product: toys/games

Cross-posted at Cyborgology.

As part of my research into the popularization of tattooing, I have accumulated quite a few interesting links on tattoo toys for children. I don’t mean those temporary tattoos we all used to get from the vending machines at popular chain restaurants. This toys I am talking about have drawn flack from parents as being “inappropriate” for kids, creating an example of a burgeoning “moral panic”. Some examples include: tattoo inspired toddler wear, tattoo machines for kids, and of course, tattooed Barbie dolls.

Tokidoki Barbie:

Toys like these have been released every few years since the 1990s, when tattooing was ranked as the 6^th fastest growing industry in the country (Vail 1999). But we are now seeing more children’s tattoo toys spring up, dovetailing with the increasing popular interest in the craft. We may very well be observing a second Tattoo Renaissance (Rubin 1988), especially given the expansion of the industry and the artistic flowering that has occurred since the tattoo reality TV shows first emerged in summer 2005. 

I believe we are we observing a cultural paradigm shift (Kuhn 1962) regarding tattooing.  Cultural trends are slowly reshaping popular conceptions of tattooing, turning them from “marks of mischief” (Sanders 1988) into an “ironic fad” (Kosut 2006) of consumer capitalism. Whereas tattooing was once largely reserved for working-class men, sailors, carnival performers, and exotic dancers, we have since seen the practice become widely popular amongst all races, genders, and classes.

G8 Tat2 Maker by Spin Master Toys:

Beginning with the Tattoo Renaissance of the 1960s (Rubin 1988) and more recently with the expansion into reality television (Lodder 2010), we have seen the cultural cache of tattooing shift in favor of middle-class notions of identity work (Atkinson 2003); that is, towards seeing the body as a vehicle for expressing oneself, towards actively controlling and crafting the body as a form of empowerment, and towards the development of “distinctive individualism” through appearance (Muggleton 2002). The highly narrative focus of tattooing contained in popular reality TV shows like “LA Ink” or “NY Ink” only bolster these trends, as new tattoo enthusiasts invest deeply-held meanings into each tattoo.

But these trends do not mean that tattoo toys aimed at children are any less offensive to some. Largely, it appears to be a generational divide: youth are much more supportive (in fact, largely celebratory) towards body art like tattoos and piercings, but the baby boomers continue to view tattoos through the lens of deviance.

For people of my parents generation, tattoos continue to be a symbol of deviant proclivities. Some have even called it a “disease” plaguing the youth of today. I have taken issue with such an interpretation of tattooing, especially by social scientists who continue to conceptualize the practice as an indicator of mental pathology or emotional instability, and have proposed a “pro-social” conception of contemporary body modifications like tattooing and piercing [you can read my work here]. In my opinion it is just a matter of time before prominent and visible tattoos become commonplace in professional and public settings, tattooed Barbie notwithstanding.

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David Paul Strohecker (@dpsFTW) is a PhD student at the University of Maryland, College Park. He studies issues of intersectionality, consumption, and popular culture. In addition to his work on the popularization of tattooing, a project on the revolutionary pedagogy of public sociology, and more theoretical work on zombie films as a vehicle for expressing social and cultural anxieties. He previously wrote for the blog Racism Review and currently blogs at Cyborgology.

For more from Strohecker, see his posts on facial tattoos, the origins of zombies, QR codes and the digital divide, and laughing at disability.

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

I like this post. And it’s the two-year anniversary of Bruce Snowdon’s death. So, here’s my toast to the last sideshow fat man.

He’s so big and so fat it takes four girls to hug him and a box car to lug him.  When he dances you’ll swear he must be full of jelly, cause jam don’t shake that way.  And you know girls!  He is single and lookin’ for a wife, he’ll make some lucky girl a fine husband, why he’s so big and fat, he’ll provide you with a lot of shade in the summertime, keep you nice and warm in the winter time and give you lots of good heavy lovin’ all of the time!

— Carnival Spiel by Ward Hall

On Nov. 9th 2009, Harold Huge, a man billed as the very last sideshow fat man, died.  He weighed 607 pounds or so.

Harold’s real name was Bruce Snowdon.  He had degrees in paleontology, anthropology and chemistry. In 1977, he found himself bored with his work and stumbled across the idea of being a Fat Man:

I had put on a lot of weight between the time I was 20 and 25. I was up to about 450 in those days. I went to the local library, and I was poking through some old circus books and I see this one picture about a sideshow, maybe circa 1905, and I’m looking at this fat man and I’m saying to myself, “He can’t weigh more than 350 pounds.”

