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FILM REVIEW: Branded New World - “Consuming Kids” Goes Inside the Twisted World of 21st Century Children’s Marketing

In honor of Waitsfield Elementary School’s Scholastic-Free book fair going on over this next week, in which parents and teachers bypass the corporate commercial marketers to deliver books of their own selection to our school for affordable purchase by students and families, let’s cut to the chase.

The 21st century United States is now home to 52 million kids under the age of twelve.

Folks who work with these kids - parents, teachers and health care professionals - are deeply concerned about ever-increasing rates of bipolar disorder, depression, type II diabetes, hypertension, and obesity. All recent trends brought on, in part, by our kids’ unhealthy “media diet.”

But for Big Media advertisers, these kids represent the most profitable demographic in marketing history, as they spend or influence the spending of (can you say “nag factor?”) 40 billion dollars a year.

The bottom line - marketers targeting kids now spend an annual $17 billion to try and reach our little ones.

What the heck is going on?

This is the question explored in an important new film by the Media Education Foundation called “Consuming Kids.” The film is a provocative look inside the deeply twisted world of corporate commercial children’s marketing, and features a wide-ranging cast of parents, scholars, educators, authors, and citizen activists, all of whom have spent years defending kids from the voyeuristic predations of corporate marketers.

“Voyeuristic predations?” Certainly, you exaggerate.

Nope. In the film, Boston University Born to Buy author/scholar Juliet Schor (a parent of two) details how marketers routinely conduct focus groups with little kids splashing around in showers and bathtubs. Why? To make close and careful observations about how kids interact with products as banal as bath soap, so these marketers can better enhance the marketing power of their emerging wares.

Now that’s creepy. Yet it happens routinely in the world of children’s marketing.

Consider the following few examples:

• “American Idol,” with its seamless merging of product placement (Coke, anyone?) and entertainment, is one of the country’s most watched show for kids between the ages of 2 and 11.

• Marketers routinely conduct MRIs on children – tracking their neurophysiological responses to various ad messages to better refine and sharpen the persuasive power of these messages.

• Contrary to what you might think, “Seventeen” magazine – with its relentless “hair, clothes, make-up = life” message, is not read by teenagers. Instead, the magazine (and dozens just like it) is read by “tweens” – girls between the ages of 8-12.

• In 2006, fast food restaurants in the United States sold more than 1.2 billion children’s meals with toys to children under 12.

• What about Baby Einstein? The film suggests that this $20 million for-profit “educational” enterprise is nothing more than a scam – as there is absolutely no research proving the effectiveness of the device.

When did this relentless marketing assault begin? The film rightly notes that, while advertising to kids has been with us for decades, the commercial “carpet bombing” of our young people began in earnest in the late 1970s and early 1980s, sanctioned by a Congress that “defanged” the Federal Trade Commission (the FTC is the federal agency charged with regulating advertising to kids) and the deregulatory environment ushered in by the Reagan administration.

The numbers tell part of the story. During the early 1980s, marketers spent $100 million a year to reach kids. Today, the numbers are astronomical, contributing to a kids culture that emphasizes, according to one observer, “self indulgence, instant gratification, obsessive materialism, and a “this is about me in these things now” attitude.

Our brave new world of immersive media technologies – the Internet, mobile phones (5 million American kids between 5 and 12 years of age have ‘em), text messaging, mp3 players and the like – offer unprecedented opportunities for marketers to access the hearts, minds and wallets of kids like never before. Anyone who has ever seen a Webkinz at work knows how marketers use a $15 stuffed animal to drive kids online (visit the web site and enter your secret code, so you can meet ad shop with other owners!) where corporate marketers can gather personal information to continue their marketing game.

The bottom line? “We have become a nation that places a lower priority on teaching our children how to thrive socially, intellectually, even spiritually,” Juliet Schor concludes, than it does on training them how to consume.”

Indeed.

What can we do about all of this? Cradle-to-grave media education in our classrooms and communities is a good place to start, and is making inroads in schools and communities around the country. Organizing community campaigns to regulate marketing in our schools and other public spaces is another useful strategy. And educating parents is vital, as well. Ultimately, as parents, teachers, and citizens, it is our collective job to take a stand against the corporate predations of media marketers – for the health of our children, our families, our communities, and our culture.

Rob Williams is a Waitsfield School Board member who is deeply grateful to all the parents, teachers and administrators who make the independent book fair happen every year.

Over the Hills: Songwriter Lucy Kaplansky Comes to the Mad River Valley

Lucy in Vermont...

