"What a lovely throat!"

I have never been intrigued by the vampire genre. Even as a child of the ‘80s, movies like the Lost Boys and later Buffy the Vampire Slayer were lost on me. With Twilight, I am especially nonplussed as to the genre’s current popularity in this latest incarnation. Still, like any element of popular culture, there is common ground for teacher and student here. Even if teachers have to brace themselves, they must continue to employ any element of mass culture in order to reach students. An investigation into their importance in mass culture and its possible application into the classroom follows below.

The central question implies media messages about vampires are exceptionally prevalent these days. Yet, a cursory look at mass culture over the past 100 years reveals that the genre’s popularity is nothing new. From 1897’s Dracula to today’s Twilight, Western audiences have been infatuated by the undead—the latest being merely an extension of the genre into the teen demographic. What is it about the bloodsuckers that thrill us so? What appears to separate vampires from your customary monster is their charisma. Vampires in popular culture often go beyond the faceless and nameless, and may sometimes not necessarily be the central antagonist in novels, films, and music. In fact, many times they are portrayed in a sympathetic light as they exhibit human qualities and express basic human desires. It’s almost as if there are three major subgenres within: the inherently evil, as reflected in works such as Nosferatu, and the tragic in Twilight’s Edward or Interview with a Vampire’s Lestat de Lioncourt, and even the endearing with Count Chocula or Count von Count! So, it seems that these “monsters” have more layers of sophistication than the mindless stalking of a Michael Myers or Jason Voorhees. In those examples, we may be briefly sympathetic with them for whatever tragedy drove them to evil. Still, our contemporary vampires not only evoke sympathy, but also are often the protagonist! Further, the traits that make them a monster are merely a backdrop to typical human wants and fears. Examples of this include a recurring theme of innocent females’ physical and emotional attraction to “bad boys,” and vampires certainly underscore this. Humans also seek meaning to their lives, while today’s vampires seemingly would give up their immortality et al just to be human. Another human desire is both truth and an easy way out of a supposed inextricable situation—stakes through the heart, daylight, and even garlic are all ways to at least keep them at bay. I suppose that another reason that makes Twilight and True Blood so popular is that humans (women in particular) can commiserate with feelings of helplessness in romantic love. Built into the male vampire character has a fundamental incongruity with a normal human female, this cultivates the “star-crossed” lovers archetype no one era can claim. Here, the male lead must give up much in order to be true to his female human counterpart. Whatever the context, increasingly we see these themes pervade in the vampire genre even as other "horror" movies become ostensibly more and more about sadomasochism.

These themes lend much to the classroom. Certainly teacher of literature can prompt students to investigate what makes the vampire myth so different from other media of the horror genre. Can we even put many of these contemporary examples in this category? As a teacher of Social Studies, I have a particular interest in what drives human obsession with these myths. Surely it would be reasonable to ask students to research the vampire archetype throughout a variety of cultures and eras. What does their view or portrayal say about their time and space? About ours? For example, the Nosferatu film, to this educator, tells us much about the fears of many in postwar Germany. As we study postwar disillusionment, what better way to underscore human suffering and trepidation than to analyze Schreck's haunting portrayal of the titular character? At the same time, what do our current representations say about us!?

"...in these times of compassion when conformity's in fashion..."

I read with great interest the outline of American fashion styles from the end of the First World War to the present day. As clothing is yet another component of popular culture, there is a lot of common ground for teacher and student here. Clothing may tell us much about the I start with a reflection of my clothing choices about 10-15 years ago (when I was in high school); also discussed is the application of fashion to the classroom.

My time in high school coincided with the rise and fall of the "grunge" fashion style. Among other trends, we emulated key figures of the '90s Seattle Sound with baggy jeans, flannel shirts, and Doc Martens shoes. To us, in part these clothes reflected comfort and warmth. Yet the subtext of this style was one of non-conformity to the stiffness and blandness of the decade previous. Many of us viewed fashion styles of the '80s as the quintessential "preppy" motif. While the '80s saw tight jeans pinned at the cuff, white sneakers, and big sweaters, we rejected those in favor of comfort. At the same time, it was almost as if we lost ourselves in, and hid behind, layers upon layers. Yet, as with most of the styles discussed in the article, the anti-fashion may soon ironically become the preference for the mainstream.

