The dining rooms are coming. It’s how I know my neighborhood is becoming aspirationally middle class.

My neighborhood is filled with “shotgun” houses. Probably from West Africa, they are designed for a hot, humid climate. The homes consist of several rooms in a row. There are no hallways (and no privacy). High ceilings collect the heat and the doorways are placed in a row to encourage a breeze to blow all the way through.

Around here, more often than not, they have been built as duplexes: two long skinny houses that share a middle wall. The kitchen is usually in the back leading to an addition that houses a small bathroom. Here’s my sketch:

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As the neighborhood has been gentrifying, flippers have set their sights on these double shotguns. Instead of simply refurbishing them, though, they’ve been merging them. Duplexes are becoming larger single family homes with hallways (which substantially changes the dynamic among its residents) and makes space for dining rooms. Check out the new dining room on this flip (yikes):

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At NPR, Mackensie Griffin offered a quick history of dining rooms, arguing that they were unusual in the US before the late 1700s. Families didn’t generally have enough room to set one aside strictly for dining. “Rooms and tables had multiple uses,” Griffin wrote, “and families would eat in shifts, if necessary.”

Thomas Jefferson would be one of the first Americans to have a dining room table. Monticello was built in 1772, dining room included. Wealthy families followed suit and eventually the trend trickled down to the middle classes. Correspondingly, the idea that the whole family should eat dinner together became a middle class value, a hallmark of good parenting, and one that was structurally — that is, architecturally — elusive to the poor and working class.

The shotgun house we find throughout the South is an example of just how elusive. Built before closets, all the rooms in a traditional shotgun are technically multi-purpose: they can be used as living rooms, bedrooms, offices, dining rooms, storage, or whatever. In practice, though, medium to large and sometimes extended families live in these homes. Many residents would be lucky to have a dedicated living room; a dining room would be a luxury indeed.

But they’re coming anyway. The rejection of the traditional floor plan in these remodels — for being too small, insufficiently private, and un-dining-roomed — hints at a turn toward a richer sort of resident, one that demands a lifestyle modeled by Jefferson and made sacred by the American middle class.

Lisa Wade is a professor at Occidental College and the co-author of Gender: Ideas, Interactions, Institutions. Find her on TwitterFacebook, and Instagram.

Historian Molly Worthen is fighting tyranny, specifically the “tyranny of feelings” and the muddle it creates. We don’t realize that our thinking has been enslaved by this tyranny, but alas, we now speak its language. Case in point:

“Personally, I feel like Bernie Sanders is too idealistic,” a Yale student explained to a reporter in Florida.

Why the “linguistic hedging” as Worthen calls it? Why couldn’t the kid just say, “Sanders is too idealistic”? You might think the difference is minor, or perhaps the speaker is reluctant to assert an opinion as though it were fact. Worthen disagrees.

“I feel like” is not a harmless tic. . . . The phrase says a great deal about our muddled ideas about reason, emotion and argument — a muddle that has political consequences.

The phrase “I feel like” is part of a more general evolution in American culture. We think less in terms of morality – society’s standards of right and wrong – and more in terms individual psychological well-being. The shift from “I think” to “I feel like” echoes an earlier linguistic trend when we gave up terms like “should” or “ought to” in favor of “needs to.” To say, “Kayden, you should be quiet and settle down,” invokes external social rules of morality. But, “Kayden, you need to settle down,” refers to his internal, psychological needs. Be quiet not because it’s good for others but because it’s good for you.

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Both “needs to” and “I feel like” began their rise in the late 1970s, but Worthen finds the latter more insidious. “I feel like” defeats rational discussion. You can argue with what someone says about the facts. You can’t argue with what they say about how they feel. Worthen is asserting a clear cause and effect. She quotes Orwell: “If thought corrupts language, language can also corrupt thought.” She has no evidence of this causal relationship, but she cites some linguists who agree. She also quotes Mark Liberman, who is calmer about the whole thing. People know what you mean despite the hedging, just as they know that when you say, “I feel,” it means “I think,” and that your are not speaking about your actual emotions.

