The blog is turning five! Here’s five more reasons why I blog, and why other academics should too.
#OXYFOOD17 was a truly great food studies conference full of groundbreaking scholarship, fellowship, and California sunshine.
Drawing from hundreds of cookbooks from 1390s-1920s, the Reading Historic Cookbooks seminar taught participants to listen to the voices in these texts.
Addressing sport, identities, health, media, access, and justice, this conference provided good thinking for my own work on gender, food, and media.
I wondered how students exposed to critical nutrition studies might view food advice differently and reimagine dietary guidelines. This is what happened.
Food studies could learn a lot from a similarly burgeoning and interdisciplinary field: food design. I did at the 3rd International Conference on Food Design.
As our current political moment incites numerous protests and with them a new archive of protest posters, Megan Elias has begun a public history project—Dishing it Out: Food-Themed Protest Posters—to archive these political ephemera.
Food studies books addressing African American foodways represent a rich, important, and growing area of food studies research. Here’s a roundup of 20 books for your reading list.
Gyorgy Scrinis argues that the corporate food industry has captured, appropriated, and co-opted the discourse of nutritionism in their product development and marketing.
I’m celebrating National Cookbook Month with some of my past writing on cookbooks as texts, technical guides, objects, ephemera, historical evidence, collector’s items, keepsakes, family heirlooms, art, and symbols.
Third wave coffee continues to rock the coffee scene across the country. And here in RI you can find Cooper’s Cask Coffee, where single-origin beans are paired with the subtle, sweet notes of award winning whiskeys from Sons of Liberty Spirits.
Born in 1912, Julia Child would have celebrated her 104th birthday today. I never got to meet Julia; she died in 2004, just two days shy of her 92nd birthday. But I’ve felt her spirit. With Jacques Pépin, Julia co-founded the MLA in Gastronomy Program at Boston University, which began offering courses as early as 1991. It was one of the first graduate programs for the study of food, which Julia and Jacques adamantly believed in. In those early years, Julia defended the burgeoning course of study in the the New York Times, saying: There’s a lot more to the field than cooks piddling in the kitchen. It’s high time that it’s recognized as a serious discipline. Every matriculating BU Gastronomy student feels a connection to Julia’s legacy, her lineage. I started my degree in Gastronomy in 2011, but Julia was still there. For instance, the demonstration kitchen was built for Julia’s estimable height, making the counter and cooktop higher than standard, and a bit of a stretch for we shorter folk. Her sturdy metal stool resides in the room as well, a memento of her, and …
Yesterday, Anheuser-Busch announced plans to rebrand Budweiser as “America” from late May through the November elections. Citing upcoming events like the 2016 Olympic Games, the Copa América soccer tournament (which will be held in the US for the first time), and the fall’s presidential election, Ricardo Marques, a vice president at Budweiser, declared it will “probably the most American summer of our generation.” It’s an event that Anheuser-Busch is keen to capitalize upon, though the invocation of “our generation” is interesting as “Millennials” (if we even exist as something more than a marketing category) are some of the least likely consumers to be purchasing packs of “America” this summer. Relatedly, Anheuser-Busch aims “to inspire drinkers to celebrate America and Budweiser’s shared values of freedom and authenticity.” This latter value seems particularly contentious given the ever-increasing market share of craft beers, which trade upon (perhaps equally constructed) notions of authenticity, identity, and lifestyle. Budweiser has directly targeted this tension, as their 2015 Super Bowl spot and subsequent ads throughout the year spread a distinctly anti-craft message, which can’t be separated from the brand’s subsequent claims to Americanness. Anti-craft messaging aside, this rebranding of a national …
How do cookbooks speak? What stories do they tell—and whose? What do cookbooks reveal about power and how it operates? How do cookbooks communicate and construct gender? These are some of the questions my students and I have pondered lately in our course “Food and Gender in U.S. Popular Culture” at Brown University. For our first assignment, students analyzed how cookbooks prescribe and transgress conventional gender roles. A uniquely interdisciplinary field, food studies scholarship often employs various methods, but the close reading of cookbooks is one method that approaches universality. Perhaps that’s part of why I’ve written on them so often (like here, here, and here). I’m working with a thoughtful and engaged group of 20 mostly first- and second-year students. While most had read and used cookbooks for cooking, few had previously considered them as elements of popular culture, as valuable historical evidence, as prescriptive literature that shape notions of gender, or as sources in which the so-often-silenced voices of women and people of color can be heard. In an effort to fully scaffold and support our work with cookbooks, we first did some reading. …
I’m thrilled to have written a few entries in the newly published Savoring Gotham: A Food Lover’s Companion to New York City, edited by Andrew F. Smith. As I flip through this tome—brimming with stories about Gotham’s notable foods and beverages, restaurants and bars, historical sites and events, cuisines, personalities, and brands from throughout the city’s five boroughs—one of my favorite entries so far is on Edward Hopper’s paintings of New York City food life. Depicting at times eerily quiet moments with minimal action between human figures, Hopper’s subject matter often drew from urban sites of quotidian America life, including food spaces—modest restaurants, automats, coffee shops, and chop suey joints—which Hopper frequented often with his wife. His paintings use these culinary locales, however, to express the common themes that mark his body of work: anonymity, anxiety, pensiveness, loneliness, and isolation. Hopper’s work critiques the promises of an abundant, fast-paced, cosmopolitan life in the big city, showing how the easy availability of food and drink at all times of the day and night might not lead to contentment. Instead, it fosters dissatisfaction and unease. More isn’t better. …