culture

This 1942 ad for Lifebuoy soap is a great example of shifts in collective cultural awareness of homosexuality. From a contemporary U.S. perspective, where most of us have heard homophobic jokes about not dropping the soap in the shower, two men showering together (even or especially in a military context) and using language like “hard” and “get yourself in a lather” is undeniably a humorous reference to gay men.

I think, however, that this was not at all the intention in 1942, where the possibility of men’s sexual attraction to other men wasn’t so prominent of a cultural trope.  It simply wasn’t on people’s minds as it is today.  Accordingly, the ad seems to be a simple illustrated recommendation, complete with a nice heterosexual prize at the end.

From 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.

We owe the term “sociological imagination” to C. Wright Mills, a fundamental figure in sociology. He defined it as the intersection of history and biography. In his book by the same name, he writes:

The sociological imagination enables us to grasp history and biography and the relations between the two within society

I couldn’t help but think of Mills’ words when I came across this video at Crooked Timber.  In it, French children are asked to interpret technologies that, though just a few years out of date, pre-date their biography. While their guesses are creative and humorous, they also neatly demonstrate that, no matter how unique we are, we are also products of our time.

UPDATE: Unfortunately the version of this video that had English subtitles has been made private and we haven’t been able to find another version. Here’s a version without any subtitles:

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.

Suzy S. sent in an illuminating confession from PostSecret in which a woman confesses to being girly, but feels like she has to look more masculine because she’s a lesbian.  It reads: “Because I’m a LESBIAN I feel obligated to cut my hair short and wear men’s clothing… I’m actually really girly”:

This woman says she feel “obligated” to tone down her girliness.  In fact, adopting a masculinized appearance is one way that women signal to other people that they are gay, something they need to do because heterosexuality is normative and, therefore, generally assumed of everyone in the absence of signs otherwise.  There are lots of reasons why lesbians may want to be visible.

They may want to be a symbol of the very existence of gay people and thereby fight the assumption that everyone is straight.  They may want to find other gay women with which to build community or to find a girlfriend.  Or they may simply want to ward off the unwanted attention of men.  The style choices made by lesbians, then, aren’t simply about fashion or some internal inclination towards the masculine, as our confessor neatly illustrates. In some cases, at least a little bit, they’re strategic communication.

Related, see our fun post titled Revisioning Aspirational Hair.

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.

Many Americans are familiar with “female genital mutilation.”  The term is typically applied to practices occurring in some parts of Africa, Asia, and the Middle East, but not to genital cutting practices that happen in the U.S. and other Western societies (including cosmetic surgeries on the genitals, surgeries on children with ambiguous genitalia, and transsexual surgery) and, by definition, not to genital cutting practices that happen to men in both Western and non-Western countries (male circumcision and other rare but more extreme practices).  “Female genital mutilation” elsewhere, then, is widely condemned by Americans, but rarely condemned in light of these other genital cutting practices, nor America’s own history of genital cutting.  In fact, it was not unusual to subject women in the U.S. to proper circumcision (removal of the clitoral prepuce, or foreskin) until the 1960s and these procedures remained legal until 1996 (though, as far as I’m concerned, their legality is still up in the air).

In any case, RabbitWrite gives us a glimpse into this era in American history. Reading from a Playgirl published in 1973, she recounts the confessions of a woman who chose to be circumcised and offers a short critique.

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.

Katrin drew our attention to the Christmas character of the Christkind, found in regions as diverse as Austria, Italy, Hungary, Slovakia, the Czech Rebublic, Croatia, Slovenia, Germany, Liechtenstein, Switzerland and, according to Wikipedia, “…parts of Hispanic America, in certain areas of southern Brazil and in the Acadiana region of Louisiana.”

The Christkind was introduced by the German Protestant priest Martin Luther (1483-1546).  At the time, tradition held that gifts were given by St. Nicholas.  Protestants, however, didn’t acknowledge saints, so they needed an alternative mythological gift giver.  The Christkind was originally depicted as baby Jesus, but in many places today is instead an angelic blond child or adult woman.

In Nuremberg, Germany, a Christkind is chosen every two years in a pageant reminiscent of American beauty pageants (source).  This year the Christkind is Rebekka Volland (source):

More photographs of the Christkind:

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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.

Mark Grief wrote a fantastic analysis of the “hipster” in the New York Times.  Drawing on a book he edited,”What Was the Hipster?“, with Kathleen Ross and Dayna Tortorici, Grief offers an analysis based on the work of Pierre Bourdieu.

Bourdieu observed that the rich justified and naturalized their economic advantage over others not only by pointing to their bank accounts, but by being the arbiters of taste.  Bourdieu shows us that taste…

…is not stable and peaceful, but a means of strategy and competition. Those superior in wealth use it to pretend they are superior in spirit.