Now, I ask myself, how the hell would I go about getting into a sideshow? I’d never even seen a sideshow in my lifetime. In the late ’70s the industry was a very pale ghost of its former self. Instead of thousands, there were maybe dozens left then. So I figured, logically, there’s got to be some sort of trade journal for the carnival industry. It’s Amusement Business. And I’m looking through the AB. Taking a lucky stab, I wrote the editor, Tom Powell. And Tom Powell happens to be a very good friend of Ward Hall. Bingo. I had the job.

In an interview with James Taylor (from which the above quote is also taken), Snowden explained:

I don’t mind being enormously fat… I come from a long line of fat people. My old man tortured himself for 40 years going from 200 to 300 [pounds] and back again. He eventually lost the weight, but he also lost his mind.

Snowdon played Harold Huge for 26 years.  The year of his retirement, in 2003, he played himself in the movie, Big Fish:

So the sociological question I would like to pose is: Why is Snowdon the last fat man?

Marc Hartzman suggests that fat men and woman became less of a curiosity because “waistlines expanded and obesity became less of a laughing matter.  As the years went by, spotting a man who weighed more than quarter of a ton was not that unusual…”  So there’s two  hypotheses: (1) we see fat people everywhere and so it’s no longer a curiosity and (2) obesity has become a very serious matter, not to be played with at sideshows or elsewhere.

Another hypothesis might involve (3) a growing distaste for objectifying and dehumanizing those who are unusual.   As the human rights era evolves, we increasingly embrace difference and promote tolerance.

(4) Perhaps sideshows themselves are simply out-of-fashion, a drab alternative to Avatar in 3D or a Wii.  Or, (5) maybe the internet has made all curiosity easier to quench.  With a click of the button, we can see DD breasts, thalidomide babies, and cats playing the piano… who needs a sideshow?

I can think of reasons to endorse and reject all of these hypotheses.

So, in honor of Snowdon’s 26 years of service and delightful sense of humor (“If there’s a bitchy type of human being, it’s somebody on a diet”), let’s speculate.

Sources: Sideshow World, AOL News, Shocked and Amazed, Randall Levenson photography, and Shapely Prose.

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.

Yesterday Hasbro announced a new model of the Easy Bake Oven designed in response to the growing efficiency of light bulbs.  This sounded to me like a perfect opportunity to bring back our post on the evolution of the toy.  You’ll see the new model at the end.

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My niece got an Easy Bake Oven for Christmas this year and I was shocked.  Shocked!

No, not because of gendered gift giving, socialization, blah blah blah… (I don’t know where you would get that idea).  Instead, I was shocked by what cooking apparently looks like in 2009.  But let me start at the beginning…

The first Easy Bake Oven was released by Hasbro in 1963 (history here).  It looked like a range with a stove top and an oven:

It looked like this, with minor changes in color and amenities, for a while.

1964:

1971:

Then, 1978.  It turns out, in 1975, for the first time, sales of microwave ovens exceeded those of gas ranges.  And, what do you know, the Easy Bake Oven was suddenly a microwave with a digital clock:

1983:

Presumably, between 1963 and 1978, what cooking looked like changed dramatically and the evolution of the Easy Bake Oven reflected that.  This is what surprised me when I saw my niece’s oven.

Ironically, this year’s Oven is painted in the original turquoise, as a nod to 1963, but it is still clearly a microwave:

2011: Commercially available light bulbs are no longer inefficient enough to bake goodies.  This year’s model, then, is actually a real oven, reaching temperatures up to 375 degrees:

So that’s technological and socioeconomic change as signified by the Easy Bake Oven.

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.

Dolores R. sent us a link to a video posted at Racialicious about stereotypes of Native Americans in video games. Beth Aileen Lameman, the director and narrator, discusses a number of frequent tropes used when depicting Native Americans in games, such as the half-breed hero, the wise old Indian sage, and, of course, the hottie Indian princess, as well as the tendency to conflate many different tribes and cultures. It’s a great summary of common representations of Native Americans in pop culture more broadly:

Native Representations in Video Games from Elizabeth Lameman on Vimeo.

I don’t play video games. The few times I have played a game it involved a furry animal working his way through some kind of tropical forest and the most violent it got was when he hit a villainous turtle on the head with a coconut. So, I am not familiar with Duke Nukem.

Of course, one Google search tells me he is a supremely popular, freakishly over-muscled, machine gun-wielding, hyper-aggressive action “hero” who is described in the Wikipedia entry as “frequently politically incorrect.” His character profile also claims that when he was first introduced, he was a CIA operative hired to save Earth from Dr. Proton. But the current marketing materials make clear what the really important aspects of the game are. Exhibit A is this ad, which greeted me as I came out of the subway this morning:

Duke Nukem is sitting on a throne while two women in schoolgirl outfits sit at his feet. The caption leaves no doubt about the main attractions: “This game has bazookas. Both types.”

