culture

Why is “La La Land” so popular among Mormons?

The New York Times (here) has maps (chloropleths, if you want to show off your vocabulary) showing the popularity of the nominees for best picture. The maps look like different countries. “Fences,” for example, did best in the Southern swath from Louisiana to North Carolina but nowhere else except for Allegheny County, PA (it was filmed in Pittsburgh, where the story is set). In those same areas, “Arrival” and “Manchester by the Sea” basically don’t exist. The maps of “Fences” and “Arrival” look like direct opposites.

The map that puzzled me was “La La Land.” It’s big in LA, of course (like “Fences” in Pittsburgh). But its other strongholds are counties with a high proportion of Mormons: Utah plus Mormonic counties in neighboring states – Idaho, Wyoming, New Mexico, Colorado, and Nevada.

The maps match even for distant counties in Missouri and Virginia, where those dark spots on the map might indicate only 5-10% of the population. Most counties in the US are below 3%.

How to explain the “La La Land” – Latter Day Saints connection? The movie is rated PG-13, but so are “Fences,” “Arrival,” and “Lion.” And “Hidden Figures” is PG. But then, the cast of “La La Land” has very few non-Whites and zero aliens. That might have something to do with it.

Or maybe it’s just because Ryan Gosling grew up with seriously Mormon parents. He is no longer a Mormon and says he never really identified as one. He has long since left the church. He is neither a singer nor a dancer but has to sing and dance in this film. His character is supposed to be a jazz purist, but the music he plays is what you might call Utah jazz (one of the great oxymorons of our time). But those minor quibbles mean little compared with the fact the for the first years of his life, he was raised as a Mormon.

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

If there’s one thing Americans can agree upon, it might be that people shouldn’t be indiscriminately firing guns crowds, no matter how angry they are. The shooting in the Ft. Lauderdale airport is just the latest example. Mass shootings are on the rise and I’m fearful that what we are seeing isn’t just an increase in violence, but the rise of a new habit, a behavior that is widely recognized as a way to express an objection to the way things are.

To register an objection to something about the world, a person or group needs to engage in an action that other people recognize as a form of protest. We know, in other words, what protest looks like. It’s a strike, a rally, a march, a sit-in, a boycott. These are all recognizable ways in which individuals and groups can stake a political claim, whereas other group activities — a picnic, a group bike ride, singing together — are not obviously so. To describe this set of protest-related tools, the sociologist Charles Tilly coined the phrase “repertoire of contention.” Activists have a stock of actions to draw from when they want to make a statement that others will understand.

A culture’s repertoire of contention is in constant evolution. Each tool has to be invented and conceptually linked to the idea of protest before it can play this role. The sit-in, for example, was invented during the early civil rights movement. When African American activists and their allies occupied white-only restaurants, bringing lunch counters to a halt to bring attention to the exclusion of black people, they introduced a new way of registering an objection to the status quo, one that almost anyone would recognize today.

New ways of protesting are being invented every day: the hashtag, the hacktivist, and shutting down freeways are some newer ones. Some become part of the repertoire. Consider the image below by sociologist Michael Biggs, which shows how suicide as a form of protest “caught on”  in the 1960s:

I am afraid that mass murder has become part of the repertoire of contention. This is theoretically tricky – others have fought over what really counts as a social movement action – but it does seem quite clear that mass murder with a gun is a more familiar and more easily conceptualized way of expressing one’s discontent and then it was, say, pre-Columbine. If a person is outraged by some state of affairs, mass killing is a readily available way to express that outrage both technically (thanks to gun regulation) and cognitively (because it is now part of the recognized repertoire).

Dylann Roof wanted to register his discontent with the place of black people in American society, Robert Lewis Dear stormed a Planned Parenthood with a pro-choice message, Elliot Rodgers was angry about women’s freedom to reject him, Omar Matteen killed dozens to express his (internalized) disgust for homosexuality, Gavin Long communicated his sense of rage and helplessness in the face of black death by killing police. At some point each thought, “What can I do to make a difference?” And mass murder came to mind.