Style, in other words, is not just arbitrary; it is about establishing that you are better than other people.

Those below us economically, the reasoning goes, don’t appreciate what we do; similarly, they couldn’t fill our jobs, handle our wealth or survive our difficulties.

But the rich aren’t the only ones who attempt to use taste and style to gain and preserve status.  Indeed, hipsters may be the purest example of this phenomenon.

“Once you take the Bourdieuian view,” Grief explains, “you can see how hipster neighborhoods are crossroads where young people from different origins, all crammed together, jockey for social gain” by liking cool things first.

I will quote Grief liberally because he does such a fantastic job of describing the field:

One hipster subgroup’s strategy is to disparage others as “liberal arts college grads with too much time on their hands”; the attack is leveled at the children of the upper middle class who move to cities after college with hopes of working in the “creative professions.” These hipsters are instantly declassed, reservoired in abject internships and ignored in the urban hierarchy — but able to use college-taught skills of classification, collection and appreciation to generate a superior body of cultural “cool.”

They, in turn, may malign the “trust fund hipsters.” This challenges the philistine wealthy who, possessed of money but not the nose for culture, convert real capital into “cultural capital” (Bourdieu’s most famous coinage), acquiring subculture as if it were ready-to-wear. (Think of Paris Hilton in her trucker hat.)

Both groups, meanwhile, look down on the couch- surfing, old-clothes-wearing hipsters who seem most authentic but are also often the most socially precarious — the lower-middle-class young, moving up through style, but with no backstop of parental culture or family capital. They are the bartenders and boutique clerks who wait on their well-to-do peers and wealthy tourists. Only on the basis of their cool clothes can they be “superior”: hipster knowledge compensates for economic immobility.

All hipsters play at being the inventors or first adopters of novelties: pride comes from knowing, and deciding, what’s cool in advance of the rest of the world.

This, Grief concludes, is why everyone, especially hipsters, hates to be called a hipster.  The whole idea is to have authentically superior tastes.  Once you are revealed as someone who cares about having the right tastes, you are disqualified as a person who has good taste effortlessly.  Likewise, if you are suddenly one who has the same tastes as everyone else, you are just one of the masses.  Being a hipster, it turns out, is a perilous identity that must be constantly re-worked and re-authenticated.

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.

Delia B. sent along this 80s-riffic, apocalyptic music video featuring Gossip Girl’s Taylor Momsen singing Make Me Wanna Die. Momsen is a 17-year-old teen idol who strips naked over the course of the video. Her naked body is eventually obscured, but not before we get a good look at her in her bra and underwear.

On the one hand, because Momsen is 17, one could argue that this video is encouraging the sexualization of underage girls and child pornography (which involves, by definition, children under age 18).

On the other hand, this video is, relatively speaking, pretty sexually tame.  I imagine that most Americans would not think that this would incite pedophiles and that many would argue that she’s perfectly old enough, given that she’s an actress/rock star, to be stripping down to her undies. Not to mention the fact that the average age of virginity loss in the U.S. is about 16.

The video is a great opportunity, then, to have a discussion about the social construction of age.  To start: What age is “too young” and what age “old enough”?  What’s the difference between 17 and 18?  Is the difference equally meaningful for everyone?  Should we codify such meanings into law?  And do today’s laws reflect our contemporary culture mores?  According to who?

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 2-and-a-half-minute video below, sent in by Lisa G., a decorated concert violinist named Joshua Bell plays in a Metro station at L’Enfant Plaza in Washington D.C. for 45 minutes. Over 1,000 people walk by without turning their heads, 27 give money, and 7 people stop to listen for a minute or more (source).  Lisa G. summarizes:

Bell recalls that an awkward moment ensued every time he was done with a song because no one applauded or even acknowledged his existence because to these passengers he was just another street performer begging him for a dollar.

What makes Joshua Bell worth listening to?  The experiment points to the importance of context.   How do we know that we are listening to a master musician?   One important clue is where they are playing, and how expensive it is to have the opportunity to listen.   In a concert hall full of seats paid for with large bills, Bell’s talent is authenticated by the arbiters of taste who are the gatekeepers of the venue. Concert-goers do not necessarily know whether or why Bell is any good. They rely on the arbiters to determine who is worth listening to. And listening to who it is that is worth listening to provides them with expensive, and therefore scarce, cultural cred. They have seen Bell in concert (“oh and it was glorious!”); have you?

But in the Metro, Bell is no one. The context of the Metro fails to authenticate Bell’s music. Everyone can listen, thus hearing offers no distinction at all. And almost no one cares.

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.