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So, what do you think:  Is this Gap ad featuring Black people dancing and singing about the “hood” using stereotypes to appeal to black people?  Or white people?  In the latter case, would you consider this a form of objectification?  (Unfortunately, I don’t know when or where it aired.)

For more, see my series of posts about how and why people of color are included in advertising aimed mainly at white people.

Via The Feminist Agenda.

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 1959 ad for an airplane toy throws in girls as an afterthought in the final seconds (“Every boy wants a RemCo toy… and so do girls”). It’s easy to dismiss the ad as quaint and representative of a different time, but today’s advertising seems equally gendered, with girls thrown in as an afterthought (like in this dinosaur toy website) or neatly segregated (see here, here, and here).

Found at Vintage Ads.

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.

Judy Z. H. sent in Kanye’s video for Love Lockdown for analysis.  My first thought was: they should have just went with Qwest Crew. But I digress.

The video contrasts Kanye, singing in a nearly empty apartment, with tribal imagery.

Here’s my thoughts:  The song is about a man who loves a woman but knows intellectually that the relationship is wrong.  So he has to leave her, even as his heart breaks to do it.  So the song is about a conflict between his heart and his mind or, alternatively, passion and rationality.

The passion/rationality binary is often layered onto a primitive/modern binary.  Primitives, we presume, are superstitious, driven by passions, more instinctual than intellectual, more closely connected to animals and nature more generally.  Moderns, by contrast, are assumed to be rational, in control of our emotions; modernity has brought us science and technology and taken us farther away from nature.

Accordingly, the primitives in the video express strong emotions and are dressed in skins and feathers, decorated with the earth, while Kanye calmly sings about a heart-wrenching decision, surrounded by a clean, white, even sterile, apartment, and lounging in the kitchen (the most technological room in the house); the only item other than furniture that we see is a telescope.  A telescope!  How very modern.

The video works because Kanye’s audience recognizes the modern/primitive binary and all that it implies.  But, of course, it’s false.   Psychological research (and, as far as I can tell, all of the research on voting behavior) demonstrates again and again that rationality is not our strong point as a species.  If anything, what is modern is the inferring of rationality (hello rational choice theorists!), something that we see clearly in this video.

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.

About a year ago, Gwen posted about the evolution of the Sun-Maid, the young spokeswoman for Sun-Maid raisins:

In her post, she asked: “I wonder if Sun-Maid has stayed with the de-sexualized icon because raisins are associated with children?”

Well, Gwen, I’m afraid you spoke too soon.  Here, via Jezebel, is the new Sun Maid:

Noticably slimmer and with more form-fitting clothes, this new Sun Maid is clearly not hyper-sexualized, but it’s a move in that direction.

Here’s a commercial in which, building on her increasing sexualization and objectification, she turns into a Hollywood celebrity for a sec:

I think–considering also the recent makeovers of Dora the Explorer, Holly Hobbie, and Strawberry Shortcake–we can officially call this a trend.

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 an attempt to further muddy some conceptual waters, I present you this Finnish music video:

Shava are probably the only representatives so far of the genre of Suomibhangra, a Finnish take on the South Asian diaspora dance genre, bhangra. One one level there’s a lot to be critical of here, perhaps – the wilful exoticism, the fake Indian dancers, the almost-brownface of someone like the “Finnjabi bad boy” in the video.

On the other hand, though, which I think is perhaps more interesting, there’s the reaction in the bhangra community. I actually found the track on a bhangra blog, it’s been reposted and become popular on a bhangra youtube channel where it’s generated positive comments, the band has toured to desi audiences in Canada and it’s played on several bhangra radio stations… The bhangra community is not offended at all, they rather like it. (For as they say: Imitation is…)

So who’s right? Us radical critics or the people we think we’re defending? Perhaps it’s worth thinking about.

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Johan Palmeis a musicology student in Stokholm, Sweden.  He blogs about music and other stuff at Birdseed’s Tunedown.