In the aftermath of such events, the news media routine contributes to the idea that mass murder is a form of protest by searching for an explanation above and beyond the desire to kill. That explanation often positions the rationale for the murder within the realm of politics, whether we call it terrorism, resistance, or prejudice. This further sends the message that mass murder is political, part of the American repertoire of contention.

The terrifying part is that once protest tools become part of the repertoire, they are diffused across movements and throughout society. It’s no longer just civil rights activists who use the sit-in; any and all activists do. Perhaps that’s why we see such a range of motivations among these mass murderers. It has become an obvious way to express an objection that the discontented can be sure others will understand.

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.

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:

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):

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.

Cross-posted at Inequality by (Interior) Design.

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.

Which line is longer?

Most people who grow up in industrialized environments will be at least a little bit tricked by this optical illusion, called the Müller-Lyer illusion. At first look, it may seem as if the line on the left is shorter than the line on the right. In fact, if you look closely and carefully, you can probably see that both lines are the same length.

Some psychologists theorize that susceptibility to this illusion is due to a strongly “carpentered” environment, one built by humans with the help of machines. Such environments are made mostly of straight lines and right angles. If this geometry is all around us all the time, our brains get very good at interpreting these environments.

That advantage, though, is a disadvantage when looking at the Müller-Lyer lines because our brain learns to associate angles like the one on the right with distance and ones like the one on the left with closeness. Then, it alters our perception of their height to adjust for perceived space.

Bear with me.

Consider my drawing of a room and hallway below. You can see that the corner closest to us (A) has lines like the point of an arrow on both ends (like the line on the left above), while the one further away (B) has lines like the rear of an arrow on both sides (like the line on the right). Our brain gets so used to inferring distance when it sees these angles, it assumes that any line with angles like B appears inaccurately short because it’s far away. That’s how the illusion tricks our brain.

People who don’t grow up in a carpentered environments, though—hunter gatherers and other groups who spend most of their time in nature and other uncarpentered environments—don’t have brains adjusted to understanding straight lines and angles, so the illusion doesn’t work on them.

The Müller-Lyer illusion, then, is a great example of how our brains get acculturated in ways that shape even simple and straightforward perception tasks.

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.

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.”

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, 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.

Originally posted at Montclair Socioblog.

A girl takes a selfie, posts it to Instagram, and waits. She doesn’t have to wait long – a minute or two – before the likes and comments start rolling in. “Gorgeous,” “So pretty OMG,” “Stunning,” “Cutest.”

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You can see why people might look at this and think: narcissism. You can see why they might think that new technologies – Instagram, cell phones (self-phones?) – have made kids today the most narcissistic generation in history.  In an earlier post, I expressed my skepticism about that claim. And, if we can generalize from an episode of This American Life last November, the selfie-Instagram-comments syndrome is not about narcissism – seeing yourself as standing shiningly above everyone else. It’s about fitting in – reading the social map, finding where you stand, and maybe changing that place.

Here is a slightly edited-down excerpt of the first part of the show. As Ira Glass says, if you have teenage girls in your life, you’re probably familiar with this. I don’t and I’m not, so I found it fascinating listening. (When the girls were reading their comments, I thought one of the girls, Jane, was saying “Hard eyes,” and I couldn’t imagine why that was a compliment. Turns out, she was saying “Heart eyes.”) Here’s Ira Glass’s distillation:

They want comments from other girls. This is not about sex. It’s not about boys. It’s about girls, and friendship. And it’s very repetitive – the same phrases, over and over.

All these moves – the posting, the commenting and liking – have a meaning that girls know intuitively but that must be decoded for outsiders like me and Ira.

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Transcript:

Ira Glass: These comments are a very specific language that tells the girls all kinds of things.  And a lot of the meaning in the comments has nothing to do with the actual words. . .  It’s about who is doing the commenting . . .  Liking a photo means something totally different from commenting. You comment with someone you’re close to or someone you want to get close to.

Ella: It’s definitely a social obligation, because you want to let them know, and also let people who are seeing those, that I have a close relationship with this person, so close that I can comment on their pictures, like, this is so cute, or, you look so great here.