The game’s website presents a guy who looks intensely devoted to his steroid regimen, has a penchant for unloading 50 rounds into anything with tentacles, and who appears to live in a post-apocalyptic land which is somehow still able to generously supply women with fetish outfits, bikinis, and manicures. In a video promo for the game on YouTube there are scenes of Duke on a shooting rampage interspersed with what appears to be him walking into a room and seeing a switched-on vibrator skidding around the room. He then encounters two women (the Holsom Twins, Mary and Kate) in schoolgirl outfits who drop their weapons to touch and caress each other in sexually suggestive ways. Duke is watching this while pointing a gun at them, saying, “allll right, time for my reward” (NSFW due to images and language):

Unfortunately for the twins, they later have sex with an alien and get themselves into trouble (thanks to Michael R. for this clip; also NSFW):

Many other reviews of Duke Nukem have also pointed out its violent sexual imagery and encouragement of sexually violent behavior towards women. Just to tally up, we have:

1. Fetishizing and infantilizing women by putting them in outfits associated with children.
2. Referring to their breasts as “bazookas,”  both objectifying women and equating  their bodies with a military weapon.
3. A lesbian encounter presented as titillation for the male viewer.
4. Watching women engage in sexual activity with one another, and even threatening women with weaponry to continue engaging in sexual activity with one another, is your reward. You deserve it – you deserve to be sexually gratified.

People learn by watching. This can be good and bad. It can make us more accepting of others’ opinions and outlooks, and it can also desensitize and normalize harmful opinions and behaviors. In regards to Duke, the latter is where the risk lies — the more one sees images like those presented by Duke Nukem, the more likely they are to be seen as what is acceptable and usual. Normalizing harmful, degrading, and insulting stereotypes of and behavior toward women seems like a high price to pay for a video game’s success.

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Larkin Callaghan is a doctoral student at Columbia University studying health behavior and education. She is particularly concerned with gender disparities in access to healthcare and prevention services, and has done research on adolescent female sexual health, how social media operate as an educational platform, and differences by gender in the effectiveness of brief health interventions. You can follow her on Twitter, Tumblr, and at her blog.

When someone gave us this chunky dinosaur puzzle, I did a double-take. Yes, that’s a caveman there with the dinosaurs:

The blurb on the company’s website says that, along with the puzzle, “ The accompanying board book teaches young learners about dinosaurs.” Teaches, that is, with lessons like this:

A little harmless fun, or a little creationist indoctrination? (Do sociologists even believe in “harmless fun”?)

According to the Shure company, they deliver these “common threads” in all their products: “Originality and inventiveness; Excellence in design; Attention to detail; Exceptional quality; Educational merit.” So, not just entertainment.

A quick perusal suggests the rest of their products are not creationist — just the usual toy-gendering. They do have a Noah’s Ark puzzle, but it doesn’t claim to be educational. In that Shure is just keeping up Melissa & Doug (whose puzzle is at least Genesis-correct in not naming Noah’s wife):

And anyway, the story of Noah’s Ark is actually not a bad way to talk about reproduction.

But back to dinosaurs and people. Dinosaurs are not really more problematic for creationism than any other creatures that pre-date humans. But maybe because kids love dinosaurs so much, creationists spend inordinate energy trying to place them chronologically with people. Writes one such site:

The idea of millions of years of evolution is just the evolutionists’ story about the past. No scientist was there to see the dinosaurs live through this supposed dinosaur age. In fact, there is no proof whatsoever that the world and its fossil layers are millions of years old. No scientist observed dinosaurs die. Scientists only find the bones in the here and now, and because many of them are evolutionists, they try to fit the story of the dinosaurs into their view.

Up against this kind of propaganda, it is tempting to bring the hammer down on “harmless fun” featuring humans and dinosaurs playing together. That would mean no B.C. comic, no Flinstones, and no Barney either. That is basically the argument of James Wilson, a University of Sussex lecturer, who has a talk on the subject here on Youtube.

In any case, we may be so used to seeing toys or other products like this — with humans and dinosaurs side-by-side — that we forget to ask whether they’re teaching kids a lesson, one that is at odds with science.

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By the way, for non-biologists, like me, who like evolution and want some ammunition to defend it, I recommend Richard Dawkins’ recent book The Greatest Show on Earth. Some do find it a little dogmatic, and in the grand scheme I prefer Stephen Jay Gould, but it’s good for this purpose. Because rather than block access to dinosaur cartoons, I would rather arm myself – and the surrounding children – with the tools they need to handle them with confidence.

Philip N. Cohen is a professor of sociology at the University of Maryland, College Park, and writes the blog Family Inequality. You can follow him on Twitter or Facebook.

