disability activist.   She recently launched her own blog, The Fatal Foxtrot, that is focused on the awkward passage into adulthood.

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

Caesarean sections — or C-sections, a surgery that involves making incisions through a woman’s abdomen and uterus to deliver her baby — have been on the rise since the mid-1990s.  Last month a New York Times story reported that 2007 saw the highest rate of Caesarean sections ever, 32 percent:

It is primarily non-medical issues that are driving the increase.  Many C-sections are performed because physicians fear lawsuits.  In a survey of obstetricians, 29 percent admitted to performing C-sections for this reason.

In other cases, mothers request that their labor be induced.  She may have a grandmother in town or a military husband about to be deployed and she wants to have the child while her family can be present.  Induced labor often fails and, so, C-sections are required.  More insidiously (and not mentioned in the story), epidurals also tend to slow down labor and require induction.  So the high rate of epidural use may also be contributing to the rise in C-sections.

And, C-sections beget C-sections.  Fewer and fewer women who have had a previous C-section are being allowed to attempt a vaginal birth.  “Fewer than 10 percent of women who had Caesareans now have vaginal births, compared with 28.3 percent in 1996.”

Rates of C-section in the U.S. are higher than in most industrialized countries but lower than in some developing countries.  “…rates have soared to 40 percent in some developing countries in Latin America, and the rates in Puerto Rico and China are approaching 50 percent.”

And rates in the U.S. states vary by 16 percentage points.  “The highest rates of Caesarean births were in New Jersey (38.3 percent) and Florida (37.2 percent), and the lowest were in Utah (22.2 percent) and Alaska (22.6 percent).”

There was no discussion about why the rates among states in the U.S. would be so variable.  Thoughts?

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.

Or, as Angry Asian Man noticed, the white cast of Glee.

I get it, these are the show’s main characters. It’s just a obvious reminder that it’s awesome to see such great diversity on Glee… but never forget who the show’s real stars are supposed to be, and who usually gets relegated to the periphery.

With panties, of course.  Because without panties, there would be nothing at all going on on this cover.  Booooriiiiiiing.

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.

A 6-year-old I know brought home a reading assignment from kindergarten. It’s called The New Nest, by Sandra Iversen, with illustrations by Peter Paul Bajer. An innocent tale of Mama Bird and Papa Bird working together to build a nest from 20 twigs, straw and wool. At the end, Mama Bird is sitting on her eggs wearing pearls. Papa Bird is in a white collar and blue tie.

It’s curious to use men’s and women’s accessories (tie, necklace) to identify the gender of the couple, when the species itself provides a reasonable degree of sexual dimorphism.

That’s seems comparable to the dimorphism found in humans.

Using both gendered clothes and bodies is not necessary, but together they are a powerful teaching tool for children, forming a lesson on the concordance of gender and sex differences: matching the different bodies with the appropriately different clothes.

This book is actually featured in a write-up on teaching reading from the journal The Reading Teacher.

I don’t know what the intentions of the article writers were, but there is nothing in there about teaching about sexual dimorphism, or gender norms and practices.

Philip N. Cohen is a professor of sociology at the University of Maryland, College Park, and writes the blog Family Inequality. You can follow him on Twitter or Facebook.

Orion submitted this gorgeous music video for the song, Tightrope, by Janelle Monae, featuring Big Boi. It’s a great example of how dancing doesn’t have to be sexualized or gendered by movement or attire. It’s just creative and interesting and mesmerizing!

On a completely different note: Any dance historians out there? To me this looks to be inspired by the adaptations of Charleston in Black America (Trankey Doo, Shim Sham, etc), like in this clip featuring Al Minns and Leon James (it’s filmed in 1961, but these dances emerged in the ’30s and ’40s):

I’d love to hear more about the evolution of this kind of movement.

