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Want to change someone's mind

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How can you change someone's mind? (hint: facts aren't always enough) - Hugo Mercier

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Sustainability Issues

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The Woman Who Wrote As a Man

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When popular science fiction writer James Tiptree, Jr., acclaimed as an epitome of masculine writing, publicly revealed in 1977 that she was actually Alice Bradley Sheldon, readers were gobsmacked. "Tiptree" was known to be a pseudonym, but readers in the know had assumed it was the pen name of a guy in the CIA who couldn't reveal his identity.

Alice Sheldon (1915-1987) certainly had a rather unconventional career. She worked in Army intelligence during WWII, when she became an expert in reading aerial photographs. For a time, she raised chickens. She did indeed work for the CIA. In fact, Tiptree's biography was accurate except for the gender. At the age of forty, Sheldon went to college, eventually earning a PhD in experimental psychology in 1967. Then she took to writing science fiction. Her first story was published in 1968 under the Tiptree byline. She also used a number of other pen names, including Raccoona Sheldon.

"Men have so preempted the area of human experience that when you write about universal motives, you are assumed to be writing like a man."

Alice Sheldon (a.k.a. James Tiptree, Jr.)

Sheldon called the name "James Tiptree, Jr."-inspired by a brand of jams-"good camouflage." Among her reasons for the masquerade: "I've had too many experiences in my life of being the first woman in some damned occupation."

Scholar Kim Kirkpatrick reads Tiptree/Sheldon's work as " public discourse on gender and sex within American society and as a specific discussion about Sheldon functioning as a woman in a male-dominated world." Even with "obvious feminist leanings," Tiptree was compared to Hemingway. Kirkpatrick continues: "Readers liked Tiptree's writing; therefore he must be a man; a James Bond-type of smooth adventurer." Sheldon herself noted "men have so preempted the area of human experience that when you write about universal motives, you are assumed to be writing like a man."

Tiptree's themes sure aren't Hemingway-esque. The Hugo/Nebula/Jupiter award winning "Houston, Houston, Do You Read?" postulates a future Earth where all the males have died off. A trio of male astronauts from the past can't believe their luck...but they're in for a big surprise from the surviving women.

Want more stories like this one?

Kirkpatrick pays particular attention to the story "The Women Men Don't See," in which the male narrator thinks a mother and daughter going off with aliens are literally crazy for leaving Earth. "What women do is survive," says the older female character to the narrator, "We live by ones and twos in the chinks of your world-machine." The narrator cannot comprehend why these two women would want out of a world where they aren't seen as fully human. And he just doesn't get why they don't want to be "rescued" by him, either.

The 1970s did see an eruption of women in the genre-Suzy McKee Charnas, Ursula K. LeGuin, Vonda McIntyre, Joanna Russ, Joan D. Vinge, and others-who all had to "wrestle to get their voices heard in the publishing world." Tiptree, on the other hand, had it pretty easy. In fact, when Raccoona Shelden had a hard time being published, James Tiptree, Jr., wrote to editors recommending her.

Three decades since Sheldon's death, the Sheldon-as-Tiptree speculative fiction seems pretty feminist. As Kirkpatrick writes, "Men may dominate the story, but to understand the story, follow the women."

Resources

JSTOR is a digital library for scholars, researchers, and students. JSTOR Daily readers can access the original research behind our articles for free on JSTOR.

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The Woman Behind James Tiptree, Jr. | JSTOR Daily

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When popular science fiction writer James Tiptree, Jr., acclaimed as an epitome of masculine writing, publicly revealed in 1977 that she was actually Alice Bradley Sheldon, readers were gobsmacked. "Tiptree" was known to be a pseudonym, but readers in the know had assumed it was the pen name of a guy in the CIA who couldn't reveal his identity.

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Origins of Mother's Day

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Under the Influence - Celebrities in Advertising

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How Alan Arkin defied all advertising norms, why Ivory Snow had its snow-white image tarnished by a celebrity and how advertising gave Spike Lee his big break.
Celebrity interference
A script for a Moosehead beer commercial revolved around a guy sitting at a bar talking about why he liked Moosehead.
It was going to be a solo performance, so the actor had to have an unusual and compelling personality.