The more common “I feel like” becomes, the less importance we may attach to its literal meaning. “I feel like the emotions have long since been mostly bleached out of ‘feel that,’ ” …

Worthen disagrees.  “When new verbal vices become old habits, their power to shape our thought does not diminish.”

“Vices” indeed. Her entire op-ed piece is a good example of the style of moral discourse that she says we have lost. Her stylistic preferences may have something to do with her scholarly ones – she studies conservative Christianity. No “needs to” for her. She closes her sermon with shoulds:

We should not “feel like.” We should argue rationally, feel deeply and take full responsibility for our interaction with the world.

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Originally posted at Montclair SocioBlog. Graph updated 5/11/16.

Jay Livingston is the chair of the Sociology Department at Montclair State University. You can follow him at Montclair SocioBlog or on Twitter.

To Post Secret, a project that collects personal secrets written artistically onto postcards, someone recently sent in the following bombshell: “Ever since we started getting married and buying houses,” she writes, “my girlfriends and I don’t laugh much anymore.”

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Her personal secret is, in fact, a national one.  It’s part of what has been called the “paradox of declining female happiness.” Women have more rights and opportunities than they have had in decades and yet they are less happy than ever in both absolute terms and relative to men.

Marriage is part of why. Heterosexual marriage is an unequal institution. Women on average do more of the unpaid and undervalued work of households, they work more each day, and they are more aware of this inequality than their husbands. They are more likely to sacrifice their individual leisure and career goals for marriage. Marriage is a moment of subordination and women, more so than men, subordinate themselves and their careers to their relationship, their children, and the careers of their husbands.

Compared to being single, marriage is a bum deal for many woman. Accordingly, married women are less happy than single women and less happy than their husbands, they are less eager than men to marry, they’re more likely to file for divorce and, when they do, they are happier as divorcees than they were when married (the opposite is true for men) and they are more likely than men to prefer never to remarry.

The only reason this is surprising is because of the torrent of propaganda we get that tells us otherwise. We are told by books, sitcoms, reality shows, and romantic comedies that single women are wetting their pants to get hitched. Men are metaphorically or literally drug to the altar in television commercials and wedding comedies, an idea invented by Hugh Hefner in the 1950s (before the “playboy,” men who resisted marriage were suspected of being gay). Not to mention the wedding-themed toys aimed at girls and the ubiquitous wedding magazines aimed solely at women. Why, it’s almost as if they were trying very hard to convince us of something that isn’t true.

But if women didn’t get married to men, what would happen? Marriage reduces men’s violence and conflict in a society by giving men something to lose. It increases men’s efforts at work, which is good for capitalists and the economy. It often leads to children, which exacerbate cycles of earning and spending, makes workers more reliable and dependent on employers, reduces mobility, and creates a next generation of workers and social security investors. Marriage inserts us into the machine. And if it benefits women substantially less than men, then it’s no surprise that so many of our marriage promotion messages are aimed squarely at them.

Lisa Wade is a professor at Occidental College and the co-author of Gender: Ideas, Interactions, Institutions. Find her on TwitterFacebook, and Instagram.

Despite the maxim about familiarity breeding contempt, we usually like what’s familiar.  With music for example, familiarity breeds hits in the short run and nostalgia in the long run. The trouble is that it’s tempting to attribute our liking to the inherent quality of the thing rather than its familiarity.  With movies, film buffs may make this same conflation between what they like and what they easily recognize.

That’s one of the points of Scott Lemieux’s takedown of Peter Suderman’s Vox article about Michael Bay.

Suderman hails Bay as “an auteur — the author of a film — whose movies reflect a distinctive, personal sensibility. Few filmmakers are as stylistically consistent as Bay, who recycles many of the same shots, editing patterns, and color schemes in nearly all of his films.”