Such is the power of fashion styles to both portray and betray perceptions of popular culture.

As a teacher of United States history, I feel that study of the fashion component of popular culture may give unique insight into social trends in each era. An early example of the importance of fashion as a reflection of a unique American ideal can be seen even in the most trying times of the Revolution. I make sure to remind students that as Benjamin Franklin was dispatched to the French capital to gain diplomatic, financial, and/or military support, the Parisian aristocracy was fascinated by the American style he projected with his clothing choices. The nobles appeared outdated and priggish relative to Franklin’s fur hat and plain suit. Here was one of the wealthiest and celebrated Americans; and to the French his intellect betrayed his common dress. Now, whether his fashion style truly reflected his sentiments is still debated among many. In any event, some argue that Franklin's persona and his clothes as part, helped persuade many in France to formally recognize American independence and offer their full support.

So, what does this mean for the teacher? The above anecdote is one of many ways to get students to understand how important messages can be projected just by one's style of fashion. Whole lessons can be built around how the narrative of history and fashion overlap one another. Do those in history have any parallels with us when it comes to how fashion either drives or reflects trends in clothing styles? What do these choices tell us about social folkways; as in what it may take to conform to expectations? How do our choices compare with those in other cultures? Do clothing choices interfere or enhance a student's experience at school? The opportunities to connect the classroom with the student's outer world are many and varied here.

Toys in the Classroom?

The compilation of 80’s toys commercials stirred great memories. I do recall many of those ads, and the days of playing with GI Joe, He-Man, and the like. Those types of toys gave way to virtual worlds with the arrival of home video games. While I consider the "cultural meaning" of my experience with toys, I do remember how these two distinct phases have relevance to expectations for middle-class white youth. Moreover, toys, like any element of popular culture, have seemingly endless possibilities for educator and student to engage.

My most vivid memories as a child and his toys have a recurring theme. From green Army men fixed in various poses and Old West style cap guns to GI Joe's sophisticated U.S.S. Flagg, most of my toys related to guns, violence, or other things that allowed me to engage in masculine play. In fact, anything with a hint of feminine qualities or at odds with these traditional assumptions was met with disdain. The greatest example of failed marketing was a product named My Buddy that, to my friends and I, was nothing more than a doll. Between Lego castles and fake guns, my toy experience revolved around reinforcing gender roles. Even at school, these impulses manifested themselves in drawings of war scenes and weapons. As I grew older, toys such as action figures gave way to video games. Still, the theme of my favorite games were the same as the toys I enjoyed in my early childhood. As video games became increasingly popular, there was a change in the amount of time spent with friends. In one sense, the games would bring friends together. Yet, overall "play" became a more independent venture.

As a teacher looking to integrate more elements of popular culture into his classroom, I found that a reflection of my own toy experience has some potential applications. As we continue to explore how popular culture reflects our collective values as a society, an appropriate learning exercise could give students an arena to assess current and past trends. For example, I would first ask students to reflect upon their own experience with toys by brainstorming a list of their favorites. Then, they would discuss reasons why they were driven to those particular toys. A recurring theme is leading students to consider the accuracy and fairness of issues such as race, class, and gender. The possibilities are many as the students may consider a variety of questions. What do the toys that you played with tell you about yourself? Did they reinforce or challenge traditional assumptions about “normal” behavior in children? Were toys that you were attracted to the same as those you received as gifts? Are toy choices an accurate reflection of our collective interests? Are there enough opportunities for minority groups? A discussion of issues related to play and toys can unlock more commonalities between student and teacher.

I'm Lovin' it?

Chapter 14 discusses the evolution and implications of modern food on our society. If we are to believe the authors' assertion, interesting is the development of food from a social and familial shared experience toward a taxing chore.

