"At North Hollywood High School, I was shunned by everyone. I would sit down in the cafeteria, and students would get up from the table and walk away. They thought I was from the Mafia"
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It lands like a throwaway teenage anecdote, then quietly detonates into a case study about how reputations get manufactured. Zimbardo describes social exile with the blunt, cafeteria-level cruelty that makes ostracism so visceral: he sits, they leave. No debate, no confrontation, just coordinated absence. The detail that they “thought I was from the Mafia” is almost absurdist, but that’s the point. High school is a rumor economy, and “Mafia” works as a shorthand for danger, otherness, and unapproachable power. It’s less a claim about organized crime than a portrait of how a group needs a story to justify its own fear.
The subtext is classic Zimbardo before Zimbardo: identity isn’t only what you are, it’s what a crowd decides you signify. That’s the seed of the thinking that later crystallizes in his work on deindividuation and situational behavior. The students aren’t individualized antagonists; they’re a social system performing self-protection, enforcing boundaries, and spreading a label that licenses exclusion. Their behavior looks personal, but it’s procedural.
Context matters, too. North Hollywood in mid-century Los Angeles sits near the cultural mythology of mobsters, noir, and ethnic stereotyping; “Mafia” reads like a racialized projection as much as a personality judgment. Zimbardo’s intent, then, is not just autobiographical pain. It’s evidence: a lived example of how swiftly groups turn uncertainty into narrative, and narrative into punishment, without anyone needing to be explicitly cruel to achieve something brutal.
The subtext is classic Zimbardo before Zimbardo: identity isn’t only what you are, it’s what a crowd decides you signify. That’s the seed of the thinking that later crystallizes in his work on deindividuation and situational behavior. The students aren’t individualized antagonists; they’re a social system performing self-protection, enforcing boundaries, and spreading a label that licenses exclusion. Their behavior looks personal, but it’s procedural.
Context matters, too. North Hollywood in mid-century Los Angeles sits near the cultural mythology of mobsters, noir, and ethnic stereotyping; “Mafia” reads like a racialized projection as much as a personality judgment. Zimbardo’s intent, then, is not just autobiographical pain. It’s evidence: a lived example of how swiftly groups turn uncertainty into narrative, and narrative into punishment, without anyone needing to be explicitly cruel to achieve something brutal.
Quote Details
| Topic | Student |
|---|---|
| Source | Help us find the source |
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