But what’s so great about being an auteur with a recognizable style? For Lemieux, Michael Bay is a hack. His movies aren’t good, they’re just familiar. Bay’s supporters like them because of that familiarity but then attribute their liking to some imagined cinematic quality of the films.

My students, I discovered last week,  harbor no such delusions about themselves and the songs they like. As a prologue to my summary of the Salganik-Watts MusicLab studies, I asked them to discuss what it is about a song that makes it a hit. “Think about hit songs you like and about hit songs that make you wonder, ‘How did that song get to be #1?’” The most frequent answers were all about familiarity and social influence. “You hear the song a lot, and everyone you know likes it, and you sort of just go along, and then you like it too.” I had to probe in order to come up with anything about the songs themselves – the beat, the rhymes, even the performer.

Lemieux cites Pauline Kael’s famous essay “Circles and Squares” (1963), a response to auteur-loving critics like Andrew Sarris. She makes the same point – that these critics conflate quality with familiarity, or as she terms it “distinguishability.”

That the distinguishability of personality should in itself be a criterion of value completely confuses normal judgment. The smell of a skunk is more distinguishable than the perfume of a rose; does that make it better?

Often the works in which we are most aware of the personality of the director are his worst films – when he falls back on the devices he has already done to death. When a famous director makes a good movie, we look at the movie, we don’t think about the director’s personality; when he makes a stinker we notice his familiar touches because there’s not much else to watch.

Assessing quality in art is difficult if not impossible. Maybe it’s a hopeless task, one that my students, in their wisdom, refused to be drawn into. They said nothing about why one song was better than another. They readily acknowledged that they liked songs because they were familiar and popular, criteria that producers, promoters, and payola-people have long been well aware of.

“In the summer of 1957,” an older friend once told me, “My family was on vacation at Lake Erie. There was this recreation hall – a big open room where teenagers hung out. You could get ice cream and snacks, and there was music, and some of the kids danced. One afternoon, they played the same song – ‘Honeycomb’ by Jimmie Rodgers – about twenty times in a row, maybe more. They just kept playing that song over and over again. Maybe it was the only song they played the whole afternoon.”

It wasn’t just that one rec hall. The people at Roulette Records must have been doing similar promotions all around the country and doing whatever they had to do to get air play for the record. By the end of September, “Honeycomb” was at the top of the Billboard charts. Was it a great song? Assessment of quality was irrelevant, or it was limited to the stereotypical critique offered by the kids on American Bandstand: “It’s got a good beat. You can dance to it.” Of course, this was before the 1960s and the rise of the auteur, a.k.a. the singer-songwriter.

Hollywood uses the same principle when it churns out sequels and prequels – Rocky, Saw, Batman. They call it a “franchise,” acknowledging the films had the similarity of Burger Kings. The audience fills the theaters not because the movie is good but because it’s Star Wars. Kael and the other anti-auteurists argue that auteur exponents are no different in their admiration for all Hitchcock. Or Michael Bay. It’s just that their cinema sophistication allows them to fool themselves.

Originally posted at Montclair SocioblogBig hat tip to Mark at West Coast Stat Views.

Jay Livingston is the chair of the Sociology Department at Montclair State University. You can follow him at Montclair SocioBlog or on Twitter.

Yesterday was Super Sunday here in New Orleans, the one day each year that the Mardi Gras Indian tribes come together to be seen by the wider community. The tradition dates back to at least the mid-1800s, belonging to the African American population of New Orleans. Today there are over two dozen Mardi Gras Indian tribes.

Here’s a snippet from my Instagram (click to watch with sound):

A video posted by Lisa Wade (@lisawadephd) on

Indian tribes mask together groups, often family and pseudo-kin. It used to be an all-male activity, but now women are heavily involved (as “big queens” to the male “chiefs”), and children make regular appearances. Their tough faces are part of the performance, as one of the most well-known mottos of the Indians is “Won’t bow, don’t know how.” These are some of my photos:

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Originally the intent was to honor the local Native Americans who took in and rescued escaped slaves in the mid-1700s, though they probably took some inspiration from the “Wild West”-style entertainment that was popular at the time. Until the ’60s, tribes sometimes engaged in violent conflict, but today they encounter each other in order to perform ritualized non-violent conflict resolution, fighting only over who is “prettiest.”