What is striking are the actual numbers that support the prevailing belief that there is an unhealthy relationships between women and their food. While "health" has different definitions over a variety of eras, it certainly appears that contemporary American women in particular have some questionable standards to live up to. Moreover, our vision of "health" is so skewed that women will engage in unhealthy, and even life-threatening, behavior in order to appear "healthy"! Most frustrating is that these standards appear to be set by fashion designers, corporations, and others who are otherwise out-of-touch with what stands for human health and beauty. The authors cite statistics about average model heights and weights--and this reader's reaction was one of frustration. I defy those who put models of above average hight and below average weight to poll your typical adult male. How can the populous take back "popular" culture and demand that the standards for health and beauty return to more of an accurate reflection of our interests?

Another interesting topic outlined in the chapter was the relationship between "big food" and weight loss programs. Often times, these two seemingly polarized entities actually are intertwined. The authors insinuate that some food corporations may benefit on either end of our society's tendency towards "yo-yo" dieting. This conspiracy, whether orchestrated by the same corporate machine or not, may have some truth. Some food interests have Americans salivating for the newest pizza technology that crams in more cheese--and the next commercial makes us feel terrible about our body image. While "big food" continually delivers more taste, "big diet" drives us to regret giving in to our desire for that latest and greatest in taste.

The implications for schools are far-reaching. For one, schools currently have to balance the cash cow of vending machines with the responsibility to teach students how to care for themselves. If students will drink soda and eat candy bars anyway, is it right for schools to provide these in the era of budget crises? If food had traditionally been a social experience, it may behoove schools to use nutrition to teach good choices and build relationships. Secondly, how can teachers use media messages about food as learning opportunities for their students? Lessons may involve researching primary sources in television, movies, and the internet and discussing the standards set forth. Who decides heath? Who decides beauty? What about other controversies surrounding race, class, and gender?

Andrew Eschle

10h Grade Advanced Placement U.S. History

Part of Unit 6; Day One: After the Exam

Lesson: Allegories as historical interpretive tools

Central Questions:
How can popular culture help us interpret historical events?

Learner Outcomes:
Students will be able to:

1. Understand the controversy surrounding historical interpretation
2. Understand how allegories can apply to history
3. Develop skills working in small groups
4. Create a comprehensive presentation

Materials needed:
Classroom space; computer lab with internet access; library materials; visual aids

Developmental Sequence:
Anticipatory Set:
Instructor asks students to recall specific characters from the movie The Wizard of Oz. Instructor guides discussion about allegorical connection to populism.

Body of the Lesson:
1. Instructor describes project to students
a. A rubric will be provided which includes
i. Clear expectations for student involvement in groups
ii. Clear expectations for quality of educational product
2. Instructor divides students into groups of five
a. Groups are given a choice of historical eras in which to analyze
1. Colonial history
2. American Revolution
3. Young Republic (1800-1825)
4. Jackson and Expansion
5. Crisis of Civil War
6. Reconstruction
7. The West
8. Rise of Big Business
9. American Imperialism
10. Progressive Era
11. 20th Century Foreign Policy
12. 20s and 30s
13. Cold War
14. 50s & Civil Rights
15. 60s & Vietnam
3. Students draw from popular culture to brainstorm possible connections
a. Students may choose any cultural product from visual or audio media
4. With instructor feedback, students pare down list and arrive at a consensus
5. Students begin work on construction of project

Assessment:
1. Teacher assesses student understanding throughout lesson.
2. Eventually, students will deliver presentation to the rest of the class.

Dear Parent and/or Guardian,

I would like to take this opportunity to tell you about a key component to your student's learning experience. In this class, U.S. History, we often use popular culture as a baseline for understanding historical issues in society, the economy, politics, and diplomacy. While we certainly use traditional methods of content delivery, we intend to include samples from both historical and contemporary movies, television, music, the web, and the like. Part of our approach is to make as many connections as possible to your child's life outside the classroom.

We'll seek to explore this relationship in many different ways. Your child may be asked to view historical examples of popular culture. Examples may include patriotic music throughout or country's history compared to today. Popular culture reflected in music may be a great opportunity to discuss the controversies each period of study contains. Another way in which we integrate popular culture into our class is making judgment on what our society values. Popular culture may act as a backdrop to discuss the accuracy and fairness of issues such as race, class, and gender.

