gender: masculinity

Hermes sent in a link to a feature in The Morning News titled “Men at Their Most Masculine,” in which men were asked about what made them feel masculine and photographed in situations that reflect their masculine identities. Some quotes from men included in the project:

“I feel masculine when I am home, I can take care of myself. I often feel emasculated when I leave my apartment though, with everyone asking me if I need help. I don’t need any help.”

“To be masculine is to dominate in one’s field of study.”

“I want to show that, despite stereotypes, gay men can be masculine too.”

“I feel most masculine when I am lying in bed naked.”

“I am strong emotionally, have always stood up for myself, and fear nothing. I happen to be physically strong but that isn’t where I derive my masculinity.”

“I am masculine because I abandon women after taking their love. Because when you study Freud, you don’t let him study you. Because I study philosophy, not literature.”

Visit at photographer Chad States’s website. He apparently found all of the featured men via craigslist.

The photos and quotes illustrate some interesting contradictions in definitions of masculinity. Several of the men define masculinity in fairly traditional terms, using words like “dominate” or expressing masculinity as the ability to use women and then leave them. There is also an emphasis on being independent and not needing help from anyone else.

In other cases, the men redefine masculinity to at least some extent, such as the gay man who reclaims masculinity for gays, the guy who focuses on being emotionally strong, and the man shown posed in a way we’re more used to seeing with women.

It’s an interesting look at some of the ways men define masculinity at a time when we expect men to be more emotionally available and involved in family life (as opposed to the 1950s emotionally closed-off model) but provide mixed signals by also still judging men harshly if they seem too emotional or don’t meet ideals of what “real” men should be like.

Gwen Sharp is an associate professor of sociology at Nevada State College. You can follow her on Twitter at @gwensharpnv.

We’ve collected many images of the gendering and sexualization of food, where foods are turned into sexy female bodies or are shown alongside sexy women. Miriam sent us a link to Brick House Tavern & Tap, which markets itself as a Hooters-lite for-the-guys restaurant. The menu includes some sexualized elements, and is based on a clear gendering of items. Clearly it’s objectifying women (check out the website), but what interests me is the message we get about masculinity.

There are salads for men and women; the male version includes two types of meat and boiled egg:

Men are supposed to control things; foods are described as dominant or submissive. I presume the “man-cave” dish would fall into the dominant category:

Men’s foods are unhealthy. Steamed, rather than fried, options? Those are for the ladies:

Real manliness is associated with guns:

UPDATE: Reader Lisa says,

I thought the “gun show” reference was to biceps – e.g. men have muscles and women don’t. (e.g. Do you have your tickets to the gun show? har har har)

That makes total sense. I’ve had the good luck to never have heard that particular joke until now.

There’s also a class element:

And desserts are “the happy ending,” with “double d” cupcakes and “sweet, innocent” (girl)-next-door apple crumble:

It’s a common theme (see Lisa’s post on frozen dinners): real men need big meals with lots of meat. They don’t worry about health–they want you to deep-fry everything, dammit! Trying to eat a healthy, low-fat diet is for women. And foods are depicted as parts of women’s bodies (“double d”) or associated with sex (“the happy ending”).

See also Campbell’s ad saying beef soup is for men only.

Lindsay H. sent in a Kingsford Charcoal ad, in which we learn the proper cooking roles for men and women–men cook outside, women cook inside:

It’s just like how men are supposed to do their cleaning outside by mowing the lawn! Glad we cleared all that up, and also instructed women how to avoid embarrassing their male partners in front of their guy friends.

I have argued elsewhere on this blog that the fact that companies don’t sell make-up to men is a triumph of gender ideology over capitalism.

That said, a few companies are trying to sell make-up to men (and their strategies are really something else, see link above).  It turns out, however, that they’re not breaking new ground, as this vintage ad shows:

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Lisa Wade is a professor of sociology at Occidental College. You can follow her on Twitter and Facebook.

I love beer. I also love wine and liquor, but beer’s what I come back to. Beer is plain ol’ delicious: every brand has a distinct flavor and it goes well with food or alone. It’s just intoxicating enough: if I don’t feel like getting wasted, one or two will do me, but steady drinking will get the job done fine if I’m in a partying mood.

My fella and I get tired of the same old, same old beer selection at our local Kroger, so when we travel out of state, we often pick up a lot of regional beers – up to 12 six packs when we have the cash! The beer boxes are my second favorite part of buying the beer after drinking it. Beer packaging is colorful and diverse, and often beautiful*:

The boxes serve as a runner around our walls. They’re a fascinating and unique decorative element of which I’m quite proud and which get a lot of comments from our friends. It’s a good record of our travels and our life together. They are not meant and usually are not read as endorsements of every beer we drink, but are in the context of over a hundred other examples of packaging. Pedestrian PBR is next to regional Yuengling, and obscure Backfin is next to a sampler pack. Every box that we (or occasionally a friend who works at a beer store) consume goes up on our wall, regardless of aesthetic or political merit: they are meant to provoke critique and examination of the relative merits and values in different packages of different beer.

