JOUR 458: Media, Food and Culture 4 Units

Fall 2019 – Wednesdays – 6-9:20 p.m.Section: 21286RLocation: ANN L101

Instructor: Heather John FogartyOffice: ANN Lobby or classroomOffice Hours: Wednesdays, 5-6 p.m. Contact Info: hfogarty@usc.edu; 213-364-2929 (mobile)

Twitter: @heatherjohnfog Instagram: @heatherjohnfogarty

Course Description

“Food has the power to change the world.” —José Andrés

When Hurricane Maria hit Puerto Rico on September 20, 2017, millions were devastated without electricity or sustainable access to food. It was a celebrity chef who came to the rescue. José Andrés mobilized a network of chefs and volunteers, serving more than 3.7 million meals to Puerto Ricans and close to 20 million more in response to emergencies in Haiti, Peru, Houston, California, Indonesia, Guatemala, Mexico, Florida, Mozambique and more, changing the model of disaster relief and food aid and earning Andrés a nomination for a Nobel Prize. Food matters. Food has the transformative power to create bonds and connections, but it can also segregate communities as much as it can bring people together. How do we approach these cultural and interpersonal connections through food? Media, Food and Culture explores a dynamic and evolving global multimedia landscape in which food journalism in all its forms offers a potent conduit for exploring compelling and often complicated stories about the politics, ethics and pleasures of how we eat and why. We also analyze what stories and voices are given most weight in the media while taking a closer look at those that are marginalized and underrepresented. The goal of this course, broadly, is to learn a) why telling food stories is so important b) the necessary background to the subjects, controversies and issues surrounding food and c) how to tell these stories in compelling ways across a variety of platforms. The aim is to understand the critical role media play in serving as the bridge between food and culture, in connecting us to what we eat, and in making us aware of how those food choices shape society itself. The course will move from an exploration of why food matters, to all the issues surrounding food and food production, to all the ways we communicate about food. We will trace the various ways media both reflect our newfound focus on the importance of food, and drive and shape our understanding of it.

Most weeks, we will welcome visiting speakers who are prominent leaders in their respective fields, from documentary filmmakers, national magazine and newspaper writers, critics and editors, cookbook authors, and TV food personalities to innovative farmers, purveyors and nonprofit food activists. You’ll evaluate a variety of platforms with readings, profiles and reviews from print/digital newspapers, magazines and journals; cookbook and book excerpts; food documentaries, social media and podcasts.

II. Overall Learning Objectives and Assessment Demonstrate critical thinking about the role of food media in informing, educating, and connecting people

to the world of food and the issues surrounding it. Analyze and identify elements that make up successful food and culture stories in different modes of food

journalism, including profiles, reviews, essays and multimedia sources. Conduct interviews and research projects that explore a diversity of voices and sources. Research, produce and fact-check two high-quality stories.

Apply the understanding of food media to gain fluency in society’s most urgent food debates.

Course Notes

Description and Assessment of Assignments Full assignment descriptions and grading criteria will be provided when the assignments are given.

Each assignment in the chart below represents one for which you are responsible, and that will have an impact on your grade. Some are for credit/no credit (meaning they will not be graded with a letter or numerical grade, but must be completed by you in order to receive credit).

Weekly QuestionsEach week, you will be responsible for writing at least two discussion questions about the readings and/or the visiting speaker; questions are due every Tuesday at 6pm via Blackboard for the following day’s conversation in class. In this way, we’ll all work together to ignite a focused, relevant, and thought-provoking conversation in which the class as a whole participates. Construct questions designed to spark conversation (and also, perhaps, controversy); devise your questions with an eye toward awakening the passions of your classmates and creating the context for rigorous, vigorous conversation centered on journalistic practices.

Three Oral PitchesResearch and be ready to present three subject ideas in class on September 4 for your final project, which is due December 11 (see below). I will choose one of those three pitches to have you present in class.

In-Class Discussions and ExercisesActive and thoughtfully engaged participation in all classroom discussions and other in-class exercises is a requirement. Please come to class prepared to discuss assigned texts and media (video, podcast), and to ask questions of guest speakers. Often we will have written in-class responses to readings and discussions. On weeks when a speaker is scheduled, laptops and other electronics (unless there is a medical reason) are not permitted for notetaking. Please be prepared to take written notes on paper.