Jane:  Especially because we, like, just started high school, so we’re meeting a lot of new people. So you would comment on someone’s photo who you’re not really super close with or that you don’t know really well. And it’s sort of a statement, like, I want to be friends with you, or I want to get to know you, or like, I think you’re cool.

If someone that you don’t know very well commented on your photo, you – it’s sort of like an unspoken agreement that you have to comment back on their photo. Like when you’re making new friends, if they comment on your photo, you comment on their photo.

It’s hard to find narcissism or vanity in any of this. The girls are not preening, not basking in their triumphs, not nursing an ego wounded from some social slight. They are reading a constantly changing sociogram or network model of their world.

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Transcript:

Ira Glass:  They’re only three months into high school, so there is a lot at stake right now.

Julia:  One of my, like, best friends posts a selfie. Maybe this isn’t, like, healthy. But I might go through the comments and see who she’s, like, really good friends with, just ’cause we’re in high school and there’’s that sense of jealousy between everyone.

Ira Glass:  Do you have people who you’re jealous of?

Jane: Yeah.

Julia:  Yeah. I definitely would. I go through, like, the comments that people see– like that people say, and like, I see what other people have said to other people.

Jane:  Yeah.

Julia:  Just to see, like, the whole– like, the whole social like map.

Jane:  Looking, mapping out your social world, seeing who’s with who, who’s hanging out with who, who is best friends with who.

Julia:  If you didn’t have it, like, I feel like I’d be missing so much. And it would just –

Jane:    Because you wouldn’t see what other people were saying. A lot goes on.

Ira Glass:  Well, no, that’s, I feel like, the thing that I’m understanding from this conversation, is like – it’s actually like, you’re getting a picture of your entire social world and who’s up and who’s down and who’s close to who, and it’s like you’re getting a diagram of where everybody stands with everybody else.

Jane:  Yeah.

Ella:  Yeah.

Jane:  Definitely. Definitely.

Ira Glass: As it changes in real time, every day, every 10 minutes.

Ella: Yeah.

Jane:  Yeah. Everyone can see it.

Julia:  It’s crazy.

If you look at the individual –a girl posting a selfie and reading the laudatory comments – you see a personality trait, narcissism. But the behavior that looks like narcissism is really an aspect of the social structure (girls’ friendships networks) and the institution those networks are embedded in (school).

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

Who among us this election — except perhaps that elusive undecided voter — has not turned to a politically aligned friend and said, from their heart of hearts, “I just can’t understand how anyone could vote for Clinton/Trump”? The sheer mindbogglingness of it, the utter failure of so many Americans to even begin to fathom voting for the other candidate, is one of the most disturbing features of this election. We all seem to be asking: What could the other side be thinking!?

Perhaps what we need is a “sociology of thinking.” And we’ve got one; it’s called cognitive sociology.

One of the foundational texts in the subfield is called Social Mindscapes. In it, the sociologist Eviatar Zerubavel argues that we think as individuals (we are all alone in our brains) and we think as human beings (with the cognitive processes that humans have inherited from evolution), but we also think as members of social groups. Our thinking, then, is not only idiosyncratic (i.e., “individual”), nor universal (i.e., “human”) — though it is both those things — it’s also social. Our thinking is influenced by the groups to which we belong, what Zerubavel called “thought communities.” These are the people with whom we enjoy a meeting of the minds.

By this, Zerubavel doesn’t simply mean that our social groups shape what information we get and what arguments resonate, though that’s true. He and other cognitive sociologists argue that our thought communities shape cognition itself, that the brains of people in strongly divergent thought communities literally work differently. To Zerubavel, the idea that many Democrats can’t begin to understand Republican thinking — and vice versa — isn’t a surprise, it’s a hypothesis.

Research on sensory perception is fun evidence for their claims. Researchers have shown, for example, that our language categories influence not just how we describe the world we see, but how we see it. The Himba in Namibia, for example — who have one word for blue and some greens and another word for other greens, reds, and browns — are better than English speakers at differentiating one shade of green from another, but worse at differentiating green and blue from each other. Likewise, Russian speakers are better than English speakers at differentiating shades of blue because they have more than one word for the color and English speakers, in turn, are better than Japanese speakers at recognizing the gradations between blue and green, because the Japanese have traditionally used only one word to describe them both.