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

Masculine!

Masculine! Masculine! Masculine!

Masculine!

(Thanks for the link, Michael C!)

P.S.: Girls and sissy boys suck!

UPDATE: In our comments threat, Reader adilegian offered this great breakdown of the commercial:

0:04. The voice over’s question “Should a phone be pretty?” is visually answered with an effect reminiscent of melting celluloid. The rupture starts on top of the woman’s head, exploding her “pretty” face.

0:06. Women are beheld as dolls.

0:08. Images appear superimposed over images beneath a verbal judgment. The beauty queen (fake) made out of plastic (fake) shown on a television (fake) is definitively stamped “CLUELESS.”

0:10. The commercial erased its first woman by destroying the medium of her representation (supposedly celluloid). The commercial again destroys its second “woman” by destroying the medium of her representation (a television).

0:10 – 0:13. Words across the screen: FAST, RACEHORSE, SCUD. Images: Lightning, racing horse, ripping off duct tape, SCUD missile. Combining these motifs into one single image, we see the SCUD missile flying across the screen with the word RACEHORSE as though it were written with lightning.

0:14. Droid applications: Reality Browser 2.1, Google Sky Map, Qik, Mother TED, CardioTrainer, Where. While I doubt that these applications were developed with the commercial’s themes in mind, their selections reinforce the messages thus far enforced visually: reality (woman of burnt celluloid, destroyed television), sky (SCUD missile), quick (FAST, RACEHORSE), mother (a Freudian slip recognizing the infantile nature of a power fantasy? ^_~), exercise (beef up for manliness stat +4), and going places (which SCUD missiles, race horses, and THE MANLIEST OF MANKIND’S MEN all do).

0:15. Word overlay: DOES. Men do things. Women are pretty and useless.

0:16 – 0:18. Buzz saw cuts banana over a brief yellow outline of a robot.

0:18. Three slim pretty boy models. Again, we see a conflation of all things hitherto condemned: prettiness and effeminacy (designer clothes on fancy-pants, unmuscular pretty boys) and superficiality (plastic people).

0:19 – 0:21. Fruit appears now as a weapon. Hardcore Droid-using man (who is also most likely a fancy, beautiful, professional male model IRL, natch) throws apple at sassy plasticman’s hat, suggesting a Victorian upstart’s rambunctious bucking of all things pretentious with a snowball thrown to knock off a businessman’s hat. Succeeding apples create gore effects.

0:21. Porcelain sheep crushed between the maws of raw, unrelenting MANROBOTPHONE power. Porcelain sheep also conflate all previously condemned messages: prettiness, delicacy, weakness, and artifice.

0:23 – 0:25. Sissy phone explodes into a milky white substance, suggesting ejactulate, with the word NO followed by an image of a woman holding the same ejaculate-phone in her hand with her lips parted. The word PRINCESS is superimposed with glitter effects.

0:25 – 0:27. Layers within mechanical layers give way to reveal the Droid phone.  The Droid phone now appears in the palm of a man’s hand. From his POV (deliciously male gaze, yes?), we see him traveling the world at blinding speed (FAST, RACEHORSE) with city lights blitzing past (lightning).

0:28 – 0:29. MANBOT phone breaks through a white, crumbling wall, again conflating the previously condemned ideas (bland superficiality as connoted by white porcelain sheep, white plastic male models, and light pink plastic Miss Pretty).

A PHONE THAT TRADE HAIR-DO

FOR CAN-DO.

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.

Carolyn Steel answer this question with a long range view (and lots of fascinating information), and points out the problems in our supply chain, in this TED video:

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.

Nora H. sent in this excellent example of how advertisers gender chores. The ad goes through how generations and generations of women have done laundry.

For more examples, see these: one, two, three, four, five, six, seven, eight, nine, ten, eleven, twelve, thirteen, fourteen,.

See also our posts about how funny it is when men do housework: one, two, here, and three.

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.