It never strikes me that I'm firmly lodged in a specific demographic as much as it does when I'm watching a car commercial. Yes, I know, most commercials are geared toward the coveted 18-34 age group (which I'll be in for another four years, thankyouverymuch), and we love us some Betty White getting tackled in a backyard football game, or an indie female singer crooning about how much she loves life. (Double points if she's backed up by a ukulele!)
But now, I've got this other thing going, which is lending things a whole 'nother shade. I'm going to be a parent. And dammit if we don't all want to be the coolest parents in the world, not those old fuddy-duddy parents we've seen in other generations.
Or, so the car companies believe of us.
Almost every car commercial I've seen in the last year or so has an absolutely adorable child, either telling its parent how to use their car or rolling their eyes at how lame their (or other kid's) parent's car is. Tag line: "Just because you're a parent doesn't mean you have to be lame." We're clueless, Toyota tells us, but we don't have to be the geeks we were made fun of for being in high school! Or, we don't have to worry about becoming geeks, just because we've procreated!
It all started, of course, with this commercial, which I admittedly thought was cute.
Yes! I thought. Parents are people, too! But after several viewings, it all seems so...desperate. We like to shop! We wear hoodies! We play loud rock guitar while our children bang on the drums! We know the lingo and we're not afraid to be our horn-rimmed-glasses-wearing selves! We're not lame, and our children will love us! It is a far cry from other, older car ads, but I can't help but feel pandered to.
Ah, well. I'm just looking for a stroller that can fold up quickly enough to get on the bus.
November 21, 2010
November 20, 2010
You're Too Young To...
WARNING: MUCH THEATRE GEEKERY AHEAD!
I was at a discussion earlier this week with other amateur theatre critics (both professional theatre folks and supporters of the arts), and a panel of choreographers and music directors. The topic was what choreographers and music directors do, exactly, and how we can tell if they've done a good job.
All was well and good for a while. I don't see (or work on) all that many musicals, but I love the form, and it's always interesting to learn about other people's jobs, especially when it's something I could never do to save my life. Like, I absolutely understand what a music director does, but I didn't have a clue as to how, as a member of an audience, to tell if their vision was coming across.
THEN. The gentleman in front of me raised his hand to ask a question. He asked how the choreographers feel if their audience doesn't intimately know the historical period they've drawn from for their choreography. I get the question; it came after a statement from one of the choreographers about what happens when dance styles don't match the period of the play. (For example, imposing modern dance on a production of Singin' in the Rain.) But then, he went on to say, "I'll be 70 years old on my next birthday. My first Broadway play was...well, forever ago...I understand the history of the form. But what about these young audience members who don't?"
And I raised my hand to respond. (More after the jump...)
I was at a discussion earlier this week with other amateur theatre critics (both professional theatre folks and supporters of the arts), and a panel of choreographers and music directors. The topic was what choreographers and music directors do, exactly, and how we can tell if they've done a good job.
All was well and good for a while. I don't see (or work on) all that many musicals, but I love the form, and it's always interesting to learn about other people's jobs, especially when it's something I could never do to save my life. Like, I absolutely understand what a music director does, but I didn't have a clue as to how, as a member of an audience, to tell if their vision was coming across.
THEN. The gentleman in front of me raised his hand to ask a question. He asked how the choreographers feel if their audience doesn't intimately know the historical period they've drawn from for their choreography. I get the question; it came after a statement from one of the choreographers about what happens when dance styles don't match the period of the play. (For example, imposing modern dance on a production of Singin' in the Rain.) But then, he went on to say, "I'll be 70 years old on my next birthday. My first Broadway play was...well, forever ago...I understand the history of the form. But what about these young audience members who don't?"
And I raised my hand to respond. (More after the jump...)
November 17, 2010
Well, Hello!
Hello, blog! Long time, no see. I know I've been neglectful. Here, have a bouquet of flowers and a half-eaten box of chocolates. (What? I got hungry!) Want a foot massage?
I've missed you, baby. Been thinking about you all the time. But you know how it is when you're in a relationship with a workaholic. I hope you'll have me back...
Yay for more blogging! So, what have I been doing in my long absence?
I've missed you, baby. Been thinking about you all the time. But you know how it is when you're in a relationship with a workaholic. I hope you'll have me back...
Yay for more blogging! So, what have I been doing in my long absence?
- Dramaturging plays for The Inkwell and Doorway Arts (most recently, this past weekend).
- Taking a trip to California (happy reason: wedding, sad reason: funeral--the two were unrelated, just happened to be the same weekend).
- Going to concerts (Frightened Rabbit!).
- Seeing plays.
- Teaching.
- Learning more about the ukulele.
- Gestating!
- There will be no medical-type information. ('Cause, raise your hand if you need to know what's going on inside my uterus. Any hands up? No? I didn't think so.)
- The pregnancy and ensuing child will not be the sole subject of this here blog.
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