Yesterday, I was at the grocery store in the checkout line, when I saw a Disney book about how Tinkerbell and her fairy friends “Nature’s Little Helpers.”  Intended to interest small children in being environmentally conscious, the fairies, all female, help nature go about its daily tasks.  The connection to the nymphs of Greek mythology at once is evident.  Nymphs were essentially fairies that embodied parts of nature: water, trees, etc. They were almost always female, and often played the role of temptress to the male gods.  These Disney fairies play on the same idea; they tend to nature and are connected with nature because of their being female.

(source)

Why is this a problem?  First, the book connects women to nature on the basis of biology, the idea that women are naturally nurturing.  This suggests that only women can really take care of nature, because they are better suited for it than men.  Second, by linking women and nature, they suggest that being Green is ‘girly,’ when in fact being Green should be gender-neutral.

“Nature’s Little Helpers” ties women and nature together in harmful ways: it assumes that women are caretakers of nature because of an inherent nurturing ability and it feminizes the teaching of environmental studies, even interest in nature.  I have no doubt that Disney intended for this book to up its Green profile, but its message is as harmful as the Disney princess line. We should be teaching children about nature without gendering the process.

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Lisa Seyfried is recent graduate of the George Washington University Women’s Studies Master’s Program.  Her interest is in the intersection of women and the environment, and generally helping the world to become a more just and sustainable place.  She is also a blogger at Silence is Complicit.

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

Bryan L. sent us a link to an NPR story about the effects of using cartoon characters to market food to kids. The study, conducted by researchers at Yale University’s Rudd Center for Food Policy and Obesity, had 80 children between the ages of 4 and 6 eat what they were told was a “new” cereal. The cereal was either called Sugar Bits or Healthy Bits, and in each case, half of the boxes included cartoon penguins and half didn’t. Here’s are the two options for Healthy Bits:

Kids were  then asked to rate the taste of the cereal, using a 5-point smiley face scale. Interestingly, kids rated the taste of Healthy Bits more highly than that of Sugar Bits (overall mean rating of 4.65 vs. 4.22). Less surprisingly, the presence of a cartoon character on the box led kids to think the cereal taste better (overall mean rating of 4.70 with a character, vs. 4.16 without).

You can read an overview of the article, “Influence of Licensed Spokescharacters and Health Cues on Children’s Ratings of Cereal Taste, which was published in the Archives of Pediatrics & Adolescent Medicine.

So it appears that kids are getting some of the message about nutrition and healthy eating, and that describing something as having lots of sugar leads them to evaluate it more negatively than they might have otherwise. (I couldn’t help but wonder if there might be a contrast effect, also. Maybe kids expect something  called Healthy Bits to be really gross and, if it doesn’t, evaluate it more positively than they would have, while they expect Sugar Bits to be super awesome and rate it particularly harshly if it doesn’t live up to their hopes. I know that type of comparative priming effect occurs with adults, where our initial expectations influence our later subjective assessment, but I have no idea to what degree that occurs with kids. Anybody know enough about childhood development to comment?)

However, cartoon characters have a strong influence on how kids evaluate the taste of cereal, enough to override their nutritional concerns. Put a cute penguin on Sugar Bits, and it suddenly tastes as good as a box of Healthy Bits without the penguin. Another study from researchers at the Rudd Center found that kids preferred to eat graham crackers, gummy snacks, and even carrots more if they were in a package with a popular cartoon character.

So the good news here is that kids may be willing to make better eating choices than we often give them credit for, and describing something as “healthy” isn’t the kiss of death we might expect. But the use of cartoon characters, such as tie-ins from TV shows and movies, is a powerful form of marketing. If such characters — especially, I assume, highly recognizable and popular ones — appear more often on less healthy options, they undermine efforts to guide children to develop healthy eating habits.

UPDATE: Reader qwirkle was able to get a copy of the entire article, which does make clear that the kids rating Sugar Bits lower than Healthy Bits wasn’t just an “expectations effect”:

Another explanation for the difference in children’s assessments of the cereal involves their expectations of the cereal taste based on the name. Specifically, the cereal used for this study had only a moderately sweet taste. Consequently, children may have been disappointed by the lack of sugary flavor in the cereal named Sugar Bits and pleasantly surprised by the sugary flavor in the cereal named Healthy Bits. At 6 g of sugar per serving, however, the sugar content was comparable to that of other commonly available sweet cereals (eg, 6 g in Honey Kix and 9 g in Honey Nut Cheerios). Nevertheless, whether the children were reacting to their expectations of the cereal’s taste or expressing their skepticism of the merits of sugary products, when the character was present on the box, children reported a more favorable subjective experience with the product.”