Posts Tagged: anne helen petersen
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The Unlikely Ultimate Insider

"Sway says that while West Coast audiences were familiar with the idea of an Asian-American hip-hop expert, in 2003 New York, putting Oh on air still felt like a risk. 'After she started, I would always try to get her to come out. But it took her a second before she was ready to show the world, "This is who I am, this is what I look like." ‘Cause mentally there was maybe a small concern that people might react because she was Asian.'"

—BuzzFeed's Naomi Zeichner profiled Minya Oh, a.k.a. Hot 97's Miss Info, who, 20-some years in, is "used to being the only Asian person [...]

74

Talking to Anne Helen Petersen About Leaving Academia for BuzzFeed

Did I hear this headline correctly? 

YES: I’m leaving academia. And second: I’m leaving it for BuzzFeed—more specifically, to be a full-time features writer at BuzzFeed.

[8 minutes of screaming redacted] Well, I am chock full of emotions but this talk is resolutely not going to be about how much the Hairpin is going to miss you, so let me first ask: how are you feeling right now, and how long has this been in the works?

I am feeling totally excited and totally terrified. I’ve known for some time that my work, and the sort of audience I love writing for, is not a very good fit for academia, [...]

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Internet Work and Invisible Labor: Suri's Burn Book and the Celebrity Offspring Economy

This interview series aims to make the “invisible labor” of web production visible. Over the next few months, I’ll be talking with a wide variety of content producers, exploring the dynamics of their own form of web production, how they mix that production with their “real” lives, and the various forms of gratification they receive from the work that they do. In short: how do you do what you do, and why do you do it? Talking about the realities of labor isn’t narcissistic. It’s political, it’s progressive, it’s feminist. It’s also totally fascinating.

Feel free to pose additional questions in the comments.

Allie Hagan is the author of “[...]

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Internet Work and Invisible Labor: An Interview With Summer Anne Burton

This interview series aims to make the “invisible labor” of web production visible. Over the next few months, I’ll be talking with a wide variety of content producers, exploring the dynamics of their own form of web production, how they mix that production with their “real” lives, and the various forms of gratification they receive from the work that they do. In short: how do you do what you do, and why do you do it? Talking about the realities of labor isn’t narcissistic. It’s political, it’s progressive, it’s feminist. It’s also totally fascinating.

Feel free to pose additional questions in the comments.

Summer Anne Burton spends her [...]

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Rigs to Drive to High School From 1996-2000, Ranked

13.) THE FORD RANCHERO YOUR DAD BOUGHT FROM AN AD IN THE MONEYSAVER, BLUE

12.) YOUR GRANDPARENT’S OLDSMOBILE, MAROON

11.) YOUR MOM’S ASTRO VAN, GREY

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A Certain Amount of Suffering: On the Women of True Detective

Something happened last week in the True Detective response ether: up to this point, online discussion had mostly rotated around the McConnaissance, the aesthetics, or the thickening mythology. But we woke up last Monday to a slew of pieces on the treatment of women on the show—see Slate’s Willa Paskin, and

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Internet Work and Invisible Labor: An Interview With a Virtual Assistant & Publisher

This interview series aims to make the “invisible labor” of web production visible. Over the next few months, I’ll be talking with a wide variety of content producers, exploring the dynamics of their own form of web production, how they mix that production with their “real” lives, and the various forms of gratification they receive from the work that they do. In short: how do you do what you do, and why do you do it? Talking about the realities of labor isn’t narcissistic. It’s political, it’s progressive, it’s feminist. It’s also totally fascinating.

So read on, and please feel free to pose additional questions in the comments.

[...]

14

The Engagement Phone Cover and The Wedding-Industrial Complex

Let’s start with some statistics.

Cost of the average American wedding in 2012 = $27,000 (not including Honeymoon).

Cost of the average New York wedding = $65,000.

Median U.S. income = $45,000.

Dollars generated by the wedding industry every year = $30 billion.

That includes dresses, elaborate engagement photos, groomsmen gifts, monogrammed handkerchiefs, signature cocktails, bachelorette parties. The soul/love/capital crushing process has been dubbed the “wedding industrial complex,” a cold term that connotes just how effectively capitalism has insinuated itself in an institution supposedly characterized by love and other priceless emotions.

The wedding industrial complex is not without its detractors: Jezebel has entire category devoted to deriding it [...]

2

Let's Take a Road Trip

Between Walla Walla (my current town) and Lewiston (my former town), you pass through the bottom of the Palouse, with miles of undulating wheatfields that gradually turn from vivid green to gold, move into the foothills of the Blue Mountains, and climb to the top of Alpowa Pass, where, in summertime, the spiraled hay stacks spread out for miles. It’s not a scenic byway, and no traveling retirees divert to Highway 12 on their North American trek, but it’s the most exquisite landscape I know—in no small part because I’ve driven it more than 300 times. Like so many of the old highways, it was originally a wagon route, and [...]

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The Real Fantasy of Downton Abbey

Warning: light spoilers.

Bitching about Downton Abbey has become a new cultural pastime: It’s horrible, it’s melodramatic, Julian Fellowes is a hack, if they kill one more person I’m quitting for good…..

….and yet we don’t. It’s like the Valentine’s Day candy corn I’ve been devouring for the past week: so cute, so sweet, so makes me want to barf. But I can’t resist! Here I am, even paying for episodes so that I can watch at the gym, even though they’re available on public television. Usually, we watch a show once it’s gone bad for one of three overarching reasons:

1) Emotional investment in the storyline;

or

2) [...]