“A truly gifted performer, full of enchanting songs,” gushes The New Yorker.

“The troubadour of modern city folk,” exclaims The Boston Globe.

“As warm and tasty as cinnamon tea, as hopeful as daybreak,” proclaims Rolling Stone.

The performer in question is New York City singer-songwriter Lucy Kaplansky, one of the most nuanced and gifted folk musicians of our generation. And Valley residents will have an opportunity to share the love when Lucy comes to Mad River this Saturday as part of the Valley Players Showcase acoustic series capably assembled by Bruce Jones and his trusty team.

I’ve been listening to Lucy for years, first noticing her unique musical mojo when she provided back-up vocals for well-known songwriters like the Big Apple-based Suzanne Vega, Boston’s Shawn Colvin (back in the day), and Jersey Boy John Gorka. Kaplansky’s voice has a mesmerizing crystalline quality to it – not quite as “hide, wide, and lonesome” as, say, Allison Krauss, but equally arresting, and she uses it to full dynamic effect in all of the projects in which she is involved.

And fortunately for all of us, Lucy embarked on her own solo career several years ago, crafting songs that are at once intimate and personal, but also in a powerful and understated way that speaks to the universal human experience. When you hear Lucy perform, you are reminded, as Marcel Proust was with that little gateau, of your own moments, your own “a ha’s,” your own transcendental experiences, even the small ones.

And this, perhaps, is Lucy’s greatest genius. She can turn a seemingly mundane or clichéd moment – “hey, look, the moon” - into magic through the power of song. She has this knack for immediately “placing” the listener in another world with laser-like precision and great compassion, as she does in the first verse of the first track of her new CD, entitled “Manhattan Moon:”

You say you want to see the moon
Outside of our living room
Over the Manhattan sky
Like we saw last night

And then she connects that moment with the larger universality of the human experience, with the chorus, like so:

I used to travel in a straight line
Now I’m walking on a road that winds
You take my hand we take our time
Oh, we take our time…

A simple and very effective songwriting formula, and Lucy uses it to maximum effect.

She is also smart enough to surround herself with some remarkable musicians – veterans of the songwriting world: the masterful Duke Levine on the high strings (electric guitar, mandola), Ben Wittman on percussion, and standout vocalists like Jonatha Brooke and Richard Shindell on harmony vocals.

Lucy has another nifty talent, as well – she is a fine (and daring) interpreter of other people’s music. Case in point: on an earlier album, she throws down the most remarkable version of an old Police tune from “Ghost in the Machine” called “Secret Journey.” I laughed at her hubris when I first heard her– after all, what is a singer/songwriter from the Big Apple thinking, recording a Police song? – but by the end of the tune, I was hooked.

On her new CD, she pays homage to June Carter Cash (rendering her own sexy version of “Ring of Fire”), Bryan Ferry (Roxy Music’s cult classic “More Than This”), and the under-appreciated but wonderful wordsmith Loudon Wainright III (“Swimming Song”). On this last one, she does what she does best, taking a funny song, and making it both funny and poignant.

As a complete musical package – singer, songwriter, straight-ahead musician, and gifted storyteller – Lucy is awfully hard to beat. I’ve seen her half a dozen times over the years, and I’ll probably go hear her again this Saturday night, to be reminded of music’s power to captivate, heal, and inspire.

Hope to see you there.

BOOK REVIEW: Eugene Jarecki’s AMERICAN WAY OF WAR

Waitsfield resident and filmmaker/author Eugene Jarecki will be signing copies of his new book on Friday night at the Big Picture, and Saturday at Sugarbush Ski Resort.

Booking the Empire: “Why We Fight” Filmmaker Makes His Case In Print

What happens when an award-winning documentary film producer turns to a print monograph to make his case?

If you are Eugene Jarecki, the answer (to borrow a baseball metaphor) is: you hit a solid triple, with an eye towards home plate.

Jarecki’s new book – The American Way of War: Guided Missiles, Misguided Men and a Republic in Peril (Simon and Schuster, 2008; 324 pages) – is a provocative and personal exploration of the same crucial themes he explored in his Sundance Film Festival 2005 Grand Jury Prize-winning documentary “Why We Fight.” Ignore Jarecki’s “confession” to being “first and foremost a filmmaker” on page 1, rather than a “policy scholar, a soldier” or an “insider to the workings of America’s military establishment.”