You may do your part at home to reinforce continual learning. Take every possible opportunity to ask questions about what judgments your child is exposed to in the various things they see and hear as part of their daily experience. Between fun and a healthy appreciation for critical analysis is a chance for growth.

Yours in education,
Andrew Eschle

Sex, Drugs, and the Honor Roll?

As a digital native, I also have a personal connection with computer-generated teaching agents. I remember well learning along with Garry Kasparov in Gambit, a chess simulation from the early 1990s. Kasparov would chime in with feedback depending on the moves the user would make. A far cry from the CPAs described in the interaction article, the feedback would come in the form of a black and white video clip of a few seconds. Kasparov's comments ranged from admonishment to exultation at the moves of a chess novice. I did react with self-satisfaction when Kasparov gave me real-time postive responses to my improvement. Accordingly, I remember at times yelling at the computer screen or worse if the response was disparaging. Certainly, I expressed myself differently than I would have if a human chess tutor was providing instant reinforcement.

Despite my hunch of how students would react to CPAs, the article on interaction with computer teaching agents was fascinating for the reader. Not surprising was that there was abuse--surprising was its prevalence. That 35% of the interactions were off-task is troubling. What's more, that 40% of those were sexually explicit is shocking! (Veletsianos et al, 297) Certainly, these results tell us much about what may be on the mind of students at any given time over two class periods. Now, it's human nature to look at the world as tests of power and domination, so that students would test the knowledge and shrewdness of the agent is expected. Though the CPA is intended as an aid to the student, many use the interaction as an opportunity to treat "her" as a sex object.

As a teacher in his fifth year, a couple major things bother me about the article. Teaching high school is often about setting appropriate boundaries for students. Physically and emotionally, adolescents are still developing the skill of making wise decisions and separating school from the outside. Instead of humoring students about killing being wrong, respect, or sexual relations (298), why doesn't the program simply ignore the students' absurd input? Each response from the agent begs another inappropriate salvo. Couldn't the instructor be alerted of any of this misbehavior? Secondly, why must anonymity be preserved for a lesson about urban geography? Any student misusing the computer can be redirected immediately. In fact, transcripts of student/expert interactions should be a requirement for any teacher looking to improve instruction for the future.

This, of course, brings us to the implications of both the use of CPAs and these specific results for the educator. If a transcript is made available, the teacher can look for key trends in student questions and adjust instruction/expectations for future lessons. Students may be unwilling or unable to present these questions directly to the classroom teacher. By anticipating where and when students may run aground, both the agent and the instructor can better facilitate student learning. Perhaps there is also a psychological or sociological application for the CPA as well. Besides a lesson on Urban Geography, could students appropriately explore issues and ask questions they may be reluctant to ask an adult face-to-face?

Up Up Down Down Left Right Left Right B A Start

The three articles regarding Video Gaming stirred great memories. As a gamer in my youth and now an educator, I can see common ground between the two. Those of my generation growing up in Minnesota may think of Oregon Trail, Odell Lake, or Number Munchers with great nostalgia. As a student, I remember how "Computer Lab Day" was seen as a break from the grind of the usual class schedule. Even though games such as these were rooted in content, the ability to manipulate characters made the experience enjoyable and memorable. Outside of school, as a youth of the Nintendo generation I explored many computer-generated worlds. Games such as The Legend of Zelda, Deja Vu, and Super Mario Bros. required me to take risks and solve problems. Contemporary games obviously have countless more layers. Presumably, today's gamers enjoy more sophistication and overall depth, but what is required of the user has largely remained the same. Over time, video games have demanded players to manipulate their environment, confront their own actions, and make moral choices in order to achieve the objective.

These themes have interesting implications for educators. Both the games themselves and the issues they raise can aid student understanding.