Introducing a SpeakerEach student will partner with a classmate to introduce one of our guest speakers. Your responsibility is to research your assigned speaker’s background and together with your partner prepare an introduction to be submitted to me via email two weeks prior to the speaker’s appearance. I will return your edited introduction to you a week prior to the speaker’s scheduled date so that you can prepare accordingly.

Out-of-Class AssignmentWrite a 400-600 word restaurant or food review for print/online. The review can take the form of a critique, feature story or “personal exploration” into a dining or eating experience. The best works should give the reader a complete sense of the experience and a strong point of view, while conveying information accurately and demonstrating a background knowledge of the context of the experience, meaning the cuisine, trends and culture from which it arises.

One-on-One MeetingStudents must schedule one out-of-class meeting with me, prior to Midterm, to discuss and review progress on your final projects. You are, of course, welcome and encouraged to talk to me at any point during the semester.

Final ProjectPitch and write a 750-1000 word profile on a food personality, with at least two supporting sources to add credibility to your story. Your profile can focus on a chef, restaurateur, farmer, food scientist, activist, author or artisan, as examples, or anyone who works in food. At the end of the assignment, please include names and contact information (phone, email) for anyone interviewed for your story. If you are working from publications, please cite those as well (formatted as such: Last name, First name. “Article Title.” Newspaper Title, Month Date,

Year of Publication). Please bring your final project to present in class at 7:30pm on December 11. You must present your project in class in order to receive credit for the project.

Gradinga. Breakdown of Grade The final grade will be determined by the following criteria: weekly submitted questions (15%), in-class discussions and exercises (25%), an oral pitch session (5%), introducing one guest speaker (10%), one out-of-class assignment (15%), a one-on-one meeting with me prior to Midterm (5%) and the final project (25%).

Assignment Deadline % of Grade

Weekly Submitted Questions Tuesdays, 6 p.m. 15%

In-Class Discussions and Exercises Weekly 25%

Three Oral pitches 6 p.m. on 9/3 5%

Introduction of Speaker Draft due two weeks prior to your assigned date

10%

Out-of-Class Assignment 6 p.m. on 9/22 15%

One-on-one meeting with Fogarty to discuss Final Project Must be scheduled prior to Midterm

5%

Final Project 7:30 p.m. on 12/11 25%

TOTAL 100%

b. Grading Scale

95% to 100%: A 80% to 83%: B- 67% to 69%: D+

90% to 94%: A- 77% to 79%: C+ 64% to 66%: D

87% to 89%: B+ 74% to 76%: C 60% to 63%: D-

84% to 86%: B 70% to 73%: C- 0% to 59%: F

c. Grading StandardsAll assignments will be edited on a professional basis and you will be judged first on the accuracy, fairness and objectivity of your stories. Good writing – be it for text, audio, video or social media – needs to be backed up by good research, and involves good organization. You will then be evaluated for style, editing, production value, originality and the ability to meet deadlines.

“A” stories are accurate, clear, comprehensive stories that are well written and require only minor copyediting (i.e., they would be aired or published). Video work must also be shot and edited creatively, be well paced and include good sound bites and natural sound that add flavor, color or emotion to the story.

“B” stories require more than minor editing and have a few style or spelling errors or one significant error of omission. For video, there may be minor flaws in the composition of some shots or in the editing. Good use of available sound bites is required.

“C” stories need considerable editing or rewriting and/or have many spelling, style or omission errors. Camera work and editing techniques in video stories are mediocre or unimaginative, but passable. Sound bites add little or no color - only information that could be better told in the reporter’s narration.

“D” stories require excessive rewriting, have numerous errors and should not have been submitted. Camera work is unsatisfactory or fails to show important elements.