Pay his humility no mind. Jarecki possesses a keen eye for detail, an ability to listen closely to his subject’s personal and professional motivations (and the often-felt tension between the two), and a knack for speaking synechdocally – that is, using individuals and moments to illustrate larger systemic and historical truths, and the reader is the better for it.

The book begins, as his film does, with President Dwight David Eisenhower’s 1961 “Farewell Address,” in which the prescient Ike warns Americans to guard against the dangers of the “military-industrial complex,” that potent and profit-seeking combination of special interests that might spell the death of the U.S. republic. Jarecki then takes us on a historical and global tour of the United States, from its early 20th century emergence as a global imperial force to the present moment, with some remarkable stops along the way, from interviews with air force pilots and West Point cadets to conversations with those in the highest levels of government, including Richard Perle and Republican presidential candidate John McCain, who proclaims the United States to be “the greatest force for good in the world today.”

How McCain measures this goodness is, of course, a matter for readers to ponder, given the economic and political realities of our current moment, and Jarecki’s book, while wisely steering clear of an attempt to exhaustively chronicle America’s empire-building abroad, explores the historical tension between America’s desire to remain a neutral, even isolationist player on the world stage, and its desire to build an Empire. Eisenhower, for whom Jarecki has deep admiration (as have I, even more so after reading Jarecki’s book) remains the central figure here, walking a remarkable line between competing pulls on his loyalty as a military man, a policymaker, and a compassionate human being in a tough position of leadership.

Not surprisingly, as Eisenhower himself warned, the war-making and profit-taking interests have dominated this debate during the past sixty years, and Jarecki takes pains to explain the nuances that undergird the building of the most powerful (and expensive) Empire in world history. His final chapter – “Shock and Awe at Home” – is a referendum on the past eight years of King George’s administration. For anyone who is unfamiliar with or has forgotten how the USA PATRIOT Act, or John Yoo’s new and novel legal theory of “the unitary executive,” or the John Warner and Military Commissions Acts, or the FISA nonsense, or dozens of other presidential abuses of power have reshaped the federal government’s very essence over the past eight years, a close reading of this chapter alone is worth the price of the book. And I am not comforted by the conclusion most observers make here – that, once Mr. Bush exits office stage right, somehow everything will “return to normal.” Sunset clauses somehow provide little comfort here.

Speaking critically, as a U.S. historian and secessionist/ decentralist, my arguments with Jarecki’s book are not insignificant. I find troubling his refusal to touch the mountain of evidence – the scholarly and well-researched work of David Ray Griffin or Michael Ruppert, for example - that suggests that the 9/11 attacks served as a “false flag” operation engineered by elements within the U.S. government to advance a “new Pearl Harbor.” This is an odd omission, since this phrase is one he uses repeatedly in the book, quoting the Project For A New American Century’s statement calling for a new “defensive” posture - one that essential advocates a policy of “full spectrum dominance” in which the U.S. militarizes the entire globe and outer space. (Orwell would be nodding knowingly right now.)

Jarecki’s otherwise spot on “iron triangle” analysis - in which he masterfully considers the intricate interconnections among the U.S. military, profit (and war) seeking global corporations, and both the legislative and executive branches - largely leaves out the vital role of U.S. media and “news” outlets as propaganda arms for war-making (General Electric manufactures weapons systems for the Pentagon AND owns NBC, which hypes war 24/7. This is not a coincidence).

And, perhaps most importantly, Jarecki chooses to downplay the tremendous amount of money U.S.-based multinational corporations (and the politicians who front for and work with them – Dick Cheney, Don Rumsfeld, and the current occupant of the White House, He Who Must Not Be Named) have made supporting what former Bush I insider-turned whistleblower Catherine Austin Fitts calls “the tapeworm economy.”

The country of Iraq is a perfect example here. Let’s connect the dots: the U.S. military-industrial-media-energy-complex makes money bombing and destroying Iraq (Ka-ching!), “rebuilding” Iraq, often badly and/or corruptedly (Ka-ching!, Part 2), while privatizing all of its assets (Ka-ching! Part 3). Oil, black gold, is the bloody tip of the spear point here, as 1 million Iraqis have died since the U.S. 2003 invasion, 2 million more have been displaced, and the U.S. taxpayers have been left footing what Nobel Prize winning economist Joseph Stieglitz has estimated to be a $3 trillion dollar war (“on terror, that “will not end in our lifetimes,” according to Mr. Cheney.)

