I am super pleased to have this piece published over at The Chronicle of Higher Education on the need for well-researched pop culture writing. Yes, even in thinkpieces. Also pleased to have co-authored this with my dear pal, Kristen Warner, who is a big smartypants.
Read, enjoy, make snarky comments about how this article means we are elitists [shrugs]:
Click here to read.
I know. I know. I haven’t written anything here in many months. But here’s the thing: work is busy. Also, no one pays me to write for this blog.
But you know who does pay me to write? The New Yorker. God bless them.
Here is my latest essay tied to my larger project on MTV and youth identities, “Thirty Seasons of The Real World.” Please read and share so maybe I can make more money writing and then can write some shit for free for you fine folks.
Click here to read the full piece.
Last night, I had a rather disturbing conversation with my 8yo daughter. I was in the middle of doing the laundry and she walked into the room and asked me if I thought she looked fat. I’ve been dreading this question since I became pregnant with her. This is how women destroy themselves.
I decided to write about it over at Medium’s Human Parts.
You can head over there to read it by clicking HERE.
THE BREAKFAST CLUB just turned 30! I wrote a short piece about the experience of teaching a film I adored in my youth to a brand new generation of students. The big surprise? They loved it as much as I do:
“It’s a hard thing, teaching students of another generation about a movie you loved as a child. Indeed, whenever I teach a film that I loved passionately in my youth—”E.T.”, “Star Wars,” and “Fast Times at Ridgemont High”—I try to divorce my affective attachment to it from my pedagogy. It’s not that I don’t let students know when I truly love a film—I gush about “Breathless” and “Double Indemnity” and “Killer of Sheep.” It’s just that I don’t trust the tastes I cultivated during my youth, back when my raw, hormonal heart dictated the music I listened to and the movies I watched. My undeveloped cinematic palate is somehow less authentic, at least to the teacher in me, than the tastes I formed post-college, when I began to study the cinema as a critical object. So I overcompensate for the love object. I try to point out its flaws ahead of time, to prepare myself for disappointment. I am sure they will find “The Breakfast Club” racist, close-minded, and unsatisfying. They will surely shit on my youth.”
Read the full piece here.
I don’t normally cross post between my blogs, as the readers shift for each. But today I very much want to share a story I wrote to illustrate a series of photographs my then-3-year-old daughter took just after the birth of her baby brother. If such things interest you, I encourage you to head over to Tell Us A Story and give it a read.
Here is how it begins:
“Only years later did I think to upload any of the hundreds of photos my daughter took with her brand new Fisher Price “Kid Tough” digital camera during the first few months of 2010. In addition to her burgeoning interest in amateur photography, it was during this time that my daughter learned what it meant to have a sibling, a brother who arrived, angry and red, late in the evening on that January 13th.”
Read the rest by clicking here.
The WordPress.com stats helper monkeys prepared a 2014 annual report for this blog.
Here’s an excerpt:
The Louvre Museum has 8.5 million visitors per year. This blog was viewed about 99,000 times in 2014. If it were an exhibit at the Louvre Museum, it would take about 4 days for that many people to see it.
Hullo dear readers. I wrote a short piece about whiteness, women and the missing persons narrative in popular media for Avidly, a site I very much admire. Here is an excerpt:
“I had barely considered the role whiteness plays in the missing persons narrative when I first read Gillian Flynn’s novel two years ago. Race comes up in the novel a couple of times but mostly Gone Girl is a story about white people who we are not necessarily cued to think of as being white. Their whiteness is not highlighted as something which has any bearing on the narrative events. Whiteness in the novel Gone Girl, as in so much of American mass culture, is a neutral character trait, the default setting on a character, the box that remains unchecked.”
Read the full essay here.