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.

TOW #20: "America's Best Picture? All of Them"

This article, published in the New York Times, is an introspective look at the film industry in 21st-century America, and what the art we produce says about our culture. The article makes strides in defining what exactly we as viewers value through the films we watch, particularly those nominated for Best Picture at the Academy Awards.

The argument the article makes aligns similarly with my own - as a culture, we are valuing black art and cinema more heavily than we have ever done before. This is a big step in taking over a white-dominated sector of culture. Movies like Hidden Figures, with three black female leads, and Moonlight, with a portrayal of black LGBT+ men, are making strides towards representation and equality in media. People of color are getting more and more opportunities to be on screen and write and direct their own films, which makes me incredibly happy.

The article also makes connections between the different stories portrayed within the films to the diversity of America -- suggesting that maybe what we need is not a unified America, but an America where differences coexist and intersect, weaving a portrait of diversity and strength through individual stories. It ends with the line: "If you really want to find out what America looks like, you have to watch all of them." This struck a chord with me, as a lot of people throw their support behind one movie or another for the Oscar. All of the nominees coming together are what make America.

Film has always been an inspirational medium to me, and seeing the amount of diversity that was portrayed in the Academy Awards was compelling. Now, more than ever, we need people to see the story of America -- not in the historical sense, but in the deeply personal, social sense. Movies like Moonlight, Fences, and Hidden Figures are incredibly important ones. Just as social change is often the driving force behind film, film is the driving force behind social change.

TOW #19: The Mile High Promise, And Risk, Of School Choice

The Mile High Promise, And Risk, Of School Choice is an editorial published on NPR by NPR Ed, a branch of NPR dealing with education and schooling in America. It discusses the merits and drawbacks of school choice being proposed by Secretary of Education Betsy DeVos -- and how one district in Denver seems to be doing it right.

One thing that jumped out at me right away about this article was the way it seemed to use the classical model of oration almost as an introduction. They followed most of the parts, including refutatio, in the several lines that made up their introduction. This set up the rest of the article as evidence and example, and also detailed analysis. For me, this was an effective intro, as it showed they had done extensive research and already crafted an argument and thesis through that research.

The article also does a good job at establishing historical context around the occasion. The school choice initiative in Denver has been around since the end of segregation in public schools in the 70s, and was not newly implemented anytime recently. This means they have decades of experience and working on issues to make it what it is today. This was made very clear in the article, and provides a nuanced way of looking at the issues we face regarding school choice today.

Overall, the article did a wonderful job of providing the reader with things to think about regarding the issue of school choice. While it does have its merits, it also comes with drawbacks - particularly for impoverished families who lack transportation, and a still-wide achievement gap in many schools. The issues that confront us now are not new ones, and they are ones we need to think carefully about before making decisions on.

TOW #18: "We Accept"

Airbnb released a commercial for the Super Bowl that came just days after Trump proposed a travel ban on Muslim countries, making it a timely and representative advertisement of the company's beliefs and policies regarding refugees. They have a commitment to provide short-term housing for over 100,000 refugees, aid workers, and victims of natural disasters, and have committed to donate $4 million to the International Rescue Committee, which helps displaced people around the world. The ad read "We believe no matter who you are, where you’re from, who you love or who you worship, we all belong. The world is more beautiful the more you accept." This message was portrayed across faces of members of diverse groups of people, highlighting the company's dedication and commitment to diversity and inclusiveness.

The spot lasted only 30 seconds, but within that time Airbnb was able to effectively utilize visual rhetorical elements. The framing of the portraits of the individuals began with the eyes, gradually zooming out to feature other parts and eventually the full face. This small decision makes a big difference on the way the commercial is perceived. Basic features like eyes are largely the same across nationalities, religions, and races of people. Connecting the audience to this fundamental aspect of being human helps introduce the next layer of the argument: even with our similarities, we are different in where we are form, who we worship, and who we love.

The framing and way the camera gradually zooms out on the faces of the subjects makes the argument come full-circle, connecting back to the fact that even though we have differences, we are all human. The progression of the video in time to the music gradually gets faster, fading out to a screen with the Airbnb logo on it, proclaiming the hashtag "#weaccept". Rhetorically, the visual components like framing, choosing diverse subjects, and adding contemplative music all combine to create a lasting impression with the audience: one of equality and justice for all people, despite the contested political atmosphere surrounding such topics. The advertisement was, in my opinion, timely, and served to connect viewers with current political messages without being divisive.