If I sound outraged, I am – and, while I deeply appreciate Jarecki’s willingness to listen to all sides, I found myself wishing he’d take off the gloves, at times. But I am also willing to own my own sense of outrage, and laud Jarecki for his vital contribution to this important and unfolding conversation about the future of the United States under the regime that is the “military-industrial complex.” In turning to typography, filmmaker Jarecki has produced what many will see as a minor tour de force, an important book at a pivotal moment in the history of the United States republic-turned-empire.

Valley Futures Network: Meet Kate Plummer of Moretown

Q. How long have you lived in the Valley?

A. 5 1/2 years in Moretown.

Q. What do you most love about the Valley?

A. The river, the farms, and the great elementary school here in Moretown!

Q. How did you get involved in the Valley Futures Network?

A. I am interested in local currency projects, and joined the Onion River Exchange (ORE) timebank which is based in Montpelier last spring. But, I wanted to see if there was a way to make that sort of thing happen in the valley. I just happened to see a VFN ad in the Valley Reporter, checked out the website, and, lo and behold!–there was a Local Currency workgroup! I was really excited, emailed the contact person, and within a week had attended my first meeting as well as the June VFN retreat at Knoll Farm.

Q. What do you see as the Valley’s biggest challenges as a community looking ahead over the next several years?

A. I think that the biggest challenge will be whether we allow the changes that are happening right now, in the country and in the world, to separate us or to unite us. I believe that the only way to be a successful community into the future is by strengthening our connections to each other, across individual differences like financial status or how we choose to recreate or have fun.

Q. For anyone interested in the Valley Futures Network, do you have any advice?

A. Don’t think you have to know everybody, or anybody for that matter! Just come to a VFN meeting and start sharing your hopes and ideas and energy. I didn’t know anybody in the group at first, but they’ve been friendly and welcoming and respectful, which is great.

Note: We invite any Valley resident of good will to visit our web site at www.valleyfutures.net, sign on to support our vision statement, and join our working groups and list serves online. Please direct your questions and ideas to VFN facilitator Rob Williams at rob.williams@madriver.com or call 802.279.3364, or contact any of the working group chairs for more information.

Music Review: Frigg-ing Awesome! Nordic “Power String” Music Arrives in Vermont

Frigg-ing Awesome! Nordic “Power String” Music Arrives In Vermont

By Rob Williams

What do you name a seven-piece power string band with enough acoustic groove to set the fjords on fire?

How ‘bout, well…

“Frigg?”

Stay with me here.

Yes, this band’s name is Frigg.

I know.

A bit strange, perhaps, until you consider their home turf: Scandinavia.

Frigg, as any self-respecting Scandinavian will gently remind you, is the Norse goddess of love and fertility.

And yes, Frigg is also the name of one of Scandinavia’s hottest new acoustic “power string” bands, and Vermonters would do well to consider checking out their phenomenally energetic music at Randolph’s Chandler music hall this coming Columbus Day week-end.

How to describe their mojo? Frigg’s music, hammered out amidst the fjords and mountains of Thor’s old country, is a toe-tapping mix of Finnish and Norwegian folk, stirred together with Irish, American Appalachian, and yes, county and western. The ten tunes on their newest CD, “Economy Class,” are among the most diverse collections of acoustic tunes I’ve heard on a single CD in some time. From reels to polkas (yes, polkas) to waltzes to some beautifully contemplative tunes, Frigg performs songs to satisfy any discriminating listener, and they do it with enough energy to power a small city in the dead of winter.

From the liner notes of their new CD “Economy Class” comes this explanation. To understand the power string band Frigg, take a mental journey to the small Finnish village of Jarvela. “The joke is that if your name is Jarvela, you were born with a fiddle in your hand. So they always ask, ‘Are you one of those Jarvelas?’” explains band leader and bass player Antti Jarvela. Like many people in this Western region of Finland, he carries the surname of the village in which he was born.

Some background (and I’m going to get clannish here): Frigg is comprised of three young Jarvelas, two sons and a daughter, from Finland’s most famous fiddle family, and two Larson brothers, who are members of a comparable Norwegian Hardanger fiddle clan. When these young musicians join forces, the traditional sounds from their respective cultures are infused with creative arrangements and the additions of mandola, dobro (yes, dobro), cittern, double bass and guitar.

Here’s the neat thing. Frigg isn’t interested in simply rehashing traditional tunes. Their newest album presents the groove and swing of original music with unexpected melodies and rhythms – I’ve listened to their CD five or six times now, and continue to be struck by the freshness of their sound.

And their unabashed exuberance.

As Vermont’s fall days grow shorter and winter begins to consider creeping in, Frigg’s warmth and energy are a welcome antidote to the cold that will soon be with us.