With the exception of Super Sunday, when the Indians go out, it’s not a show. It’s a tradition by and for their own communities and one has to be “in the know” to know where to see them. They’ve been largely left out of tourist attraction-type activities for this reason, and because they’re almost entirely African American and New Orleans has only recently embraced it’s multicultural history and present as part of its appeal.

Still, their elusiveness makes them tourist-resistant and even Super Sunday doesn’t attract many tourists because the event is rescheduled at any hint of rain (because, feathers).

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Sociologically speaking, there are lots of fascinating directions to go from here — including the intersection of power, cultural borrowing, and the evolution of artistic vernacular — and I’ll try to get to them in future posts.

Lisa Wade is a professor at Occidental College and the co-author of Gender: Ideas, Interactions, Institutions. Find her on TwitterFacebook, and Instagram.

On Mardi Gras mornings before dawn, members of the North Side Skull and Bones Gang prowl the streets. It’s a 200 year old tradition belonging to African American residents of the city. They first prowled in 1819.

Members of the gang dress up like ominous skeletons. At nola.com, Sharon Litwin writes:

Because the origins of the Gang were with working class folk who had little money for silks and satins, the skeleton suits are made from everyday items and simple fabrics. Baling wire (to construct the shape of the head) along with flour and water to bind together old newspapers, create the head itself.

Their message is to “warn [people] away from violence” — says the North Side Chief, Bruce “Sunpie” Barnes — especially young people, and especially gun and domestic violence. He explains:

The bone gang represents people… waking people up about what they’re doing in life, if they don’t change their lifestyle. You know. We’re like the dead angels. We let you know, if you keep doing what you’re doing, you’re gonna be with us.

Up before most residents, members of the gang cause a ruckus. They sing songs, bang on doors, and play-threaten their neighbors.

Here’s some footage:

Lisa Wade is a professor at Occidental College and the co-author of Gender: Ideas, Interactions, Institutions. Find her on TwitterFacebook, and Instagram.

2 (1)When you travel, the option to stay in a private home instead of a hotel might seem like a nice idea. Your experience of the city might be a little more authentic, maybe you’ll meet a local, and you can keep your money out of the hands of giant corporations. It’s a tiny way to fight the shrinking of the middle class.

These options, though, may not be a panacea. After discovering that his Brooklyn neighborhood had 1,500 listings on Airbnb, Murray Cox decided to take a closer look. How many residences now invite tourists? How small scale were the profits? Did the money really go to locals?

New Orleans wanted to know the answers to these questions, too. The city has been hit by what nola.com reporter Robert McClendon calls a “Airbnb gold rush.” It turns out the city currently has about 2,600 rentals on Airbnb, plus another 1,000 or so on VRBO.com. This has sparked a heated debate among residents, business owners, and politicians about the future of the practice.

So, Cox jumped in to give us the data and figure out where the money is going.

 

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Are Airbnb hosts living in the spaces they rent?

Cox found that they generally are not. Only 34% of rentals are for rooms or shared rooms; 66% of listings are for an entire home or apartment. More than two-thirds (69%) are rented year-round. Almost half of all hosts operate at least two rentals.

These numbers suggest that your modal Airbnb host doesn’t live in the home they rent out. Some may actually live in another city altogether. Others are using Airbnb as an investment opportunity, buying homes and turning them into full time rentals.

What’s the downside?

Locals are complaining about deterioration in the feeling of community in their neighborhoods. It’s difficult to make friends with your neighbors when they turn over twice a week. Tourists are also more likely than locals to come home drunk and disorderly, disturbing the peace and quiet.