Since I’m surrounded by the boxes all day, I begin to pick up on elements of their design. Namely, that males and whiteness are constantly normalized within the design of the boxes**:

Excepting the daguerreotype-esque Southern Ale, all of the men above are shown enjoying the beer, usually while engaging in their daily duties or in making the beer. The cottonwood man is not actively engaged, but he is holding the wheat that will make the beer, thus conferring involvement in the beer on him. The Highlands man is somewhat othered by the bagpipes, and I’m not sure how the man in the Rogue ale is constructed, but both are drinking and enjoying the beer they’re intended to represent. They are active and involved – not passive, not just drinking the beer, not just there. They are constructed as dynamic and effectual as they drink the beer. And they are all white: men of color are erased in beer packaging as far as I’ve seen.

Now, let’s look at the women that show up on the wall:

Women love to drink. Women love beer. But you would never know it from their scarce representation in beer packaging.

In the beer packages I’ve got up, women are not engaged in the act of drinking the beer that they represent. In fact, they’re not engaged in anything. Except opening their mouths, or, um, being on fire. They’re… objects. More specifically, sexual objects that have in most cases been disembodied. They’re floating heads, with their mouths open.

It gets worse when you look at how, specifically, the women of color are constructed. Look at the “Bad Penny” packaging above, and this one that I recently saw at a music festival:

The black women are constructed as reductive, exotic others, black women whose sexuality exists for the inebriated male gaze. It is not a coincidence that both have afros. Natural hair beautiful and laudatory, but there is only one kind of natural hair here: the style that is often problematized as dangerous and exotic, as another element that makes them an exotic experience for the male drinker.

Their sexuality is especially lacking in agency: the naked woman in the sexual chocolate ads is literally presented as an offering to the male gaze. She’s not engaged with the viewer by drinking, or by making eye contact. She is passive, and coded as naked: she is wearing a tube top, but it’s obscured by lettering of the same color as the top. A cartoon figure, she is not active; she is just there, waiting to be debased.

The “Bad Penny” character is making eye contact, but her eyes are heavily lidded, unlike the white women above. I took the “bad” in the name of the beer to be capitalization on blaxploitation by an alcohol company that aligns itself with kyriarchical forces: it’s the “Big Boss”. If the producer of this beer is the boss, where does that leave the women who hawk it?

Speaking of othering, let’s look at another one I found online:

Note again the heavily lidded eyes, the more explicit nudity. Though she is at least shown to be holding liquid, she’s not drinking it or enjoying it; she’s pandering to the male gaze with an oh-so-subtle finger in her mouth.

This is supposed to construct Aztec culture (which I am not well-versed in discussing). Please note the feathers, the background, and the jewelry as elements of othering and exoticization that I can’t fully articulate. Also not that this is not in a stein, as with most males shown with beer, but in some kind of “primitive”-looking stone goblet.

Women in the marketing of beer is a grim, grim field. Beer is a man’s drink, and women are excluded from independent enjoyment of it. They are not the drinkers of beer; they’re the sex that sells the beer, the static objects of intoxicated lust.

To end on a less grim note, I did come across one ad that struck me as positive:

This woman is not being objectified, or reduced to an othered sexual object. She is normalized by her whiteness, but also by her active enjoyment of beer. She’s drinking, which is what women do with beer.

ETA: meloukhia pointed out this label, which I’d seen before:

While the legs are somewhat sexual, and her eyes are closed, this woman is engaged and active – she is enjoying the beer, and life. Check out the comments for more beer packaging and discussion.

*It should be noted that while I appreciate the aesthetics of this example of packaging, this is an example of how voodoo is problematized and othered – especially when paired with a loaded word like “Dixie”.

**Many, though not all, of these packages repeat the imagery shown here in packaging of other varieties of beer.

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Rachel McCarthy James is a writer and tutor living in Virginia. She writes about feminism and stuff at Deeply Problematic.

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

U.K. men’s magazine Asylum promotes itself, women’s objectification:

Thanks to Giorgos S. for sending along the screen shots!

Other examples in which women are products here, here, here, here, here, and here.

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Lisa Wade is a professor of sociology at Occidental College. You can follow her on Twitter and Facebook.

Brandon H. let me know about two viral Smirnoff videos that humorously illustrate some of the differences (perceived and real) between “old money” families and the newly rich.

The old money/East Coast version:

Argyle sweaters! White pants! Pearls!

The nouveau riche West Coast version:

Massages! Spray tans! Collagen implants!

Of course, there’s other interesting stuff going on here, too–the typical “women as background dancers/accessories” theme, the lack of non-White people, the way that moisturizer and lip balm is associated with a laughable masculinity. Of course, by current popular ideals of masculinity, both of these groups of men come up lacking, and in fact, rich men are often both idolized and portrayed as intellectual but not really “manly” (which is reserved for hard-workin’ midwestern types).

Also: Joe’s Crab Shack, what does rich look like?, masculinize your sissy upper-class dogs with Alpo, women as prizes for rich men, representing the working class at Honfest, evoking class with literary references, upper-class luxury in ads, communicating class in Cadillac ads, “class is forever“, and old money is old-fashioned.

According to the Madsen Bicycles website, submitted by Mary S., women dote on children…

…and look lovely with flowers:

While men do sporty stuff…

…and more sporty stuff:

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Lisa Wade is a professor of sociology at Occidental College. You can follow her on Twitter and Facebook.