“F” stories have failed to meet the major criteria of the assignment, are late, have numerous errors or both. Your copy should not contain any errors in spelling, style, grammar and facts. Any misspelled or mispronounced proper nouns will result in an automatic “F” on that assignment. Any factual error will also result in an automatic “F” on the assignment. Accuracy is the first law of journalism. The following are some other circumstances that would warrant a grade of “F” and potential USC/Annenberg disciplinary action:

• Fabricating a story or making up quotes or information.• Plagiarizing a script/article, part of a script/article or information from any source. • Staging video or telling interview subjects what to say. • Using video shot by someone else and presenting it as original work.• Shooting video in one location and presenting it as another location.• Using the camcorder to intentionally intimidate, provoke or incite a person or a group of people to elicit more “dramatic” video.• Promising, paying or giving someone something in exchange for doing an interview either on or off camera.• Missing a deadline.

d. Grading TimelineAssignments will generally be returned within a week after they are due. For assignments that require revisions, I will email you my comments and arrange a time to sit down with you one-on-one and go over the piece. You must make time for this process. You will be graded once we agree the piece is done. If you have not received a grade or email about your assignment in a timely manner, please email me.

Follow the Chicago Manual of Style for written assignments. Please do not depend on your computer to catch spelling, grammar, or punctuation errors. Sloppiness will have a negative impact on your grade for the assignment.

Assignment Submission Policy All assignments MUST be turned in ON THE DUE DATE. If you have extenuating circumstances as to why you cannot turn in your work on the due date, YOU MUST NOTIFY ME IN ADVANCE. Extenuating circumstances could include illness, sources cancelling a scheduled interview at the last minute or other conflicts, but if you do not inform me of the reason ahead of time, late weekly questions will receive no credit. All other late assignments will be penalized a half a grade. As a general rule, weekly questions and written assignments are due by 6 p.m. the day before class and should be posted to Blackboard.

Required Readings and Supplementary Materials All of the required reading and video materials for this class will be available online. I encourage you to read the weekly Food sections of the Los Angeles Times (Thursdays), the New York Times (Wednesdays) and the Washington Post, as well as keeping current on digital, print and multimedia sources. A more complete list of food periodicals, sites and media will be posted to Blackboard for your reference.

Laptop PolicyAll undergraduate and graduate Annenberg majors and minors are required to have a PC or Apple laptop that can be used in Annenberg classes. Please refer to the Annenberg Digital Lounge for more information. To connect to USC’s Secure Wireless network, please visit USC’s Information Technology Services website.

You should bring your laptop to class each week. It will often be needed for in-class work. However, when there are guest speakers, critiques or anything else requiring your full attention you must keep your laptop (and any other device) closed and out of sight. If I ask you to put it away, please do. Paper and pen are the very best ways to engage in this course and take notes.

Cell phones are strictly forbidden during class.

AttendanceYou are expected to attend class sessions. If you have an unavoidable reason why you cannot come to class (illness, family emergency) please notify me as far ahead as possible.

Class EtiquetteThis is an inclusive and democratic classroom, and class discussions and critiques should be constructive and respectful of your peers and instructors’ positions.

Please be respectful of your classmates and the instructors by not being late to class or by talking, texting, emailing, Facebooking or any other activity during class, especially during lectures, guest speaking sessions or student presentations.

Feel free to bring in food, snacks and drinks to have during class.

CommunicationYou are welcome and encouraged to contact me outside of class if you have questions, concerns or suggestions. If you want to meet with me in person outside of office hours, email some suggested days and times. Email is usually the best form of communication for me; I will usually respond within a day.

Add/Drop Dates for Session 001 (15 weeks: 8/26/19 – 12/6/19) Friday, September 13: Last day to register and add classes for Session 001Friday, September 13: Last day to drop a class without a mark of “W,” except for Monday-only classes, and receive a refund for Session 001Tuesday, September 17: Last day to drop a Monday-only class without a mark of “W” and receive a refund for Session 001Friday, October 11: Last day to drop a course without a mark of “W” on the transcript for Session 001. [Please drop any course by the end of week three (or the 20 percent mark of the session) to avoid tuition charges.]Friday, October 11: Last day to change pass/no pass to letter grade for Session 001. [All major and minor courses must be taken for a letter grade.]Friday, November 15: Last day to drop a class with a mark of “W” for Session 001

Course Schedule: A Weekly BreakdownPlease be advised that the syllabus order may change based on guest speaker scheduling.

NOTE: This is a course about food. As often as possible, that means there will be food in class to eat. Please let the instructor know at the beginning of the semester if you have food allergies or restrictions, so your needs can be accommodated.

