Showing posts with label NPR. Show all posts
Showing posts with label NPR. Show all posts

October 23, 2018

Judy Blume Goes to Hollywood With Her Books

I blogged about author Judy Blume back in early June 2012 (catch my post HERE). At the time, she was still very interested in censorship which was a central focus of her early career. But movies and television shows of her work wasn't really on her radar.  Well, there was news in mid-October 2018 that Judy Blume is finally letting Hollywood have a crack at one of her most iconic works. That work is the book "Are You There God? It's Me, Margaret". The prolific author (who has published 30 books), just turned 80 in February 2018, and has famously been opposed to screen adaptations of her works, with just two exceptions: the 1978 TV movie adaptation of "Forever", and the 2012 adaptation of "Tiger Eyes", both of which were, in the words of Vanity Fair journalist Yohana Desta "largely forgettable", which may explain her reluctance to try it again.

Photo: Getty Images
As per reporting from Deadline , the author has given director Kelly Fremon Craig and producer James L. Brooks the green light to adapt "Are You There God? It's Me, Margaret" about a young girl navigating puberty and the pains of growing up into a movie. Fremon Craig will write and direct the adaptation; Brooks will produce under his Gracie Films banner.

This marks the first time Judy Blume has ever granted the movie rights to her novel. But back in August 2018, the author herself Tweeted that she had a change of heart, and that she was taking meetings in Los Angeles to see which of her books could potentially be made into films or TV series.
The initial winner of a movie deal was "Are You There God? It's Me, Margaret" although its possible others will be coming, too -- either in movie form, or television (or some combination). The book "Are You There God? It's Me, Margaret" was originally published back in 1970 as a young adult novel, but it meant much more to an entire generation of preadolescent girls looking for answers and a sense they weren't alone as childhood turned into a tumultuous something else. At that time, books were available for young people, while parents were getting divorced and mothers entered the workforce en masse, leaving many kids of that era alone. The subject matter might seem tame by today's standards, but it stood alone in its time, and there were even calls over the years for it to be banned from libraries. It is also among Time's list of the top 100 fiction books written in English since 1923.

The issues addressed in "Are You There God? It's Me, Margaret" were real problems girls of that era couldn't really discuss with anyone: when would they reach puberty and get their periods? Should they pad their bras, and what to do about the boys they were crushing on? Margaret is a sixth grader who moves from New York City to Farbrook, New Jersey (the character Peter Hatcher and his family from the book "Tales of a Fourth Grade Nothing" also move to suburban Princeton, New Jersey from NYC in the sequel "Superfudge". Ms. Blume herself is from New Jersey, although she spent several years as a child living in Miami, Florida). Anyway, her character Margaret is raised by a religiously indifferent Christian mother and Jewish father, she prays to a God she imagines is watching over her. In addition to a search for faith, she is curious about upcoming changes in her own body and forms a secret club with four other girls where they discuss subjects like boys, bras, and periods.

Judy Blume, of course, wrote far more books than ones aimed exclusively at adolescent girls, even if those were among her bestsellers. As noted, her seminal book "Tales of a Fourth Grade Nothing" spoke to young boys (about my age; I was in third grade when it was released) about the trials of living with a younger "baby" brother who sucks all of the attention and air out of a room because he's younger, cuter child proved that she could reach a range of children's ages with her works.

As far as the soon-to-be-made-into-a-movie "Are You There God? It's Me, Margaret", over the years Judy Blume has offered a lot of comments (see her blog post for more) about how that particular book was updated to reflect how just months after the book was released, old sanitary belts women of that era used became obsolete when adhesive strip pads hit the market, and it was an editor in the UK who suggested that Margaret should trade in those belts and pads for the new, more friendly feminine products. Judy Blume herself never dreamed it was even possible to revise a book that had already been published to reflect changes in the market for feminine sanitary products.

She has gone on the record as saying that she does not want to see her characters age. She told NPR (see https://www.npr.org/2018/02/12/584561888/at-80-judy-blume-reflects-on-feminism-metoo-and-letting-margaret-grow-up for reference):

"I don't want to rewrite anything. My characters are who they are. For years, people have written and asked me to let Margaret go through menopause. And it's like, "Hey guys! Margaret is 12 and she is going to stay 12. That's who she is." No, I don't want to rewrite any of them."

That said, we CAN expect to see her timeless characters brought to life in movie format soon. However, I would say that Ms. Blume herself is likely applying the lessons she learned from her early experience, and now she's able to chose producers and people to produce her works (perhaps even having more of a say in casting, sets, etc.) that SHE wants to work with, which means the latest iteration of Judy Blume books-turned-films are likely to be somewhat different than her initial experiences.