First, lessons and curricula may be repackaged in a video game format. As stated, I look back fondly on days spent in the computer lab. Most importantly, games such as The Oregon Trail are rooted in content--at the same time they require the player to make logical decisions and they are reactive to those actions. A contemporary game, Making History, updates these challenges and has players consider social, political, economic, and diplomatic implications of each action. Now, even if educators don't have access to these specific resources, they may borrow important lessons from the video game genre. For example, educators could repackage historical controversies. The lesson would be created so as to react to the actions of the students. What decisions and actions led to United States involvement in World War One? Students act as "players," where their movements affect the actions of other characters and manipulate their environments.



Second, video games, like any element of popular culture, are up for a discussion of societal standards. As implied in the Genderplay article, video games offer a wealth of controversies. Many and varied discussions could be derived from the gaming world. Obviously, gender issues as a reflection of overall popular culture could be explored. Today's games may offer to the classroom interesting investigations of heroism and redemption, as in Max Payne. The Grand Theft Auto series also deals with issues such as gender roles, but also begs questions regarding racism, loyalty, and moral quandaries. What better way to engage students on weighty issues such as these? Educators constantly look for ways to connect beyond the classroom--video games connect learning directly to the student's television or computer monitor.

First, asking me to go to a bar is not wholly unreasonable.

I went to a local (Rosemount, MN) establishment I frequent quite often with the primary purpose to interact with peers from both my private and work lives. I was also able to consider the academic task--to observe themes of behavior among males. Several themes emerged as the evening wore on, and I continue to reflect on the application of this perspective to the inclusion of popular culture in my classroom. I observed males acting competitive, loud, and constantly adapting their behavior depending on the gender of their counterparts.

A recurring theme was a competitive trend among the men. Certainly, video games and pool tables are intended to attract the attention of male patrons. Throughout the evening, about half of the hunting and beanbag simulations were occupied by male small groups or individuals. A few groups were playing pool, though some women were mixed among them. I observed and overheard competitive ribbing and other behaviors at various times. These instances ranged from celebrative exuberance to loud swearing. While competition was presumably at the root of a lot of interactions, the vibe of the bar was still cheerful. The women in the group seemed to enjoy themselves and even joined in occasionally.

A second difference between male and female behavior was the volume of verbal interactions. This is not to say there weren’t some enthusiastic women in the establishment, but primarily men seemed to control the noise level. Again, much of the noise was related to a competitive, yet jovial, atmosphere. Men were more apt to shout across tables, sections, and even the entire bar to interact with other males.

A third difference I observed was chameleon-like behavior among many males. Men who claimed they were single appeared to speak and act differently to their male friends than to females. They were more attentive and seemed more engaged in conversations with women—even those clearly spoken for. Whether out of respect or ulterior motives, some men seemingly could switch on and off behaviors I assume women would find boorish.

That evening I spent a good deal of time observing and trying to arrive at conclusions about male and female behavior. I look forward to comparing the assumptions about each gender’s interactions and image—but more importantly how they apply to the classroom.

The Mall as the Capitalist Utopia?

Personally, I do find shopping malls a depressing place. I assume this primarily because, as the article suggests, their ideal demographic is a white upper middle class mother. Among the colors, smells, and sounds, it is clearly not the place for a male born in the late ‘70s. The life they promise is certainly not one I would buy into. Nothing about the mall appeals to me; and my wife does not even bother to ask anymore.

This is not to say that shopping malls are not a necessary evil. In fact, one could trace my fashion history using the mall directory. From J.C. Penny, Eddie Bauer, The Gap, Express for Men, and now to whichever store may have a sale, I adapted to the expectations of a male my age. I saw tastes acclimate to the assumptions of retail marketing rather than the true wants and desires of my peers and me. Moreover, as a youth, our local mall was a place to escape and ultimately interact with your peers. For my generation’s parents, the mall served as a break as well. Now that the mall serves no social or image function, I no longer need it.

While I agree with the article’s assumption that malls should not be regarded as a community’s center, they do have value. Warts and all, they continue serve as a common destination for America’s teens. Unfortunately, this is incongruent with ultimate goal—to perpetuate the myth of material utopia and make a profit. Both price points and mall security serve to shoo our youth away, and want them back when they can become lifelong consumers. The fact remains that the options for American youth are limited due to a variety of factors.