Important note to students: Be advised that this syllabus is subject to change - and probably will change - based on the progress of the class, news events, and/or guest speaker availability.

Topics/Daily Activities Readings and Homework Deliverable/Due

DatesWeek 1 Date: 8/28

Introduction: Why Food Matters

*Review of Syllabus*History of food journalism with an emphasis on current*Themes: the content, philosophy and purpose of this course*Introductions

*In-Class Assignment: Write a short personal essay on a memorable moment that tells us something about your engagement with food.

In-Class Reading: Tejal Rao’s “Oysters: A Love Story”, and Gustavo Arellano’s “Warming Up to Vegan Pozole”

Homework: Oral Pitch due 9/3

Week 2Date: 9/4

The Hands That Feed You: Evaluate readings that profile individuals who bring us our food – be they farmers or farm workers, chefs, service workers, activists, restaurateurs, etc. – as we begin thinking about profile subjects for our final projects.

*In Class: pitch your oral story idea(s).

Bauer, Nicole Ziza. “Why Rice?”

Nosrat, Samin. “A Cajun Seasoned Boil for a Big Party.”

Reichl, Ruth. “Why Food Matters: The Tanner Lectures on Human Values.”

Goodyear, Dana. “The Scavenger.”

Sietsema, Tom. “Dishwashers.”

Oral pitches due 6 p.m. on 9/3

Weekly questions due to Blackboard by 6 p.m. on 9/3

Week 3Date: 9/11

Writing What You Eat: Food journalism offers the opportunity to tell the vibrant stories of people and place by exploring cultural traditions of what and how different communities eat. Guest: L.A. Taco editor and Netflix producer of Taco Chronicles Javier Cabral shares a unique history as a taco scout for the late Pulitzer Prize-winning food critic Jonathan Gold that led him to writing, podcasting and producing content about the world around us through the lens of food.

Required Reading/Listening: Bentley, Rosalind. “The Sanctum of a Bloom.”

Cabral, Javier. “Fake Guacamole Is Here.”

NPR’s ALL THINGS CONSIDERED: Why Taquerias Are Making Guacamole Without Avocados, July 19, 2019.

LA TACO PODCAST: Everything You Need to Know About Eating Hot Pot in the San Gabriel Valley with SinoSoul

Hoffman, Steve. “What Is Northern Food?” Jacknis, Ira (Editor). Food in California Indian Culture. Selections TBD.

Recommended Viewing: Taco Chronicles/Netflix

Weekly questions due to Blackboard by 6 p.m. on 9/10

Week 4 Date: 9/18

Finding Food Stories: In this nuts-and-bolt session, IACP award-winning columnist and Executive Editor of Sunset

Baxter, Holmes. “The NBA’s Secret Addiction.”

Garvey, Hugh. “This Open-Fire Filipino Feast Is Ideal for a Backyard BBQ or Campfire

Weekly questions due to Blackboard by 6 p.m. on 9/17

Magazine Hugh Garvey shares how to find and frame stories that connect us to the deeper issues of food and culture. We analyze how writers who are fluent in multimedia platforms expand their opportunities for publication, as well as discussing how to pitch, package and present stories that make an impact.

Gathering,”

Garvey, Hugh. “Tokyo: Cocktail Capital of the World,”

*Bring in an example of a recent food-related story you feel demonstrates original and creative thinking. Be prepared to discuss.

Week 5 Date: 9/25

Farmers Markets: Food and Community. How does what you eat, and what you write about, make it to your table? We trace the path of food from farm to plate, and the issues of labor, price, environment and how activism and partnership with farmers markets impact access to neighborhoods and communities.Special Guests: Ariell Ilunga, SEE-LA (Sustainable Economic Enterprises of Los Angeles); Catherine McCord, Food Network personality, cookbook author, founder Weelicious.com; Alex Weiser, Weiser Family Farms

Barber, Dan. Letters to a Young Farmer, pg. 59-64. PDF via Blackboard

Bittman, Mark. “Farmers’ Market Values.”

Fresco, Louise. “Splat Goes the Theory.”

Krishna, Priya. “Secret of a New York Farm Stand’s Success: An Eye for the Next Big Thing.”