If our membership in thought communities is powerful enough to shift our very perception of color, then it must be able to influence our thinking in many other ways, too. In Social Mindscapes, Zerubavel shows that what we pay attention to, the categories we use, what we remember, and even our perception of time are all shaped by our thought communities.

Accordingly, cognitive sociology would predict that the rising polarization in politics and the fragmentation of media will make it harder and harder to understand each other, not because we don’t agree on the facts or because we have different political interests, but because our brains are actually working in divergent ways. That is, what we’re experiencing with this election is not just political disagreement, it’s a total breakdown in functional communication, which sounds about right.

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.

Cultural appropriation generally refers to the adoption of traditional practices, objects, or images by a person or group that is not part of the originating culture. Cultural appropriation can become problematic when it is done without permission, serves to benefit the dominant group, and erases or further marginalizes the oppressed group. In this way, cultural appropriation can recreate larger structures of inequality.

On a recent stroll through a duty-free shop, I was introduced to one of these problematic examples in the form of a new Canadian product named “Totem Vodka,” packaged in a bottle resembling a totem pole. Totem Vodka is not a product of Indigenous entrepreneurship. Instead it is a form of problematic cultural appropriation. Here’s why:

First Nations Erasure

Totem poles are important symbolic creations of some First Nations families in Canada’s Pacific Northwest. They are symbols of family lineage that serve to document stories or histories of people, communities or clans. The Totem Vodka bottle and marketing images erases these families, while appropriating their symbols.

A stunning bottle for a stunning vodka @TotemDistillers pic.twitter.com/NzrtiS5nkB

— Sam Hauck (@Sam_WineTeacher) June 29, 2016

The bottle stopper is shaped like a Thunderbird, a supernatural bird who causes thunder and lightning according to First Nations mythology. The Thunderbird crest is traditionally carved on the totem poles of people from the Thunderbird clan of the Kwakwaka’wakw nations (on Vancouver Island). The origin of the Thunderbird (and totem poles) within Pacific Northwest First Nations communities is absent from the company’s description of the bottle’s design and construction. Instead, the bottle is superficially connected to a wide-array of global references; the bottle was “designed on the West Coast of Canada, moulded by French glassmakers and topped with an Italian-made custom stopper.”

Significantly, the individuals featured in pictures on the company’s Twitter account include few or no indigenous people.

First Nations Exploitation

The owner of Totem Distilleries is a wealthy white entrepreneur and proceeds from the vodka help support a wildlife rescue association without any First Nations connection.

Settler societies have, paradoxically, both outlawed the sacred work of totem pole carving by indigenous peoples and exploited it for their own profit. In this case, the totem pole is used as an aesthetic tool to distinguish the vodka as authentically “Canadian,” while reproducing an abstracted, exotified, and ultimately false vision of indigeneity. First Nations people in Canada have rarely been either credited or compensated for the use of their cultural symbol.

The example of Totem vodka fits within a larger pattern of racism and colonial exploitation of indigenous people. We can look to the historical effects of colonization in Canada to see how attempts to erase Indigenous culture, while simultaneously exploiting it for the benefit of colonizers, has led to systemic discrimination, exclusionary policies and neglect that continue into the present day. Using a totem pole as a vodka bottle symbolizes this larger, patterned systems of inequality.

Alexandra Rodney is a PhD candidate in the Department of Sociology at the University of Toronto. She teaches Cultural Sociology and researches in the areas of food, gender and health. You can read more of Alexandra’s work on her website or follow her on Twitter. 

A special thank-you to Josée Johnston and Samantha Maskwa for their feedback on this post. Samantha is of Cree, Ojibway and Celtic ancestry. Her family is from the Rice Lake area and the southern part of Turtle Island and she is Bear clan. In addition to her midwifery degree, she is also completing a minor in Sociology and an Aboriginal Knowledges and Experiences certificate at Ryerson University in Toronto.