The article certainly paints a dreary landscape for suburban America. Yet, as educators looking to tap into popular culture as a learning instrument, the mall as a setting provides a wealth of resources. Immediate applications can have students placing historical figures in contemporary situations. Teachers can also facilitate real-world applications involving society’s portrayal of age, race, class, and gender.

I immediately thought of the 1987 film, Bill and Ted’s Excellent Adventure, in considering the mall as a backdrop for historical discussion. Students could consider the thoughts and actions of history’s heroes and villains in today’s society. This would allow for direct association with the world outside of the classroom. Would, for example, Founding Fathers such as Benjamin Franklin or Thomas Jefferson be content with our present condition? Would they think the shopping mall serves the same function as a center of community than the tavern did in revolutionary America? Moreover, would Alexander Hamilton, as the father of American School of Economics, find value in the mall as part of his vision for the countries self-sufficiency? A Socratic discussion could follow these central questions.

As the shopping mall purports to reflect the ideals of a capitalist economy, the article asks if consumers have a say in the creation of the ideology itself. Teachers who wish to better understand the importance of the inclusion of popular culture in the classroom must consider the weight of this question. A study of the mall as truth vs. myth could uncover students’ own perspectives about values on which a community is based. What does, for example, the layout/design of Sears’ tell us about the role of women as mothers and wives. Is the mall truly indicative of our community’s principles? Is there an expectation to live up to these ideals? What might it take to achieve this? What is lost if this fantasy isn’t achieved?

Truly, the inclusion of the students' own landscapes into the classroom provides common ground on which to investigate the accuracy of the retail world's vision of utopia.

Gender Roles and Popular Music

*WHOA THERE. Below lies material which some may find offensive. Be extremely cautious if you explore the links. Put the kids to bed first.*

What follows are thoughts on popular music as both a reflection of gender identity and roles, and the possibility for songs to act as vehicles for social change. Three sources are the focus, and each are insights into the status of both men and women of their era. First is a rough outline of each source, and this is followed by an overall commentary on issues such as sex, power, and youth.

The first document, Lesley Gore's "It's My Party" (and sequel "Judy's Turn to Cry"), may tell us much about gender identity in the early 1960s. Like many mainstream pop songs of the era, it was written by middle-aged men and directed at baby boomers--by now teenagers with buying power unmatched by previous generations of adolescents. The song describes the dashing of a young girls romantic hopes at the worst possible time. Johnny, the object of the singer's affection, has reneged on his promise of a ring and even left the party with another female. She is left to throw a tantrum and directs party-goers to continue their festivities. The live performance* has Gore in front of several back up dancers, young females complete with handkerchiefs at the ready.


The second video, Fiona Apple's "Criminal," also brings gender issues of the mid-'90s to the fore. Written by Apple herself, the song describes the female narrator's inner conflict between love and lust. She must process her choices at the same time she attempts to rationalize her behavior. The official video release seemingly projects this discomfort and turmoil upon the viewer. Remnants of a binge of food, cigarettes, and alcohol is the backdrop for the sexual orgy that took place the night before. Yet here, Apple herself is both the voyeur and the sexual object.




The third source is Lil' Kim's "How Many Licks," and may suggest how far gender issues have evolved since the second half of the last century. Also written by the artist herself, the song is a riff on how the narrator has become the object of sexual desire for countless men. She gives a cursory outline of her sexual history and even the sexual qualities and attributes of those men. The video shows Kim as the template for a series of dolls, the subject of a racy pictorial, and the focus of a dance routine that spotlights her desire for oral sex.



Each of the sources give unique perspectives on how women and men interact in each time period.