And they are pricing people who actually live in New Orleans out of the rental market. Short-term renting offers owners the opportunity to make four or five times the amount of money they could make with a long-term tenant, so it’s an economic no-brainer to sign up for Airbnb. But, as more and more people do so, there are fewer and fewer places for locals to live and so the supply-and-demand curve increasingly favors owners who can jack up long-term rental prices.

So, when you give your money to an Airbnb host in New Orleans or elsewhere, you might be giving some extra money to a local, but you might also be harming the residential neighborhoods you enjoy and the long-term viability of local life.

Cross-posted at A Nerd’s Guide to New Orleans.

Lisa Wade is a professor at Occidental College and the co-author of Gender: Ideas, Interactions, Institutions. Find her on TwitterFacebook, and Instagram.

2 (1)In Greco-Roman wrestling, boxing, and mixed martial arts, there is a rule that you never hit “below the belt.” The area of biggest concern is the testicles. As the Ultimate Fighting Championship rules specify, “groin attacks of any kind” are a foul. This is probably because groin attacks might make for short fights or ones where everyone just goes around protecting their balls. In any case, the skills being tested are of a different kind. But, even aside from that, this seems like a good idea and very civilized. I do not advocate for testicle kicking, not groin attacks of any kind, for what it’s worth.

I do think it’s somewhat odd, though, that men who fight each other outside of controlled conditions—men in street fights, bar brawls, and parking lot scuffles—also usually avoid hitting below the belt. These fights aren’t about training or skill, like those between professional athletes, they’re real attempts to do some damage out of anger or defensiveness. So, why no hits to the balls?

The question was posed by a woman on Yahoo! Answers: “If you dislike each other enough to want them to get hurt,” she asked, “why not do the worst?”

The answers, admittedly unscientific, were interesting. One of the common responses involved the idea that not hitting below the belt was “an unspoken rule.” Maybe it’s the Golden Rule—do onto others as you would have them do unto you—and some men mentioned that, but others suggested that it was a rule specific to manhood. It’s a “cheap shot,” said one. A “low blow,” said another.

But why? Why do men agree not to kick each other in the balls? Why is that part of the code?

I think it’s because it serves to protect men’s egos as well as men’s balls.

What would street fights between guys look like—or professional fights for that matter—if one could go below the belt? For one, there’d be a lot more collapsing. Two, a lot more writhing in pain. Three, a lot less getting up. All in all, it would add up to less time looking powerful and more time looking pitiful. And it would send a clear message that men’s bodies are vulnerable.

 

Not hitting below the belt, then, protects the idea that men’s bodies are fighting machines. It protects masculinity, the very idea that men are big and strong, pain- and impact-resistant, impenetrable like an edifice. So not hitting below the belt doesn’t just protect individual men from pain, it protects our ideas about masculinity.

When a man hits below the belt, he is revealing to everyone present that masculinity is a fiction. That’s why one guy said: “For ‘alpha male’ fights, nut shots are just wrong.” Alpha male fights are about figuring out which male is alpha, while preserving the idea that the alpha male is a thing that matters.

This is why men are quick to criticize other men who break the code. One of the best ways to control men is to threaten to kick them out of the man club. “If a guy kicks another guy in the balls on purpose during a fight,” one replied to the question on Yahoo, “he will forever be banished from manhood.” Another said: “Winning like this means that you cannot beat up the other guy by ‘real’ fighting.” It’s a matter of one’s own reputation: “A man who kicks another man in the balls,” said a third, “immediately loses all manliness and respect.”

So, men generally agree to pretend that the balls just aren’t there. The effect is that we tend to forget just how vulnerable men are to the right attack and continue to think of women as naturally more fragile.

I still don’t want anyone to get kicked in the balls, though, just to be clear.

Lisa Wade is a professor at Occidental College and the co-author of Gender: Ideas, Interactions, Institutions. Find her on TwitterFacebook, and Instagram.