While I won't necessarily be waiting for the release of "Are You There God? It's Me, Margaret", I will wait until we see a "Tales of a Fourth Grade Nothing" and "Superfudge" or one of the two later sequels (which I had outgrown by the time of their release; besides, instead of being about older brother Peter, they were about the younger brother Fudge) film or TV show made. Still, I wonder if now that I've had 40 more years of life behind me if my recollections and emotions with her books will be the same, or whether others will have similar experiences?  We shall find out soon enough!

See also:

http://judyblume.com/

https://judyblumeofficial.tumblr.com/

January 25, 2017

Linda Ronstadt: Voice Silenced Due to Health

In 2013, the smooth-voiced singer Linda Ronstadt, who racked up an impressive 11 Grammy awards, 2 Academy of Country Music awards and an Emmy award during her lengthy recording career, revealed that she had Parkinson's Disease, which meant that she, in her own words, "can't sing a note" anymore.  Both AARP interviewed her at http://bit.ly/2cCqiaD and People magazine interviewed her at http://bit.ly/2cBC3JJ which are worth reading.  Evidently, the Parkinson's Disease has also impaired her daily movement, but she said that she can still get around, although certainly not like she used to.

With a recording career that spanned rock, pop, country and everything in between, Linda Ronstadt really did not belong in a single musical genre, only what her voice could accomplish.  Indeed, few pop singers have been as successful, as durable, and as wide-ranging as Linda Ronstadt.  She began her career back in the 1960's in a band called the Stone Poneys, and one of her best-known songs "Different Drum" came from her time there.  Below is a recording of Ms. Ronstadt performing one of her songs with the band in the late 1960's (this is the "official" Vevo video of a live performance on YouTube).  Watch below, or by visiting https://youtu.be/TGZznJXY1Xc:



Ms. Ronstadt is a music-biz anomaly for many reasons.  For one thing, she grew up on a ranch in the Arizona desert near Tucson, but she is part Mexican even though she speaks (and formerly sang) English perfectly.  Indeed, as a child she grew up with Spanish-language music that her grandfather taught her, although few would mistake Ms. Ronstadt as a Mexican immigrant.  She also spanned musical genres years before others did (I've talked about country cross-over artists before, check the archives for details).  For example, anyone who thinks Taylor Swift is unique because she began in country before moving to rock likely doesn't know Linda Ronstadt, even if they know her famous music.  The former songstress has collaborated with some of Nashville’s best-known recording artists, including her friend Dolly Parton.

Ms. Ronstadt also released a memoir in 2013, reflecting on her long music career.  NPR's Terry Gross, who is the host of the program Fresh Air spoke with Linda Ronstadt, which can be listed to below or at the following link:  http://www.npr.org/2013/09/17/223172521/in-memoir-linda-ronstadt-describes-her-simple-dreams.


Similarly, WNYC's Studio 360 interviewed Linda Ronstadt in August 2014, well after her public disclosure of her Parkinson's Disease diagnosis, which can be listened to below, or by visiting: http://www.wnyc.org/story/linda-ronstandts-curtain-call/.


Finally, NPR's popular Diane Rehm show interviewed Linda Ronstadt in July 2014, around the time her new book was published.  Although I cannot embed that interview, the link can be found at: http://thedianerehmshow.org/shows/2014-07-29/singer-linda-ronstadt-her-life-music.

Although Ms. Ronstadt's voice has been silenced because of her health, her impressive library of recorded music will remain with us.  If you aren't already familiar with her music, now would be a great time to discover her musical library!

February 8, 2013

Joan Rivers: From "The Adventures With Letterman" to the Freedom Old Age Brings

Like many Gen X kids, I literally grew up listening to Joan Rivers' raspy but distinctive voice.  I feel like I've known her for my whole life, and in a way, I actually have.

Joan Rivers was the narrator for the original PBS show "The Electric Company", although her work on the show began in Season 2 (around 1973) in a segment known as "The Adventures of Letterman" produced by the Children's Television Workshop (now known as Sesame Workshop).  At the time, I was too old (or, so I thought, was too smart) for "Sesame Street", but about the right age for "The Electric Company".  The cast of the original "Electric Company" was truly all-star, including Bill Cosby, Rita Moreno, Morgan Freeman and Gene Wilder (yes, the original Willie Wonka's voice was that of Letterman on "The Electric Company"), just to name a few.  Check out this clip below, or by visiting http://youtu.be/z3y_H3SaoAY:



"The Adventures of Letterman" was a segment about a flying superhero who wore a varsity sweater and a football helmet (the voice of Letterman was none other than the original Willie Wonka Mr. Gene Wilder).  Letterman was routinely foiled by a character known as Spell Binder, an evil magician who made mischief by changing words into new words by replacing 1 or 2 letters.  For the record, Shout Factory! has released seasons 1 and 2 of the original version of "The Electric Company" on DVD, see https://www.shoutfactory.com/product/the-best-of-the-electric-company-vol-1?product_id=2831 for complete details.