The overall theme of the videos is a struggle for identity that ultimately stems from control. From Gore to Kim, power seemingly has shifted as females have more often exhibited domination over men as time passes. On the surface, one may assume that women were devoid of strength in male-female relationships. Yet, this power manifests itself in a variety of ways. In "It's My Party," the narrator (recall that they are middle-aged white men) has allowed the male object of her affection to irrevocably ruin her special day. It is Johnny's blatant disregard for both the singer's feelings and party etiquette that that drives her to tears. Clearly it's Johnny who determines the well-being of the singer and the course of the evening. This apparent command over her culminates in the ultimate symbol of possession--Judy wears a ring originally intended for the narrator. The listener/viewer is left with the bad news, that is until the sequel. In "Judy's Turn to Cry," the singer gets her revenge on both when she "kissed some other guy." This provokes a violent reaction by Johnny, and she gets her man and the opportunity to relish in Judy's heartbreak. What's more, we get an update on who really controls the relationship in "You Don't Own Me," a Gore release the following year. By now, the singer's role has evolved is to stand up to a would-be abusive boyfriend. Themes of personal freedom, women as trophies, and projecting change on your partner stand in stark contrast to crying over Johnny. In fact, the men remains nameless. In "Judy's Turn," the other guy is an object she uses to exert control over the other three characters. The Gore trilogy clearly demonstrates the leaps and bounds women--even as teens--have taken since the days of the "Tennessee Waltz" and "A Guy is a Guy." Possibly, these trends regenerate and emerge in the 70's with Carly Simon's "You're So Vain".

Identity as control is reflected in the other sources as well. In "Criminal" and "How Many Licks," the control exerted by the female narrator is even more blatant. Fiona Apple's take on the issue shows a young woman torn between her heart and her body. Hers is a '90s take on groundwork laid by Madonna throughout the '80s in videos such as "Express Yourself". She has gone beyond Gore's standing up for herself and acted on physical needs that don't fall in line with her emotions. She also demonstrates total control over the "one [she's] sinned against" as he is blind to her affairs with other men. He is possibly her soul mate, but nameless and faceless in song and video. She expresses remorse, but will she stray physically again?

The theme of gender and control has Lil' Kim turning roles completely upside down in "How Many Licks." A '00s update on Salt-N-Pepa's "Push It," Kim makes her message clear: men are objects--not of sexual desire, but of sexual function. Men are referred by their sexual attributes and how they serve Kim. Though the video's theme is Kim as a product, make no mistake that she runs the operation and we are responsible for keeping her happy. Marketing herself as a doll and a pin-up model is merely quid pro quo for the satisfaction we give her. Here, of course, is the female take on hip-hop stereotypes of the degradation of women as simply sex objects, as in 2 Live Crew's "Me So Horny."

Sex as control is a recurring theme in the documents. As time passes, sexual messages that begin as merely hints require no decoding by the time one gets to Lil' Kim--but they still suggest themselves in the earlier eras. After all, what were Judy and Johnny while absent from the party? Moreover, Gore uses physicality to prompt Johnny's reaction. In the '90s, blatant sexuality is the theme of Apple's "Criminal." The viewer is even confused by the nameless and faceless bodies that litter the dirty apartment. She has used sex to dominate as she reflects on self-loathing; after all, it's a "sad world when a girl will break a boy just because she can." Apple even controls the viewer as clothes are put on and off with each cut. We are left to reconstruct the previous night as clues emerge in waves. How far did she go? How many? Is she bisexual? Etc. Kim's use of sex as control requires less analysis on the surface. This is a woman who demonstrates blatant honesty in the quest for sexual satisfaction. She has one thing on her mind, all others need not bother.

Youth as control is a final theme here. From Gore to Apple, we see young women evolve from unable to control their emotions in front of their peers, to those who hold the soul of men in the palm of their hands. In fact, the theme in "It's My Party" may evoke in the listener the desire to pacify the narrator and ease her pain. The viewer of "Criminal" still struggles to make sense of the singer's actions. At the same time, one wonders if control has extended to this youthful character in the form of physicality. This author, for one, felt discomfort as many scenes alluded to the age of the narrator. In one, a stuffed animal was present, in another, she removes clothing and reveals her small frame. The viewer remains confused--and one point mortified--that they believe they see evidence of more than just sexual indiscretion. As for Kim, her youth is preserved for posterity as her youthful looking body is recreated in plastic form. She need not worry about aging, and neither do her suitors.