Lennon, Christine. “Why Vegetarians Are Eating Meat.”

Parsons, Russ. “The Facts About Food and Farming.”

Wick, Julia. “Newsletter: Proposed food stamp cuts could be intensely felt in the Central Valley.”

Weekly questions due to Blackboard by 6 p.m. on 9/25

Week 6Date: 10/2

Food Documentaries. Antonio Diaz, who has published journals, created a global community of food creatives and documentarians on Life & Thyme, and produced food documentaries such as award-winning The Migrant Kitchen discusses the unique opportunities for telling food stories visually and digitally.

*In Class: Evaluate menus from Josh Kun’s To Live and Dine in L.A.

Hughes, Gia. “The Sustenance of Space: An Exploration of NASA’s Plant Program,”

The Jewish Deli, Season 3, Episode 1: The Migrant Kitchen, KCET.

The Migrant Kitchen 1-Hour Special, KCET.

Weekly questions due to Blackboard by 6 p.m. on 10/1

Week 7Date: 10/9

Yom Kippur Out of Class Assignment: Due 6 p.m. on October 15

Gold, Jonathan. “Red Sauce, Royal Treatment.”

Rao, Tejal. “Pick a Card, Any Card.”

Rodell, Besha. “Black Hogg Down.”

Rosner, Helen. “Christ in the Garden of Endless Breadsticks.”

Recommended: Kun, Josh. To Live and Dine in L.A.

Week 8Date: 10/16

Hunger and Waste: Hunger and food insecurity are not just critical issues in developing nations, but even in affluent ones. This class looks at how political, environmental and social forces contribute to the problem of hunger. We will analyze debates about how hunger can be eradicated both overseas and at home, including an examination of the consequences of food aid and food waste. Guests: Erika Cuellar & Richard Garcia, Alma Backyard Farms; Alba Velasquez, Los Angeles Food Policy Council (LAFPC)

*Consider questions at end of Marion Nestle’s “Utopian Dream” reading

“Broken Bread,” Episode 5: WASTE

Bittman, Mark. “Opinion: Don’t Ask How to Feed the 9 Billion.”

Bittman, Mark. Food Matters, selections TBD.

Case, Steve. “The Future of Food Is Food.”

Dempsey, Bobbi. “The Tyranny and the Comfort of Government Cheese.”

Nestle, Marion. “Utopian Dream: New Farm Bill.”

Nestle, Marion. “The Farm Bill Drove Me Insane.”

Counterpoint: Guthman, Julie. “Can’t Stomach It.” PDF via Blackboard

Deadline for one-on-one meeting

*Out of class assignment due 6 p.m. on 10/15 via Blackboard

*Weekly questions due to Blackboard by 6 p.m. on 10/15

Week 9Date: 10/23

Who Gets to Be a Critic? In a time when everybody with access to Yelp can be a food critic, what is the role and impact of food criticism today? With the erosion of gatekeepers, everybody can be a critic—or can they? We trace the history of food criticism as it intersects with literature, the rising middle class and social consciousness over the course of American history. We examine how restaurant criticism shapes food culture, and its impact on the larger communities it serves. James Beard Award-winning critic and author Patric Kuh shares insights from a critic’s career that began cooking in restaurant kitchens.

Alang, Navneet. “Who Gets to Be a Restaurant Critic?”

Kuh, Patric. The Kuh Review: Baroo,

Kuh, Patric. “A Sugar High.”

Wells, Pete. “Fast Food for Needy Neighborhoods, at LOCOL in California”

Choi, Roy. Instagram response to Pete Wells.

Recommended Readings:

Gold, Jonathan. Counterintelligence: Where to Eat in the Real Los Angeles. LA Weekly Books, 2011.

Kuh, Patric. Becoming a Restaurateur. Simon & Shuster, 2019.