So a casting company was hired - looking for a comedic male actor with personality who could carry a monologue.

A few days later, the casting agent called the production company. She said, "Alan Arkin wants to do the commercials."

The script didn't call for a celebrity, and it certainly wasn't in the budget.

As it turns out, while the casting agent was having various actors audition the Moosehead scripts, Alan Arkin was in the next studio, overheard the auditions and approached her saying that he thought the scripts were funny.

Not only that, but he had a summer place in Nova Scotia, and Moosehead was his favourite beer.

"Would they consider me?", he asked. Alan said he would make himself "affordable."

This never happens. You never have a celebrity "overhear" your scripts. They never ask to be considered for a job. And they never, ever, ever "make themselves affordable." Ever.

Moosehead was thrilled.

And that's how Alan Arkin ended up filming a Moosehead campaign:

It ended up being a very successful campaign for Moosehead. And it was named the TV campaign of the year at the annual Television Bureau of Canada awards.

All due to Alan Arkin's famous slow-burn delivery.
Ivory reputation
For years, there was an image of a pretty young mother holding an adorable baby to her cheek on the front of Ivory Snow boxes.

That model, much to Ivory Snow's ever-lasting chagrin, went on to have another career: She became one of the porn industry's biggest stars. Her name was Marilyn Chambers.

Chambers was born in 1952. Her father was an advertising executive in New York. No doubt influenced by her father's industry, she began auditioning for advertising modelling jobs and landed a big one in the early '70s as the face on Ivory Snow boxes.

A few years later, Chambers moved to San Francisco and got into the porn business.

Ironically, the Ivory Snow slogan was "99 and 44/100% pure." The juxtaposition of a porn star and Ivory Snow model made for some titillating publicity the porn industry loved, and Proctor & Gamble didn't.
Celebs on both sides of the lens
Spike Lee has an advertising agency called Spike/DDB. He's affiliated with global ad agency Doyle Dane Bernbach.

One day, the Creative Director on the Nike account went to a movie. Before the film started, he saw a trailer for another movie called She's Gotta Have It.

It was highly unusual. In the trailer for the low-budget film, the movie's young director, Spike Lee, was on a street corner selling tube socks.

The Nike creative director was completely intrigued. The next day, he called Spike Lee. He asked him if he would like to star in - and direct - a Nike commercial.

He said he would pay Spike $50,000, and by the way, he'd be directing Michael Jordan.

Spike Lee thought it was a prank phone call.

It wasn't.

Spike went on to direct quite a few Nike commercials, and years later, he started his own advertising agency. Spike/DDB now creates advertising for clients like Cadillac, Pepsi and even Bernie Sanders.

For these stories and more from , click or tap on the "Listen" tab to hear the full episode.

You can also find us on the CBC Radio app or subscribe to our Podcast.

Under The Influence is recorded in the Terstream Mobile Recording studio - a 1969 Airstream trailer that's been restored and transformed into a studio on wheels. So host Terry O'Reilly can record the show wherever he goes.

Follow the journey on Facebook, Twitter and Instagram, and search for the hashtag: #Terstream.

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Celebrities in advertising: Powerful tool or expensive problem

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How Alan Arkin defied all advertising norms, why Ivory Snow had its snow-white image tarnished by a celebrity and how advertising gave Spike Lee his big break. Celebrity interference A script for a Moosehead beer commercial revolved around a guy sitting at a bar talking about why he liked Moosehead.

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Ted Ed - The Tragic Myth of Orpheus and Eurydice.

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Artists have reimagined the myth of Orpheus and Eurydice many times over the millennia. Here are a few notable examples:

Orfeo,a 1607 opera by the Italian composer Claudio Monteverdi, is one of the first operas ever written and the oldest that is still regularly performed. Listen to it here.

The composers Gluck, Haydn, Liszt, and Stravinsky also wrote music inspired by Orpheus and Eurydice. Listening to their different compositions allows you to compare how different artists from different periods in history have imagined the mythical music of Orpheus, which was so beautiful it (almost) overcame death.
a 2003 play by the playwright Sarah Ruhl, imagines the story from Eurydice's perspective.
is a 1950 film by the French filmmaker and writer Jean Cocteau; the second part in his trilogy inspired by the Orpheus and Eurydice myth.