Each example, and countless others, may act as a barometer of how gender roles have developed over the last half century. What's clear is that as time passes, more blatant expressions of the seemingly endless competition for control between the sexes manifests itself in our music.

"...the education that matters today..."

Thoughts on Tooning In: Essays on Popular Culture and Education
Chapters 1-3

What is it? The book jacket indicates therein is a collection of essays which "examine and interpret" the meaning of popular culture. Further, the essays center around the fundamental belief that popular culture is an integral tool in teaching and learning.

Reaction to Chapter 1: Tooning In
The first chapter appears to focus on a justification for the inclusion of popular culture into the traditional curriculum. As a classroom teacher, my initial reaction to the first part the chapter is a healthy skepticism. It is difficult not to feel defensive in the face of the authors' characterization of contemporary classrooms as places where there is no "hope for critical thinking or problem solving development" (2). All this aside, though I make countless attempts to include meaningful student-centered activities and lessons, I know I am MILES away from where I would like to be. I also agree that some in education downplay the possibilities of integrating more popular culture in their classrooms. Still, I am looking for more strategies and tactics to move away from teacher-centered models of content delivery and skill building, and this does not happen for several pages. Perhaps as a digital native, I have no reservations about a student-centered curriculum, and do not require as much justification as the authors' provide.

Another main idea outlined in the chapter is the power of music when appropriately implemented into the classroom. Music as the archetypal reflection of past, present, and future societal trends may allow students more opportunity for engagement. As a Social Studies teacher, I agree with the point the authors make about music as much more than a reflection of societal trends--they can actually act as a "catalyst for critical social efficacy and societal change" (10). For example, in my own class we discuss the implications of early Bob Dylan on American society rather than simply pointing out that this is one man's observation.

Reaction to Chapter 2: The Spiderman Curriculum
With great interest I was happy to see the focus of this chapter is popular culture in the Social Studies. Under "Popular Culture as Pedagogy,"I agree about the utility of emotion in the classroom to allow learners to attach themselves to content. Sesame Street appears as a ready rebuttal to any doubters of the positive influence of popular culture in a learner's development. Later in the chapter, the discussion of hidden messages within SEMs and other commercial materials appears to be a learning opportunity in and of itself. We can use these materials to teach students the importance of healthy skepticism and identifying bias, hopefully reverting back to a postmodernist belief in active citizenship.

The discussion of the Disney issue fits in with part of my curriculum about the search for historical "fact". Students are often given (teacher-centered, I know) several primary and secondary sources dealing with a controversial issue. This week, it's the treatment of Christopher Columbus as hero or villain. We may look at historical sources such as Columbus' journal or the work of a later detractor, Bartolome De las Casas. This chapter has prompted me to include more contemporary perspectives on the issue as the next logical step. For years, I believed the inclusion of film clips such as those in 1492 or The Discovery would cloud my students' judgment of the issue. However, contemporary characterizations of Columbus tell us much more about values and prejudices in our own time than they may about the man himself.

Reaction to Chapter 3: Critical Media Literacy
The third chapter's introduction makes an interesting point regarding the negative view many have about today's culture. Certainly, narcissism and questionable value determinations pervade much of popular culture, especially in terms of gender, racial, and class issues. Still, it is short-sighted to disregard today's culture as a whole as completely valueless (31). Moreover, to adequately prepare young adults for value crossroads they may face in later life, they must deal with real world issues throughout their schooling. Popular culture is not a monolith--we must be confident to pass down the ability to make value judgments--not just values themselves.

Also notable is the handling of "multiculturalism," an educational buzzword that is increasingly on the lips of many education professionals. I was impressed with the depth the authors provided on what this term means to different groups. I have been uncomfortable with those who define multiculturalism as the inclusion of "heroes and holidays." While their attempts may be in good faith, we are missing countless opportunities to move "away from the old ideas and towards [a] new attitude" where "conflicts build cultures and democracies" (34). This is my vision of a complete Social Studies curriculum, one where the focus is controversies which are always directed by content.