Weekly questions due to Blackboard by 6 p.m. on 10/22

Week 10Date: 10/30

When Food Became Famous: French Chef author Julia Child’s PBS show spawned the modern revolution in America’s taste for better food, but it took the Food Network to unleash the “celebrity chef” phenomenon on the world, but it was chef Anthony Bourdain who took that fame to new heights with his groundbreaking show “Parts Unknown.” From the early days of broadcast television to YouTube channels, we trace food programming’s impact on the larger culture. We evaluate what differentiates “good TV” from “good food,” and how entertainment aims compete with educational and nutritional ones, while also considering representation in food programming and film. Guest: Antonia Lofaso, Chef/Restaurateur, TV Personality, Cookbook Author

O’Connell, Michael. “Welcome to Peak Food TV: Inside Hollywood’s Growing Hunger for Culinary Shows.”

Rousseau, Signe. Food Media. Berg, 2012 (pp. 5-64) PDF via Blackboard

Rosner, Helen. “Anthony Bourdain and the Power of Telling the Truth.”

Tandoh, Ruby. “A Feast for the Eyes.”

Suggested Reading and Viewing:

Bourdain, Anthony. “Don’t Eat Before Reading This.”

Episode of Anthony Bourdain’s Parts Unknown, CNN

Episode of Top Chef, Bravo

Weekly questions due to Blackboard by 6 p.m. on 10/29

Week 11Date: 11/6

You Are What You Drink: The natural wine and spirits movement has created a cultural craze among wine professionals and consumers alike. In an age where we are increasingly aware of what we put in our bodies, the same is true of what’s in our glass. Additionally, small production and natural wines make sense in a world of intense globalization. Instagram plays a critical role in bringing these micro-produced wines and little known grape varietals to a wider audience, which, ironically, contributes to the homogenization of wine lists here and abroad.

Here to discuss the rise of natural wine and spirits and the effects of social media (for better or for worse) are three pioneers of L.A.’s natural wine and spirits movement:

Carr, Julie. “How Social Media Stars Shake Up the Wine Market.”

Feiring, Alice. Natural Wine for the People: What It Is, Where to Find It, How to Love It. Excerpt TBD.

John, Heather. “Backbreak Mountain.” PDF via Blackboard.

Pollan, Michael. Cooked. Part IV: Fermentation’s Cold Fire.

Róisín, Fahira. “Natural Wine is My Self Care.”

Thompson, Venetia. “Inside Mexico’s ‘Naked’ Wine Revolution.”

Weekly questions due to Blackboard by 6 p.m. on 11/5

Jill Bernheimer, proprietor of DomaineLA; Amy Atwood, importer at Raw Wine; Freya Estrella, cofounder of Coolhaus Ice Cream and Future Gin.

Week 12Date: 11/13

Cookbooks: Some of the oldest books are cookbooks. But throughout history, cookbooks provide much more than recipes. To historians, anthropologists and sociologists they are invaluable records of human society. In the contemporary world, they both reflect and drive food trends, and thus have far-reaching impacts on what we grow, produce and eat. This class examines the literary, cultural and practical aspects of cookbooks. We’ll examine what defines a “great” cookbook and the way in which the digital world is transforming the genre.Guest: Jamie Feldmar, James Beard and IACP Award-winning cookbook author, editor, writer and content consultant.

Feldmar, Jamie. “Super King Is L.A.’s Most Beloved International Supermarket.”

Food52, read five entries from Genius Recipes column.

Pomeroy, Naomi, with Feldmar, Jamie. Taste & Technique: Recipes to Elevate Your Home Cooking. Pages TBD.

Rao, Tejal. “The Joy of Reading About Cooking.”

Rosner, Helen. “The Best Cookbooks of the Century So Far.”

*Be prepared to discuss your engagement with cookbooks, with examples.

Recommended Reading:

Child, Julia. The French Chef.

Weekly questions due to Blackboard by 6 p.m. on 11/12

Week 13Date: 11/20

The Politics of Representation: How food and food culture are featured in the media, and by whom, provides greater insights into cultural politics. Guest Meghan McCarron, Senior Features Editor for Eater, discusses representation, what topics get covered and how this serves (or does not serve) communities.

Required Reading and Viewing:

Birdsall, John. “America, Your Food Is So Gay.”

McCarron, Meghan. “The Chefs We Don’t See.”

McCarron, Meghan. “The Myth of Authenticity is Killing Tex-Mex.”

Nguyen, Tien. “Why We Should Examine Our Culinary Vocabulary.”