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The tragic myth of Orpheus and Eurydice - Brendan Pelsue

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The marriage of Orpheus, the greatest of all poets and musicians, to Eurydice, a wood nymph, was heralded as the perfect union. Anyone could tell the couple was deeply in love. So when their wedding ceremony ended in Eurydice's untimely death, Orpheus had no choice but to venture into the underworld to try to reclaim his lost love.

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Ted Ed - Why Perfect Grades Don't Matter

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References

To learn more about the role of standardized testing in education, see W. James Popham's seminal 2001 work, The Truth About Testing: An Educator's Call to Action (New York, ASCD).

To learn more about how standardized testing is impacting classrooms and teaching in the US and Canada, see Arlo Kempf's (2016), The Pedagogy of Standardized Testing: The Radical Impacts of Educational Standardization in the US and Canada (New York, Palgrave).

To learn more about how validity and reliability work when interpreting standardized tests results, see Thorndike & Thorndike-Christ's (2010), Measurement and Evaluation in Psychology and Education (8th ed.) (NJ, Pearson).
Recommended TED-Ed Videos
Should we get rid of standardized testing? - Arlo Kempf
The power of creative constraints - Brandon Rodriguez

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Most American students strive for a 4.0 GPA and the highest test scores, but research shows that this quest for perfection actually discourages creativity and reduces academic risk-taking. In this episode of "School Myths" by The Atlantic, Alice Roth investigates why grades aren't everything when it comes to education.

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Jstor Article - How Prohibition Encouraged Women to Drink

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When alcohol became illegal in 1920, the result was anything but sober. Thirsty people openly flouted the law in a drunken, thirteen-year-long binge-including many women. During Prohibition, American women "made, sold, and drank liquor in unprecedented fashion," writes historian Mary Murphy. For Murphy, the story of Prohibition is one of bootlegging mothers, drinking daughters, and critical developments in how women worked and played in public.

Prohibition was achieved largely due to the efforts of women who found purpose and a public expression of feminist solidarity in their temperance work. Murphy points out that women found opportunities in the newly dry West.

Prohibition "rattled" old, easily understood patterns of drinking, Murphy writes, and changed how women drank. Increasingly, women stepped up to the (underground) bar-and turned increased demand for alcohol into lucrative bootlegging businesses. "In all aspects of the liquor business," she writes, "women moved into spaces that had once been reserved exclusively for men."

Prohibition was a brief moment in which women were able to redefine long-held sex roles.

Though women had always imbibed, they rarely did so in public before Prohibition. In small towns, there were no places for women to drink anonymously. Throughout the West, including in Butte, Montana, saloons were male-only establishments. Men were initiated into a hard-drinking social life that took place behind closed doors. The only women at saloons were prostitutes, and in 1907 laws were passed criminalizing women in spaces designated for drinking. Women did purchase alcohol from saloons, but these transactions took place at the back door and liquor was consumed at home.

Prohibition changed everything. Private restaurant-nightclubs sprang up when saloons closed, and these establishments welcomed women. People found old recipes for wine and liquor in their grandmothers' cookbooks and got to producing alcohol. Women also started running their own speakeasies: "home speaks," in which they served homemade liquor and perhaps provided a phonograph for some dancing. Working- and middle-class women began making their own wine and even operating stills.

"Women who made whiskey and those who patronized speakeasies were breaking both custom and the law," writes Murphy. For young women, speakeasies stirred a spirit of rebellion. They bobbed their hair and shortened their skirts while they were at it.

For Murphy, Prohibition was a brief moment in which women were able to redefine long-held sex roles, and "behavior followed structural change." Though nineteenth-century feminists had not fought for the right to drink in public, the right was gained by those bootlegging mothers and drinking daughters. And once Prohibition was repealed, they'd be damned if they gave up their freedom-or their cocktails.

JSTOR Citations

By: Mary Murphy

American Quarterly , Vol. 46, No. 2 (Jun., 1994), pp. 174-194

The Johns Hopkins University Press

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How Prohibition Encouraged Women to Drink | JSTOR Daily

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When alcohol became illegal in 1920, the result was anything but sober. Thirsty people openly flouted the law in a drunken, thirteen-year-long binge-including many women. During Prohibition, American women "made, sold, and drank liquor in unprecedented fashion," writes historian Mary Murphy.