Hope to see you at the show.

Here are the details:

Frigg will appear at Chandler Music Hall in Randolph on Saturday, October 11 at 7:30 p.m. You can visit their website at: www.myspace.com/friggtheband .

Reserved tickets are $27/adult, $22/seniors and students and can be ordered by calling 802-728-6464 between 3 – 6 p.m. weekdays or at tickets@chandler-arts.org.

Carbon Shredders and VFNers on the Radio

Valley residents Gregor Barnum from Seventh Generation, Bob Ferris from Yestermorrow, Karen Horn Energy Coordination from Moretown, and Joshua Schwartz executive director of the Mad River Valley Planning District found some open mikes at WDEV and talked up our efforts and told folks about what we are doing in the Valley.  Good news radio.  Enjoy.  Pay special attention to the following events: 

Moretown Energy Fair and Button Up Workshop–September 20th

Button Up Workshop–October 2nd 6:30-9:00 PM (Yestermorrow Shop)

Carbon Shredders Monthly Meeting–October 7th 7:00-9:00PM (Yestermorrow)

Carbon Shredders 1st Anniversary Celebration and Fall Training Meeting–November 10 (details to follow)

So sit back, click the link and enjoy the show….

http://www.garageband.com/mp3player?|pe1|WdjZPXLrvP2rYVC0Z29nBg

Getting Away with It!

I recently came across the comments of a bicycle commuter in the bloggisphere who had this to say about his daily commute:

“I seem to get an inordinate number of questions about bike commuting from my coworkers and people that I meet on the train and bus. I suspect the fact that I ride a folder contributes to this, though it may just be that I attract questions because I’m enthusiastic and eager to chat with people about one of my favorite subjects (bikes) and it shows on my face.

People are typically curious about how far I ride, how long I’ve been bike commuting, what I do in the winter, how much my bike cost (that always shocks them a little, but I remind them how cheap it is in comparison to a car), how much money I’m saving, etc. And they’re often congratulatory, saying what a great sacrifice I’m making for the environment, what a big commitment it must be, how nice it must be to ride past the gas station, and how they “could never do that” (though they most certainly could, and I tell them so).

But here’s the big secret: bike commuting is no sacrifice at all. As a matter of fact, I often feel a pang of guilt for doing it.

It’s so much fun, and I derive so many benefits from it (health, wealth, serenity) that my subconscious mind assumes I must be cheating, that I must be doing something bordering on the unethical or illegal, because nothing in this world is free (right?). But bike commuting, so it seems, defies this capitalistic logic of getting what you pay for, and actually gives you what you deserve; not in the negative sense of retribution, but in the most positive sense of reaping the rewards of trying to do the right thing.”

So I’ve started telling people about this. When they ask why I bike commute, instead of launching into the ecological and economic benefits, I first talk to them about how much fun it is, how good it makes me feel, and how little effort it takes. I tell them about the things I see along the road (birds, kids, dogs, turkeys, hawks, squirrels), the way it clears out the cobwebs in the morning and flushes out the stress in the evening, what a relief it is to be free of driving related stress and anxiety, and that you couldn’t pay me to go back to driving a car everyday.

I hope that by sharing my big secret—the fact that bike commuting is not a sacrifice at all, but instead is a richly rewarding endeavor—people will be more likely to consider it for themselves.”

–Alan, quoted from a posting on Ecovelo. 

I considered paraphrasing his comments, but he put it so well it seemed better to just let him speak for himself. I would add that I often feel safer on my bike then I do in a car as well. Of course there are potential dangers however you choose to travel, but the potential damage I could do to others on a bike is minimal and I find drivers to be highly respectful of my presence on the road. 

Mad River Valley Hosts First 2008 Governor’s Debate!

A big “shout out” to the Vermont National Resources Council, Robin McDermott and the Mad River Valley Localvores, and George Schenck and American Flatbread, for co-hosting the first 2008 gubernatorial debate of the election season at Mad River Valley’s Lareau Farm Pavilion on Sunday, July 20.

The rain fell in torrents, one third party candidate got arrested (Peter Diamondstone) after protesting his exclusion from the debate (independent candidate Sam Young also came, but decided that discretion was the better part of valor, and manned a booth instead), and all three of the major party candidates held forth on issues related to the environment and Vermont’s agricultural future.

Here’s some video of all three candidates’ closing statements:

To hear an entire podcast of the debate, visit Free Vermont Radio’s Green Mountain Noise here.