I saw Joan Rivers' live stand-up show a few years ago in New York, and it was about what I had come to expect (I'd heard it on cassette so many times), and I have to compliment her by saying, she's really very good at keeping the content fresh and up-to-date.  Instead of talking about old, dead celebrities, these days, she targets younger celebs, and she's good at that, too.

Anyway, since I'm about the same age as Joan Rivers' daughter Melissa, I kind of look at Joan Rivers herself in much the same way as I do my parents.  She's always been a part of my life, and she's still very much alive and kicking, in spite of having had a LOT of plastic surgery (my parents, however, have not had any plastic surgery).

Joan Rivers herself used to make fun of people who had plastic surgery.  Back in the 1980s, on her album that was released on what was then a new record label Geffen Records "What Becomes a Semi-Legend Most?" (which went on to reach #22 on the U.S. Billboard 200, and was also nominated for a Grammy Award for Best Comedy Album) Ms. Rivers herself made fun of people who she claimed had too much plastic surgery.  One target was Anderson Cooper's mother, Gloria Vanderbilt, who was, at the time, best known for her designer jeans with her signature in stitching across many women's rear ends.

Ms. Rivers talked about Gloria Vanderbilt and what a "mean bitch" Ms. Vanderbilt was, and said when she asked for her [Ms. Vanderbilt's] autograph, "... she wrote on my ass!".  She moved on to say she thought Gloria Vanderbilt had one too many face lifts, and that her face had been "pulled too tight" noting "with that pullback face on her, every time she sits down, her mouth pops open".  I guess we can now safely say to Joan "look at the pot calling the kettle black"!

Even before that time, as Ms. Rivers wrote in her first biography "Enter Talking" about how she began her entertainment career "off, off, off Broadway" with another young singer/actress from the same part of Brooklyn known as Barbra Streisand.  Joan Rivers is even better known for her stand-up comedy, some of which I quote in reference to Gloria Vanderbilt.  My grandparents told me they saw Joan Rivers' stand-up comedy show back in the late 1960s Las Vegas when they drove out to California, and while they weren't overly critical since it was, in fact, stand-up comedy, my grandmother did comment that "she [Joan Rivers] had a very sharp tongue".

Of course, that is WHY people go to see comedians/comediennes.

Ms. Rivers also had a big run as Johnny Carson's guest/co-host when "The Tonight Show's" Mr. Carson was sick, travelling or unable to appear for whatever reason.  Although Mr. Carson mentored Ms. Rivers, when she discovered she was not even being considered as a potential replacement for Mr. Carson upon his retirement, the comedienne decided (along with her husband who managed her career) to leave that job.  In her 1986 autobiography "Enter Talking" she wrote about the fact that she was hurt she wasn't even being considered for the role, and she felt betrayed by Johnny Carson, but she felt she had to look out for herself.

At the time, a soon-to-launch startup network known as Fox Television gave her a late night talk show of her own called "The Late Show Starring Joan Rivers".  The show was scheduled to compete directly with NBC's longstanding "Tonight Show Starring Johnny Carson".  Mr. Carson claims he learned about the show from Fox, not Ms. Rivers.  It may well be that is true, although Ms. Rivers says she tried calling Johnny Carson, and he hung up on her.  That may also be true, but it could well be that Fox, eager to make a name for itself, could have told Mr. Carson before Ms. Rivers had even signed a contract with them.  Who cares.  It's history now, and Johnny Carson is toast.

Ultimately, Ms. Rivers' late night talk show on the fledgling Fox Television Network bombed (and with good reason).  But the show's failure also lead to the suicide of Ms. Rivers' husband (who was a native of the UK), whom she said was humiliated by Fox.  Beyond television and stand-up comedy, Ms. Rivers also appeared in the 1978 feature film which co-starred her and another young comedian named Billy Crystal known as "Rabbit Test" (Ms. Rivers was also the director and writer for that movie), and later in the feature film "The Muppets Take Manhattan" as herself, as well as a voice over role in 1987's "Spaceballs" and "Look Who's Talking" to name a few.  Aside from stand-up, she's quite well known for her voice over roles.

She's also appeared in many guest roles, including such TV shows as "Nip/Tuck" (a role she was born to play, if I don't say so myself) and countless other guest appearances.  These days, she co-hosts the E! show "Fashion Police", along Kelly Osbourne and some others.  She's also on the WE tv series "Joan & Melissa: Joan Knows Best?".  She also built a fairly substantial fashion business on QVC, although I don't know if that's as big as it once was, since home shopping cable channels aren't quite what they used to be, especially since cable consists of hundreds of channels now.  She claims, however, that it's a billion dollar business.  Perhaps it is, I've never spent any time researching it.

My point to all of this "history" about Joan Rivers is that her presence in entertainment, for better or worse, has been in existence for my entire life.

Terri Gross from NPR's "Fresh Air" program interviewed Joan Rivers in July 2012, which can be listened to below, or by visiting: http://n.pr/V18Ewz.

