TOW #24: "Life is Better When You Share the Ride"

Ride-sharing apps are becoming increasingly popular in the United States, with that group headed by Uber, known for its on-demand pickups. Lyft is another rising option, with its popularity growing steadily. Recently, controversy surrounding Uber's treatment of female workers (as well as their possible endorsement of Trump) has led many politically-conscious ridesharers to choose Lyft over Uber.

Lyft released a commercial early this year that reiterates the things they take pride in for their company: diversity, inclusion, and connection in an age where we seem all-too unconnected. Lyft's commercial, entitled June, makes use of warm colors, bright visuals, and appeals to pathos in its storyline in order to effectively portray Lyft's goals and encourage ridesharers to use Lyft.

The commercial features a heartwarming storyline of an old woman named June whose car is involved in an accident. Finding herself stranded without transportation, she uses Lyft for the first time, and discovers the abilities it has for meeting new people in her city. The appeals to pathos are evident, with the backstory of a widowed woman who eventually finds she has the power to connect to people through something as simple as a ridesharing app. The music is endearing and chosen selectively for each moment, highlighting the all-too human ordeals that June faces.

The colors of the video are warm and inviting, which works well because this commercial was shown primarily before YouTube videos. The fact that it was so visually appealing means there is a good chance the viewer will not be as tempted to skip ahead to their video. The bright, childlike visuals and illustrations are happy and endearing, and allow for the audience to connect tremendously with the events in the commercial. Each moment is timed perfectly with visuals, music, and storyline syncing up to produce a heartfelt short film and effectively entice audiences to use Lyft.

TOW #23: "What High Schoolers Are Actually Wearing"

What High Schoolers Are Actually Wearing is a film project started on YouTube by Lexie Lombard. The project features a variety of teenagers, each installment focusing on a different set of kids in a different location. They are asked various questions revolving around their personal style and creative expression, and the answers received are sweet and endearing, showcasing the varying trends and styles worn by teenagers across America.

This series speaks to me for so many different reasons, one being the diversity showcased in the episodes touches on the aspects of teenage culture that are often whitewashed and glossed over by the media. It makes a strong argument for representation of actual teenagers - not just fictional ones played by thirty-somethings on TV. Every aspect of the series highlights the uniqueness of the subjects featured, whether it's through lively music or silly text animation. The subjects chosen are diverse in fashion, personality, and looks, and highlight their diversity in the interviews.

Real representation of high school students starts with - wait for it - real high school students. This series is taking to the streets to ask teenagers their opinions on fashion, music, and art, but it's also not afraid to get personal and ask questions about friends and family as well as personal style. The series branched off recently into What High Schoolers Are Actually Thinking, which hosts discussions of the events going on in the lives of teenagers as well as heavy questions about politics and the world around them.

This project has inspired me to reach out and represent the real opinions of teenagers and young adults, something the media does not do very often. The experiences and lives of young people are just as important as those of adults, if not more so. We are the future.

TOW #22: "Daughters"

Daughters by Samantha Conlon is a unique perspective on the relationship between femininity and traditional roles of motherhood (and daughterhood). Conlon's project came about after she spent six months as a quiet observer to her sisters and their daughters, capturing intimate moments that, when viewed, bring about an emotional response in the viewer.

Through the collection, which uses visual elements like emotion, lighting, and color, Conlon is able to masterfully create a dialogue about the roles women play in the lives of their daughters, and the roles young girls play in the lives of their mothers.

Samantha Conlon is a female photographer & artist from Ireland whose works focus on class and gender struggles. Her works have been published in online platforms such as i-D and the New York Times, and showcase a multidisciplinary approach in viewing the world.

Conlon's aim was to "show strength in softness", and to "elevate the female experience." Her use of soft, diffused lighting gives the portraits a very intimate, casual, and soft feeling. It is reminiscent of childhood portraits and family photo albums, but in being produced for a much wider audience than close family and friends, it highlights an almost voyeuristic side to portraiture of mothers.

The use of color, mainly soft pinks and blues, places an emphasis on youth and highlights the more nurturing aspects of motherhood. Conlon brings out the childlike side of both mothers and their daughters, whether she is capturing a moment at rest or a time spent playing.

The collection embodies, for me, a childhood very similar to my own, and a motherhood that I hope to experience one day. Conlon is able to capture all of the hidden, nuanced ideas about growing up and familial ties through her portraiture. Daughters is a collection that highlights profound meanings behind the way society views femininity and growth.

TOW #21: "The Epidemic of Gay Loneliness"

This article took an extremely different perspective on the issues that pervade the LGBT community, which made it particularly interesting to read and to think about. The evidence that is used throughout the essay, much of it anecdotal, is also powerful and extremely heavy at some points. In treating common issues of mental illness, drug use, and HIV infection in the gay community as a singular, deeply intertwined issue, the author sheds a new light on the way we face these problems in the future. It also impacts readers heavily by adding a lasting message - LGBT people may never feel like they're not different from other people. Instead, it is acceptance and working with differences that leads to a healthy and happy life.

One of the most effective parts of the article is the way it does not shy away from telling raw and emotional stories of gay men. Many of the author's friends are interviewed and describe in detail the struggles they've faced throughout their lifetime, some using real names, others using pseudonyms. The details of attempted suicides, drug overdoses, and social isolation are jarring enough to show readers the dark side that comes with being LGBT. Placing these in the introduction of the article proves effective - not only to grab the audience's attention, but also to lead into the main argument - as Hobbes later interviews psychologists and researchers in an attempt to explain these destructive behaviors.

Another effective part of the article is the use of statistics, often coinciding with these emotional retellings from friends of the author. The statistics do not stand alone, and lead into the various theories proposed by Hobbes for the common feeling of isolation shared by gay men. As Hobbes discusses how "[Between 2004 and 2005] gay men showed a 37 percent increase in mood disorders, a 42 percent increase in alcoholism and a 248 percent increase in generalized anxiety disorder," he follows it up by a statement that no legal rights of gay people actually changed between those years. It was a symbolic change in society's beliefs that was outwardly shown through constitutional amendments defining marriage as between a man and a woman. This clear portrayal of the damaging effects a heteronormative society can have on gay people is created through the incorporation of research and statistics.

However, Hobbes does not end the article on a sad note, rather, a positive one. He uses a quote from a gay man interviewed in the article to shine light on the hope that remains within the LGBT community. “For gay people, we’ve always told ourselves that when the AIDS epidemic was over we’d be fine. Then it was, when we can get married we’ll be fine. Now it’s, when the bullying stops we’ll be fine. We keep waiting for the moment when we feel like we’re not different from other people. But the fact is, we are different. It’s about time we accept that and work with it.” This provides a completely different outlook for viewers, and while it doesn't take away from the heavy information displayed in the beginning, it does show how a change in attitude may help to address the problems facing us in the future.