UPDATE!  Thank you so much to our Reader, Anna, who is also a dance scholar and was able to give us some history in the comments thread:

Dance scholar here! I really enjoyed the dancing in the Janelle video. It should be read as an homage to rhythm dancing of African-descent from the 1920s through new Jack Swing (kidding, not sure there is a cut off date). The historical footage is in fact cited in Janelle’s video and as one poster pointed out, the dancing in her video is stylized as if it were being done on a tight rope… In my opinion (cause other scholars might see different things based on their training) her dance has some Camel Walkin’ mixed in with some dancehall hip articulation and a big dose of James brown, to be sure.

As for the claim that you cannot get from Al Minns and Leon James to 2010, that is shortsighted, very short! We get James and poppin and lockin and jazz itself from a peculiar mix of Bambara ethnic dances (modern-day Senegal, The Gambia, & Mali) and dance cultures of the people of the Kongo region (Angola, DRC, Congo among others) that intersected in New Orleans during the slaving period. You can also add in there “shipping music,” hybridized forms of music that emerged on slave ships with their transnational crews drawn from Europe, Africa, and the Mediterranean.

The hips and 6/8 syncopated shenanigans come to us from Kongo culture (but the Irish had some there, too). The Charleston, jitterbug and other high kicking dances come from the Senegal region and still reflected patterns from mandjiani in particular. Origins are always tricky, I try to avoid staking big claims based on them, but this conversation string was peculiar in that discussions of ethnic origin were not possible because race and gender were eliding the historical work done in Jenelle’s video. Yes I know the question was about gendered movement. And like a lot of the other folks, I am wondering while a male normative is held as neutral.

That said, from a dance perspective, the moves in Janelle’s video are without gender assignment, but there is an expectation that one’s gendered identity will be, must be expressed through the execution of the moves. That is the evolution of these forms which still have strong gender-based repertoire in Senegal. The Congo, people tend to do the same moves. The men MOVE their hips. It is de rigeur in pop as well as “traditional” dance music.

The last bit of the two guys dancing together was a comedy routine, a send up of a very famous dance riff from a couple in Harlem. I think that original “duet” appears in “Stormy Weather,” but I am not sure.

Thank you for putting up the two videos!

Thank YOU for your insight Anna!

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.

It’s all over the web: Fox and ABC have resisted airing Lane Bryant’s new lingerie ad featuring plus-sized women (e.g., Adweek).  But I don’t think it’s, straightforwardly, because of a bias against fat women.  I think it’s a little more complicated than that.  I think it’s because the ads are scandalous… that they seem more overtly sexual than they would if they featured very thin models.

Think about it. In the media, the thin, young, beautiful, able-bodied white woman is the idealized woman. And the idealized woman is sexy, indeed, but not sexual. Sexy women attract attention; they inspire desire, but they don’t have desires of their own.  A sexy woman hopes that a man will like the look of her and take action.  But she’s not sexual.  She doesn’t take the action herself.  Doing so immediately marks her as suspiciously unfeminine.

Sexual women — women who have desires and express and act on them — are almost always presented as deviant in some other way. They’re working class, they’re Black or Latina, they’re mentally ill, or… they’re fat. Fat women are often characterized as sexual threats.  How many comedies have relied on the scary fat woman (of color) trying to get some?  It’s so funny, right?  Because she’s gross and aggressive!  She wants you and she doesn’t care what you want and so the fact that she’s fat doesn’t stop her.  Scary!

So, there is something innocent and asexual about very thin women.  As the feminine ideal, they are sexy, not sexual.  They incite desire, but they do not have it.

In contrast, fat marks a woman as overtly sexual.  She is a woman with appetites and, you better watch out, she might just eat you up.

This, I contend, is what is so scandalous about plus-sized women in lingerie. They are just too damn hot for TV.

Here’s the commercial:

What do you think?

UPDATE: Maura Kelly, a PhD Candidate in the Department of Sociology at the University of Connecticut, let us know that Fox did air the commercial on April 28th. Thanks for the update!

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.