At the time of the 2012 interview, Ms. Rivers was promoting yet another new book, although most of the NPR interview had absolutely nothing to do with her book (entitled "I Hate Everyone, Starting With Me").  However, Ms. Rivers talked candidly about a host of topics, including how she got into comedy because she would try to make the secretaries laugh so she could get into see agents, and how the secretaries were the ones who suggested she go into comedy.  She said by doing comedy, she could "... make $8 a night in the comedy clubs. I thought that's better than being an office temporary."  That would later lead to her writing for comedy legends Phyllis Diller and Bob Newhart.  But she also admits she was "smart enough to go through any door that opened" for her in show business.

To be sure, Joan Rivers is doing pretty well for herself approaching age 80, but she says with her age has brought her some wisdom, but she also talks about getting older, and how awful it is to be outliving so many of her friends.

She says:

"And it's terribly sad. You cannot - that's the only sad thing about age. You can't bring back the ones you really loved and that is why, little miss sunshine, when I have a fight with a friend, I never - two negatives. I never do not make up with them. I make up with them immediately if I care for them. I will not let a day go by. Life is too short these days. How about that for a nice serious stupid note?"

Aside from "Enter Talking", I have not read any of Joan Rivers' other books because I like biographies better than books that are supposed to be funny.

I think we are lucky to still have Ms. Rivers keeping us entertained.  If you're interested in adding something interesting to your Netflix queue, consider adding the documentary about Joan Rivers called "Joan Rivers: A Piece of Work" to your queue.  She discussed that in a 2010 NPR interview with Terri Gross just about 2 years earlier, which you can listen to below, or by visiting http://n.pr/WxdCCt:


The documentary was also covered by The New York Times at http://nyti.ms/XTfHWM.  In the 2010 interview with NPR about that documentary, Ms. Rivers also comments about how her old age has made her much more fearless.  She says:

"I am so much freer now because I always say: What are you going to do? Are you going to fire me? Been fired. Going to be bankrupt? Been bankrupt. Some people aren't going to talk to me? Happened. Banned from networks? Happened. So I can say anything I want, and it has freed me totally, totally. And I talk much more freely now than I ever dared to talk before."

Much like TV legend Betty White, time does tend to make people more willing to say and do things they wouldn't when they were young because now, they really have nothing left to lose.  They've been through it all.  Joan Rivers is proof of that.

Author P.S., September 4, 2014:  Joan Rivers, the irreverent comedian known for her sharp wit and sharper tongue, died on Thursday, September 4, 2014 at Mount Sinai Hospital in Manhattan at age 81.  News had surfaced that she was taken to Mount Sinai a week ago after reportedly losing consciousness while undergoing a procedure on her vocal cords at a doctor's office on the Upper East Side.  Doctors at the hospital placed her in a medically-induced coma.  She remained unconscious in the hospital for nearly a week, but had been moved from intensive care to a private room prior to her death.  Read her obituary at  http://nyti.ms/1t4YFVc and a New York Times blog posting about her, including some video clips, at http://nyti.ms/1ptU0bV.

January 29, 2013

Newspapers: Are They Evolving, or Devolving?

In the 1990s, my hometown newspaper ("The Sentinel") which I delivered to my neighbors as a kid, was acquired by a larger daily newspaper.  Before long, virtually all of the journalists and editorial staff were let go, and the paper ceased to exist, instead being folded into the bigger daily publication which promised "improved" local coverage under the new arrangement.  Needless to say, the local coverage after being folded into the other paper was practically non-existent, and if the paper has one article a week about the town where my parents live, that would be a huge deal.  Most people in town voted with their dollars, subscribing to a different daily paper which had better local coverage.

Then, in 2009, The Sentinel was resurrected.  A brand new version, completely digital, emerged.  The get it off the ground, several grant foundations helped pay for the initial expenses.  The editor is based locally.  They learn of stories the way local newspapers did once upon a time (the old way), by hearing about things from townspeople, attending town meetings, etc. although they do use new tools, too.

According to my parents, the local coverage is far better than the big city daily that acquired the old paper.   Although my parents live in an area that has 3 larger daily papers covering the region, along with several weeklies that cover the town, there's something to be said for getting the news as it happens, and the new version has the added benefit of coverage as the news happens.

The Switcheroo

Much has been written about the death of newspapers.

A lot of articles seem to suggest that technology is primarily responsible for the death of much of the newspaper industry, suggesting that electronic publishing is the wave of the future.

However, that's a bit of a misrepresentation of the facts.

Yes, many newspapers are struggling these days, and the industry is in a profound, seemingly neverending crisis.  But the death isn't due to smartphones, its because the underlying business model changed.  The thing that once paid their bills was advertising, and local newspaper advertising is struggling as companies like Google now offer the ability to target residents of a given city with local advertising, and giant online sites like Craig's List gobble up local classified ad dollars.  Indeed, during one quarter last year, more than three-fourths of Google's profits were derived from advertising.

