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–64, 78, 182, 189, 195; policy influence, 54; poverty segments, 112–13; and sharing, 51 Day, Amber, 21–22, 52–53, 77 Defend Our Future, 83–85, 99, 102–3 Define American, 164–66, 173 DeLaure, Marilyn, 96 Delli Carpini, Michael X., 21, 189 Deol, Kiran, 97, 170–71 development education, 111 digital-native comedy producers, 192–93 diminishment effect, 46, 49 Dirty Little Secrets, 187 diversity: in comedy, 8, 50, 134–35, 191–92; and the contact hypothesis, 48; and culti- vation theory, 47–48; entertainment indus- try enabling, 184; sitcom casts, 68; stream- ing services

). Listen to the natives. Educational Leadership, 63(4), 8 – 13. Prensky, M. (2001). Digital natives, digital immigrants. On the Horizon, 9(5), 1 – 6. Puar, J. (2005). On torture: Abu Ghraib. Radical History Review, 93, 13 – 38. Reed-Danahay, D. E. (1997). Auto/ethnography: Rewriting the self and the social. Oxford: Berg. Sefton-Green, J. (1999). (Ed.). Young people, creativity, and new technologies. Lon- don: Routledge. Sefton-Green, J. & Soep, E. (2007). Creative media cultures: Making and learn- ing beyond school. In L. Bresler (Ed.), International handbook of

battle zones in declared and undeclared wars. Around the world, people rely on the internet to decry injustice and demand change. But there was a time, not very long ago, when digital natives had yet to be born and activist communities were going online for the fi rst, and second, and hundredth time, learning as they went. As they explored this new technology, which emerged simultaneously as a tool to wield and as a place to engage with each other and the world around them, users made and remade the internet in their own image(s). This book is the story of that

blowhard who is ranting and raving. I think comedy was a great way for us to try to make it relatable to people—it was the best choice kind of the only choice when we started to put together the issues that we wanted to talk about.82 With an appreciation of its digital-native audience, a spirit of collabo- ration, and a large dose of creative freedom granted to the comedy, the NextGen America team created a stand-alone entertainment product designed to spark public engagement. Each episode directed viewers to c o m e d y a n d s o c i a l j u s t i c e c o l l

 millions of people living in the world  today who will never know a time without these amazing technolo- gies. They are sometimes called the digitalnatives, as opposed to  folks like me who are adult adopters, digital immigrants.12 In the  next chapter I want to tell a small part of the story of how data in  archaeology went from being almost entirely created in an analog  form to being “born digital.”13

sophis- ticated technology users, so-called digital natives (Prensky, 2001, 2006), do not automatically know how to compose a compelling story, respond thoughtfully to live questions, collect usable tape, project a strong person- ality through the microphone, or fill dead air. Neither do young people necessarily show up with nuanced understandings of social structures or with tools to critique mainstream (or independent, for that matter) media products. James Gee (2000, p. 62) writes that although schools are busily trying to teach young people how to think

“mam- moth Boomer generation” before them, and the “behemoth Millennial gen- eration” behind them.” Many of them had formative experiences of being part of “blended families” due to increased divorce and remarriage rates, and of being “latchkey” children, as in many households both parents had to work. Th ey entered the age of sexual activity just as the AIDS epidemic broke out.6 Th e Millennial Generation (1981–1995). Children of the baby boomers, the members of the millennial generation initially were called “digital natives,” as one of their formative

industrial production of entertainment is “the arena of consent and resistance. It is partly where hegemony arises, and where it is secured.”17 Dominant shared norms are fluid, and popular culture both reflects and shapes societal values and beliefs.18 For its part, contemporary mediated comedy—positioned prominently in the current entertainment marketplace through both reconfigured post-network TV19 and the digital-native environment of YouTube and Funny or Die—is an engine for new ways of seeing, or an arena of resist- ance. The contemporary TV landscape, a