Uyehara, Mari. “A Second Look at the Tuna Sandwich’s All-American History.”

Recommended Viewing:

Chef’s Table, Volume 5: Cristina Martinez. Netflix, 2018.

Weekly questions due to Blackboard by 6 p.m. on 11/19

Week 14Date: 11/27

Thanksgiving Break: No Class

Week 15 Lessons of Food with a Side of Assigned reading and listening: Weekly questions due

Date: 12/4 Science and History

Award-winning podcaster and journalist Nicola Twilley looks back at the history of food in order to look to its future. Her biweekly Gastropod podcast delves into the hidden history and surprising science behind food and food technology with topics ranging from mangoes to military rations and host of voices from all over the world.

In conclusion, we will revisit the lessons of this course in a discussion about the future of food media.

*Submit USC Course Evaluations

Listen to one episode of Gastropod.

Severin, Kim. “From Hurricanes to Protest Movements, Food Is a Way In.”

Twilley, Nicola. “Smog Meringues,”

Twilley, Nicola. “Who Owns the Patent on Nutmeg?”

Recommended Reading:

Armesto, Felipe Fernandez. Near a Thousand Tables: A History of Food. Free Press, 2002.

Bourdain, Anthony. Kitchen Confidential: Adventures in the Culinary Underbelly. Bloomsbury, 2000.

to Blackboard by 6 p.m. on 12/3

FINAL EXAM PERIOD: 12/11, 7-9 p.m.

Presentation of Final Projects Final Project Due – bring to class to present. Final Project Due 7 p.m. 12/11

Policies and ProceduresAdditional Policies

InternshipsThe value of professional internships as part of the overall educational experience of our students has long been recognized by the School of Journalism. Accordingly, while internships are not required for successful completion of this course, any student enrolled in this course that undertakes and completes an approved, non-paid internship during this semester shall earn academic extra credit herein of an amount equal to 1 percent of the total available semester points for this course. To receive instructor approval, a student must request an internship letter from the Annenberg Career Development Office and bring it to the instructor to sign by the end of the third week of classes. The student must submit the signed letter to the media organization, along with the evaluation form provided by the Career Development Office. The form should be filled out by the intern supervisor and returned to the instructor at the end of the semester. No credit will be given if an evaluation form is not turned into the instructor by the last day of class. Note: The internship must by unpaid and can only be applied to one journalism or public relations class.

Statement on Academic Conduct and Support Systemsa. Academic ConductPlagiarism Presenting someone else’s ideas as your own, either verbatim or recast in your own words - is a serious academic offense with serious consequences. Please familiarize yourself with the discussion of plagiarism in SCampus in Section 11, Behavior Violating University Standards (https://policy.usc.edu/scampus-part-b/). Other forms of academic dishonesty are equally unacceptable. See additional information in SCampus and university policies on scientific misconduct (http://policy.usc.edu/scientific-misconduct/ ) .

USC School of Journalism Policy on Academic Integrity

The following is the USC Annenberg School of Journalism’s policy on academic integrity and repeated in the syllabus for every course in the school:

“Since its founding, the USC School of Journalism has maintained a commitment to the highest standards of ethical conduct and academic excellence. Any student found plagiarizing, fabricating, cheating on examinations, and/or purchasing papers or other assignments faces sanctions ranging from an ‘F’ on the assignment to dismissal from the School of Journalism. All academic integrity violations will be reported to the office of Student Judicial Affairs & Community Standards (SJACS), as per university policy, as well as journalism school administrators.”

In addition, it is assumed that the work you submit for this course is work you have produced entirely by yourself, and has not been previously produced by you for submission in another course or Learning Lab, without approval of the instructor.

b. Support SystemsStudent Health Counseling Services - (213) 740-7711 – 24/7 on callengemannshc.usc.edu/counselingFree and confidential mental health treatment for students, including short-term psychotherapy, group counseling, stress fitness workshops, and crisis intervention.

National Suicide Prevention Lifeline - 1 (800) 273-8255 – 24/7 on callsuicidepreventionlifeline.orgFree and confidential emotional support to people in suicidal crisis or emotional distress 24 hours a day, 7 days a week.