Indeed, at least one major U.S. city's daily newspaper has figuratively stopped publishing: in the fall of 2012, the parent company of the New Orleans Times-Picayune, Newhouse Media, stopped printing old-fashioned newspapers (see http://nyti.ms/NZyvCZ for more), turning New Orleans into the largest U.S. city without a daily newspaper (although a number of smaller cities have already gone that route).  I suspect New Orleans won't hold that title forever.

To be sure, The New Orleans Times-Picayune hasn't completely disappeared, but you won't find any copies on local newsstands anymore.  To read it, you'll need a computer, tablet device or smartphone (the news of it's digital migration can be read online, visit http://bit.ly/JUKFfg for details).  The Times-Picayune had won Pulitzer's for it's photography of the aftermath of Hurrican Katrina.

Most of the journalists and editors for the Times-Picayune were "let go".

New Orleans is unique in that the city celebrates death like few other locations on earth. Needless to say, when the last print edition of the Times-Picayune rolled off the presses, there was a big party.  But it wasn't really a celebration, it was more like a memorial service.  With a staff of more than 200 employees, ranging from reporters to the guys who operated the printing presses all losing their jobs, just WHO is gathering the news stories for the new Times-Picayune is unclear.  Critics say the coverage isn't what it used to be, and few believe there will be more Pulitzer's for the publication.


But as John McQuaid editorialized for Forbes (see http://onforb.es/KitGzS) wrote:

This sounds ... sort of okay. But while there's a lot on corporate reorganization, there’s nothing on how this will work in practice. "Combining the award-winning journalism of The Times-Picayune and the strength of NOLA.com" is basically what they've been doing, or trying to, for years now. And that signals a problem, because it hasn't worked all that well.

So, if the business model is dead, a few organizations believe they've found a way to make it work ... sort of.

On June 29, 2012, NPR's "This American Life" producer Sarah Koenig reported on a company called Journatic [formerly at http://journatic.com/], that claimed to be producing local journalism in a new way.  What was their secret? They hired people in the Philippines to write about local news in small towns across the U.S.  Churning out content with no context.

They noted that an article at Poynter.org added details to the story.  You may listen to the story below, or by visiting This American Life's website at http://bit.ly/MYuf2q:

They talked in the story about a Chicago suburb known as Flossmore.  Journatic and its client Tribune Local claimed Flossmore didn't have any local coverage.  But that was not true, either.  Flossmore had a weekly known as The Southtown Star.

The NPR story closes with an appropriate question:

"Is it really journalism?"

Judge for yourself.

Author P.S., August 16, 2013:  Hyper-local news was seen as a way for companies to make a killing as hometown newspapers disappeared nationwide.  Unfortunately, even big players have not found that to be a revenue generator.  The NPR program "On the Media" featured a segment called "Patchy".  That comes from Patch, which was supposed to be AOL's hyper-local reporting site.  Unfortunately, Patch announced it was cutting its staff of 1,100 nearly in half.  Brooke Gladstone talked with the Wall Street Journal's Keach Hagey about what that development means for local reporting and about AOL CEO Tim Armstrong's snap firing of an employee during a Patch-wide conference call.  Listen to that by visiting http://www.wnyc.org/story/312949-patchy.




Syndicated Advice Columnist Dear Abby Dies

While I'm on the subject of newspapers, we lost a cultural icon a few weeks ago:  Pauline Phillips, who wrote a popular syndicated newspaper column under the pen-name "Dear Abby" (Abigail Van Buren), who died on January 16, 2013.  Her real name was Pauline Esther Phillips and she died at age 94, although she had been ill for a number of years with Alzheimer's disease.

Speaking of her mother, daughter Jeanne Phillips wrote:

"Over the past quarter century, Alzheimer's disease has stolen away bit by bit her remarkable intellect, but she battled her illness with courage and dignity. She was my best friend who can never be replaced." She signed off as Jeanne Phillips, aka Grieving in Minneapolis. The strength of "Abby" gave way to the human vulnerability and grief which all Alzheimer's Disease families share.  In that letter, Jeanne also gave special recognition and thanks to her mother's long time caregivers who tended to Pauline 24/7 for over 11 years, a task certainly not all are cut out for.

In fact, Pauline had not been writing the column for a while.  In December of 2000, Pauline's daughter, Jeanne, now age 70 herself, joined her mother in her work.  Then, in August of 2002 the Phillips family announced that Pauline had been diagnosed with Alzheimer's disease, and Jeanne officially took over the role and title of "Dear Abby" since her mother was unable to manage the responsibility in her later years.  Today, the "Dear Abby" column is carried on by her daughter, Jeanne Phillips, who owns the legal rights to the pen-name "Dear Abby".