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Jstor Article - What gloves meant to the Victorians

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They were the gloves that launched a million tweets: In November 2017, Louise Linton posed with her husband, newly-minted Treasury Secretary Steve Mnuchin, to see the unveiling of dollar bills bearing his signature. It should have been Mnuchin's moment, but Linton stole the show-and horrified many onlookers-with her elbow-length black leather gloves.

Were they a statement about bondage? Proof she's a Bond villain? In a subsequent interview with Elle 's Carrie Battan, Linton claimed she simply thought gloves were iconic.

According to design historian Susan J. Vincent, gloves indeed are iconic. Vincent writes about the era when the accessory was a social necessity. For Vincent, the year 1900 was "the zenith of glove-wearing," when any self-respecting Victorian (British or American) wouldn't be caught dead without covered hands.

Of course, gloves were also more than gloves.

Every activity required a different kind of gloves, and people were expected to possess not just a pair or two of gloves, but an entire glove wardrobe. Vincent's examples of the ubiquity of gloves may boggle the modern, gloveless mind: catalogues containing a minimum of twenty-one kinds of gloves; theater programs advertising gloves for men and women; even boarding schools that required students to bring gloves along for their education.

"There were different shades, styles, fabrics, and fit for different times of day, times of year, and different activities," writes Vincent. Even though gloves were often worn for seemingly dirty activities like sports or shooting guns, their cleanliness was paramount, and women could change them multiple times a day to ensure a spotless appearance. And if you were really a proper lady, you would never clean your gloves-you just bought new ones.

For the richer wearer, gloves were not seen as repairable. Rather, they were seen as completely expendable-an item of clothing that, though necessary, could be and was replaced constantly. Poor people, however, would repair their gloves when they inevitably fell apart.

Vincent offers a complete guide to wearing Victorian gloves, from selecting the best (smooth, close fit, nice stitches), to putting them on (a glove hook, and chalk or powder to help them slide on, were necessities), to storing them (sachets and special boxes: check). There were glove manners (don't dance without gloves, don't eat with them) and complicated glove fittings that could take fifteen minutes or more.

Of course, gloves were also more than gloves. Vincent sees them as an erotic stand-in-a sexy production and a physical stand-in for the act of sex itself.

They may have been sexy, but eventually their utility faded. Though driving gloves lasted long enough to necessitate glove compartments in cars, World War I depleted leather stock and drove up prices, decimating the glove-making industry. World War II dealt the final blow with fabric rationing and the rise of sensible dress as a fashion trend. Women whose movements had once been restricted by gloves discovered that they liked bare hands.

"The more gloves were a matter of choice," Vincent writes, "they were a matter of fashion." Or, in Linton's case, a matter of perhaps misguided accessorizing.

JSTOR Citations

By: Susan J. Vincent

Journal of Design History, Vol. 25, No. 2 (2012), pp. 190-205

Oxford University Press on behalf of Design History Society

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What Gloves Meant to the Victorians | JSTOR Daily

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They were the gloves that launched a million tweets: In November 2017, Louise Linton posed with her husband, newly-minted Treasury Secretary Steve Mnuchin, to see the unveiling of dollar bills bearing his signature. It should have been Mnuchin's moment, but Linton stole the show-and horrified many onlookers-with her elbow-length black leather gloves.

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TED - Why it is sometimes good to be bored.

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Manoush Zomorodi: How boredom can lead to your most brilliant ideas

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Do you sometimes have your most creative ideas while folding laundry, washing dishes or doing nothing in particular? It's because when your body goes on autopilot, your brain gets busy forming new neural connections that connect ideas and solve problems. Learn to love being bored as Manoush Zomorodi explains the connection between spacing out and creativity.

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Ted - Looks aren't everything.

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Cameron Russell: Looks aren't everything. Believe me, I'm a model.

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Cameron Russell admits she won "a genetic lottery": she's tall, pretty and an underwear model. But don't judge her by her looks. In this fearless talk, she takes a wry look at the industry that had her looking highly seductive at barely 16 years old.