Relationship and Sexual Violence Prevention Services (RSVP) - (213) 740-4900 – 24/7 on callengemannshc.usc.edu/rsvpFree and confidential therapy services, workshops, and training for situations related to gender-based harm.

Office of Equity and Diversity (OED) | Title IX - (213) 740-5086equity.usc.edu, titleix.usc.eduInformation about how to get help or help a survivor of harassment or discrimination, rights of protected classes, reporting options, and additional resources for students, faculty, staff, visitors, and applicants. The university prohibits discrimination or harassment based on the following protected characteristics: race, color, national origin, ancestry, religion, sex, gender, gender identity, gender expression, sexual orientation, age, physical disability, medical condition, mental disability, marital status, pregnancy, veteran status, genetic information, and any other characteristic which may be specified in applicable laws and governmental regulations.

Bias Assessment Response and Support - (213) 740-2421studentaffairs.usc.edu/bias-assessment-response-supportAvenue to report incidents of bias, hate crimes, and microaggressions for appropriate investigation and response.

The Office of Disability Services and Programs - (213) 740-0776dsp.usc.eduSupport and accommodations for students with disabilities. Services include assistance in providing readers/notetakers/interpreters, special accommodations for test taking needs, assistance with architectural barriers, assistive technology, and support for individual needs.

USC Support and Advocacy - (213) 821-4710studentaffairs.usc.edu/ssaAssists students and families in resolving complex personal, financial, and academic issues adversely affecting their success as a student.

Diversity at USC - (213) 740-2101diversity.usc.eduInformation on events, programs and training, the Provost’s Diversity and Inclusion Council, Diversity Liaisons for each academic school, chronology, participation, and various resources for students.

USC Emergency - UPC: (213) 740-4321, HSC: (323) 442-1000 – 24/7 on call dps.usc.edu, emergency.usc.eduEmergency assistance and avenue to report a crime. Latest updates regarding safety, including ways in which instruction will be continued if an officially declared emergency makes travel to campus infeasible.

USC Department of Public Safety - UPC: (213) 740-6000, HSC: (323) 442-120 – 24/7 on call dps.usc.eduNon-emergency assistance or information.

Annenberg Student Success Fundhttps://annenberg.usc.edu/current-students/resources/additional-funding-resources The Annenberg Student Success Fund is a donor-funded financial aid account available to USC Annenberg undergraduate and graduate students for non-tuition expenses related to extra- and co-curricular programs and opportunities.

Breaking Bread Program [undergraduate students only]https://undergrad.usc.edu/faculty/bread/The Breaking Bread Program is designed to provide individual undergraduate students with an opportunity to meet and have scholarly discussions with faculty members outside of the normal classroom setting. Through this program, students and faculty enjoy good company and great conversation by literally “breaking bread” over a meal together and USC will pick up the tab! Your meal event can take place anywhere outside of the normal classroom setting. Your venue can be a restaurant or eatery on or off-campus.

About Your InstructorHeather John Fogarty writes about food and wine for publications including Marie Claire, Australian Vogue, The Hollywood Reporter, Los Angeles Magazine, the Los Angeles Times, and Bon Appétit, where she was Wine & Spirits editor from 2004-2011, as well as overseeing the magazine’s restaurant, travel and design coverage. Prior to Bon Appétit, she was a senior editor at the Los Angeles Times Magazine, where she oversaw style and food coverage and edited the paper’s restaurant critic. Heather has been a judge at numerous wine and chef competitions, served as a James Beard Restaurant Awards judge, and has appeared on TV and radio, ranging from Hell's Kitchen to NPR's Splendid Table. She contributes to cookbooks, most recently as recipe tester for Nancy Silverton’s Cook Like an Italian Butcher (Knopf, 2020), and her essay “On Keeping a Cookbook” will be anthologized in the forthcoming collection about Joan Didion, Slouching Towards Los Angeles (Rare Bird Books, 2020). Heather grew up in the Napa Valley, and worked at local wineries after graduating from UC Davis. She has lived in Oxford, England, and Paris, France, where she studied at the Sorbonne. The recipient of a President’s Fellowship, she received her MFA in Writing from Otis College of Art and Design. She is currently an adjunct instructor at the USC Annenberg School of Communication and Journalism.