Pauline Esther Phillips (Dear Abby) and sister Esther "Eppie" Lederer (Ann Landers)

For a period in the mid-1960s to the mid-1980s, Pauline and her twin sister Esther "Eppie" Lederer, wrote a very similar syndicated column under the pen-name "Ann Landers", dishing out very similarly-themed letters from the public along with their terse responses.  Pauline's sister Eppie passed away in June 2002.  At the time of Eppie's passing, her daughter Margo Howard said that the "Ann Landers" column would end in accordance with her last wishes.

The Brady Bunch: Harried and Hopeless

The "Dear Abby" column really became a pop culture icon.

It was featured (under the name "Dear Libby") on "The Brady Bunch" in which the newly-blended family reads the "Dear Libby" advice column in the newspaper in which an anonymous person is in the same situation as Mike and Carol, but the person is unhappy, leading Marcia to conclude that either Mike or Carol wrote the letter. She later shows the article to the other kids and they devise a plot to keep their newly formed family together.  The advice columnist's name was changed to "Libby" to avoid copyright issues (that particular episode can be watched online at http://www.tv.com/shows/the-brady-bunch/watch/dear-libby-4630/), although the most relevant part of the whole episode was at the end, in which the columnist visits the Brady household to respond to seven letters she received from the same address.  That clip can be viewed below, or by visiting http://youtu.be/HmNKdBntasc:



Dear Abby Endures As Newspaper Publishing Changes


"Dear Abby", however, has continued, and it remains one of the most-widely syndicated columns published (her daughter Jeanne Phillips continues the tradition), yet the newspaper industry has changed significantly during that time.

But readership for syndicated columns like "Dear Abby" aren't what they used to be.  For the record, "Dear Abby" has an "official" website where you can read the column online at:

http://www.uexpress.com/dearabby

NPR featured a nice remembrance of this American newspaper legend.

Remembering Pauline Phillips, A Woman With A Sharp Pen, http://n.pr/WG75lS:

January 25, 2013

Country Crossover Pioneers: Kenny Rogers and Dolly Parton

You don't have to be a country music fan to recognize that a handful of country music artists have managed to "crossover" into pop (known sometimes as country pop music).  To be sure, some country fans don't particularly like country crossover artists or their music, and there are also a few pop fans who aren't all that crazy about country crossover music, either.  But if you're a musician (or a record label), it means you're able to sell your music to many, many more people, and effectively become pop culture celebrities in the process.

The country crossover musical genre, if you can believe Wikipedia (see http://goo.gl/BbhBn), first emerged in the 1970s.  There were a few others that crossed over include Jeannie C. Riley with her smash "Harper Valley PTA" released in 1968 which later spawned a movie and short-lived TV series produced by Sherwood Schwartz), and another Lynn Anderson's cover of  "Rose Garden" [a.k.a. "(I Never Promised You A) Rose Garden"] back in 1970, driven as much by music legend Clive Davis who helped that track reach #3 on the Billboard Top songs back in 1970 (it had already reached #1 in the country music category) as it was Ms. Anderson's vocals.  Then, of course, there was Glen Campbell, who emerged at the same time as Jennie C. Riley did.

Among those leading the way were two country stars who actually did a duette in 1983 called "Islands in the Stream" which was written by the Bee Gees (the title was named after the Ernest Hemingway novel) which proved to be big crossover hit for both Kenny Rogers and Dolly Parton.  A clip of those two artists performing "Islands in the Stream" can be watched below, or by visiting http://youtu.be/HQW7I62TNOw:



Ms. Parton was perhaps the more successful of the two, achieving success not only in music, but also in the movies, having co-starred in the 1980 box office smash "Nine to Five" along with screen legend Jane Fonda, and TV (best known for her role on "Rowan & Martin's Laugh-In") star Lily Tomlin, and while that was Dolly Parton's first movie role, she also wrote the theme song to the film, which turned into one of her biggest hits, spending several weeks at number one according to Billboard.

Dolly Parton on People, April 4, 1977
With "Nine to Five", Dolly Parton became the second woman to top both the U.S. country singles chart and Billboard's Hot 100 with the same single (the first was Jeannie C. Riley, who did so with "Harper Valley PTA" in 1968, the song which inspired a 1981-82 TV sitcom produced by Sherwood Schwartz which starred Barbara Eden; Schwartz was best known for "The Brady Bunch" which I wrote about previously, see my posts at http://goo.gl/tE0ur and http://goo.gl/X7dYp for more details).

Those two paved the way for others, including Reba McEntire, and a whole new generation of country crossover artists.  Newbies like Taylor Swift and Carrie Underwood are moving in the same direction.

At the end of 2012, there were public radio interviews with both Kenny Rogers and Dolly Parton which were definitely worth listening to.  In those interviews, we hear a bit more about their remarkable careers and the adventures both have had in becoming mainstream celebrities from what were arguably very humble roots for both artists.

2012 Interview With Kenny Rogers

New York City's NPR station WNYC has a show called "The Leonard Lopate Show" which re-ran an interview with Kenny Rogers from October 2, 2012 at the end of the year.  In that interview, Kenny Rogers talks about making his career in country music and his most memorable songs, including "Lucille," "The Gambler," "Lady," and "Islands in the Stream." His crossover success is best evident by the fact that he was featured as one of the artists who sang "We Are The World" back in the 1980s, catch my post on that by visiting http://goo.gl/i0LLg.  He has a new memoir entitled "Luck of Something Like It" (Amazon sells the book, you can find it at http://amzn.to/Vno4Oe) which details growing up in Depression-era Texas, surviving in poverty, and he recounts his early years as a jazz bassist and later as a member of the folk group the New Christy Minstrels.  That interview can be listened to below, or by visiting http://www.wnyc.org/story/258388-kenny-rogers/:



2012 Interview with Dolly Parton

There's a also podcast known as "Bullseye with Jesse Thorn" (formerly known as "The Sound of Young America" which I may feature in a different post sometime soon) which is a public radio program/ podcast distributed by Public Radio International (PRI).  Jessie Thorn hosted in-depth interview with Dolly Parton (and Judd Apatow who's at the start of the podcast) on December 11, 2012.  He talks to Dolly Parton, noting that her voice could probably have easily carried her through life.  But her unwavering drive and embrace of hard work meant she was ready and willing to carve her own path, however, despite the great sacrifices such commitment required.  In that interview, Dolly Parton discusses some of those sacrifices, how they've affected her life, and how she feels about them now. She also shares stories from her childhood (having grown up in a large family in the mountains of Tennessee, Parton has no shortage of fondly remembered anecdotes) and relates the story behind one of her most well-loved songs, "I Will Always Love You."

That entertaining and informative podcast can be listened to below (aside from the introduction, you can skip ahead to count 42:25 to skip the Judd Apatow interview), or by visiting http://bit.ly/Ty0IVf:



Ms. Parton also has a new book out, entitled "Dream More: Celebrate the Dreamer in You" (see it at Amazon.com by visiting http://amzn.to/10KmcvG) which expands on a popular commencement speech that Dolly Parton gave at the University of Tennessee on her personal philosophy on life.  That book was released in November 2012.

Although newer country crossover artists like Taylor Swift (who hails from suburban Philadelphia, which was never exactly the heart of country music) are in the tabloids all the time these days, the newcomers could probably learn a thing or two from people like Kenny and Dolly about becoming pop culture icons.  Don't get me wrong, I love her song "Mean", but there's also something to be said for learning from those who have gone down that path already.  Or, maybe, they've borrowed a page from them already?

January 8, 2013

Millennials Nostalgic For The Not-So-Old Days

In November 2012, The New York Times featured an opinion piece written by a Millennial entitled "How to Live Without Irony" (see http://nyti.ms/1058Qvm for that piece) about the life of self-described urban "hipsters". The author wrote:

"The hipster haunts every city street and university town. Manifesting a nostalgia for times he never lived himself, this contemporary urban harlequin appropriates outmoded fashions (the mustache, the tiny shorts), mechanisms (fixed-gear bicycles, portable record players) and hobbies (home brewing, playing trombone). He harvests awkwardness and self-consciousness. Before he makes any choice, he has proceeded through several stages of self-scrutiny. The hipster is a scholar of social forms, a student of cool. He studies relentlessly, foraging for what has yet to be found by the mainstream. He is a walking citation; his clothes refer to much more than themselves. He tries to negotiate the age-old problem of individuality, not with concepts, but with material things."

Hipsters An Easy Target For Mockery

She adds "He [the hipster] is an easy target for mockery."

Fair enough.  Check out the illustration that was featured in the article:

I look at some hipster hairstyles, for example, and think to myself "I can remember when people wore their hair like that the first time around, and those styles look every bit as tasteless now as they did back in the seventies." It was unattractive back then, and it's every bit as ugly today.  The hipster, a term which itself was self-applied, hence the group gave themselves a term they believed to be cool (whether they really are cool remains open to debate) are, in the words of The New York Times author, victims of ironic living. I don't claim to comprehend the perspective that the hipster has (or doesn't have) since I'm a Gen Xer who's now too old to buy into the perspective of martyrdom which many hipsters seem to embody.

Hell, I saw the "21 Jump Street" movie reboot and realized I have no clue what it's like to be a high school kid today, not that I'm sorry about that.  I hated high school and couldn't wait for college, which was great for me.  But I'm actually happy to be middle-aged, with retirement to look forward to in about 2 decades, although I worry about whether I've planned sufficiently.  But the martyrdom that many Hipsters project upon themselves and their collective generation stems primarily from a lousy job market, while simultaneously failing to acknowledge that any kid who graduated high school in the 1970s, or even as I did during the recession of the early 1990s (following the stock market crash of 1987), know full well the Hipster's current economic lot is hardly unique.  They'll adapt, and if they're lucky, some Baby Boomers will finally retire, making room for new hires sooner rather than later.

Millennials' Job Market Woes Suck, But Are Hardly Unique

To be sure, Millennials' employment situation stinks, and, many have far too much student loan debt than preceding generations had (indeed, one could argue that many people collectively encouraged the assumption of massive student loan debts without certainty those debts could be repaid (check out http://n.pr/NKWIYP for more background), and thanks to so darn many Baby Boomer student loan defaults back in the 1970s, U.S. Congress passed laws which prohibits the write-off of student loan debts, putting people without incomes in a very difficult position.  The fact that this was never acknowledged in the autumn Presidential Debates when it deserved to be means the issue is being ignored by lawmakers, which is a failure of political activists representing the youth population.  What are organizations like MoveOn.org doing?  On the other hand, Millennials they aren't unique in struggling with economic downturns, even though the sheer number of them has brought attention to the issue.  Everyone wants economic growth, and some are making it happen by starting businesses of their own, which is really the American way of doing things.

In fact, the U.S. largely avoided the boom-bust cycles for an unusually lengthy period of time prior to 2009, but no one should be fooled into believing Federal policymakers somehow had it all figured out.  Not matter what they claim, policymakers have NOT mastered the art of managing an economy to avoid recessions, and that's not going to change anytime soon.  Downturns are a fact of life, and that's not new.  Millennials aren't the first, and probably won't be the last to endure that not-so-pretty fact. When I graduated college in the early 1990s, the New England (where I attended college)  job market sucked, and I had plenty of student loan debt to repay (although nowhere near as much as many 20-somethings have today) so I had to make sacrifices to accommodate, including taking a job with a very long commute and living at home with Mom & Dad instead of sharing an apartment with others my age because I simply couldn't afford it at that time.  But I endured, and just as they are learning to do now.  By the way, I'd recommend any Millennial readers of this post catch the June 9, 1997 issue of Time magazine by visiting http://ti.me/R47pfh.  There were similar predictions of my generation turning into a lost generation, but we turned out OK (check out the University of Michigan research on that at http://bit.ly/q0HaoX), and so will Millennials.


I empathize with the predicament of many Millennials, and I think they ARE unique in living with an unprecedented level of student loan debt, but I also worry my own generation is likely to be victimized by the youth of today in their efforts to deal with huge debts their parents accumulated for things like tax breaks that were never paid for and 2 unnecessary wars which were also never paid for because Gen X is next in line after the Baby Boom.  The people who really should be paying more are rich old people who are benefiting from Government largesse when they can easily afford to pay their own way.  Leaving a big inheritance to unappreciative kids isn't a right that's earned when you're successful (or lucky).  I hope that policymakers of the future won't decide to make aggressive age cutoffs on retirement benefits (Social Security and Medicare) at progressively older ages, because many middle-income people have made financial plans based on presumption that they would be eligible for benefits at a certain age (indeed, some of us DID presume we'd have to wait longer than retirees today, but we don't have the luxury of turning back time).

Don't raise the eligibility age for Medicare to age 66, then 67, 68, 69 and 70.  Instead, try saving money by implementing means testing for elderly benefits such as Medicare.  If you're old and rich, you don't need Medicare or even social security payments as you retire in a luxurious Palm Beach winter home while shopping at Needless Markups (I mean Neiman Marcus) for new winter outfits and dining out every day without a care in the world, then returning to your other home in affluent New York or Chicago suburbs during the summer.  Instead, some people feel entitled to bitch about estate taxes they'll never have to pay (their beneficiaries will), while simultaneously collecting Medicare and Social Security, as if they're somehow getting screwed.  Does anyone else notice something misprioritized in this picture?

NPR Reports on Nostalgia For Recent Times

Anyway, although I thought it was a bit premature to suddenly feel nostalgic about the 1990s, and last April (2011), NPR's "All Things Considered" program reported that people now in their twenties were finding nostalgia for the not-so-olden-days.  In the NPR story "Children Of The '90s Nostalgic Over TV" (listen below, or by visiting http://n.pr/gbpmzK), the reports suggest there are some good reasons, most notably that television represents a break from the always-connected world many people live in today.



The term "Couch Potato" did not originate because television was ever an "active" experience. Indeed, TV is usually passive, and the article notes twenty-somethings maybe turning to their own retro TV "to get away from the media torrent" in which they live with mobile phones attached to them 24/7/365. That's a valid reason.

Is Nostalgia For Not-So-Old Stuff Genuine?

However, nostalgia for not-so-old-times is unusual for television, but the NPR story notes that it seems to be happening so soon. For example, "The Brady Bunch Movie" was released in 1992, fresh on the heels of Gen X's nostalgia period, but that was 20 years after the original show aired on TV. Feeling nostalgic for Nickelodeon shows like "Rugrats" in 2013 is harboring nostalgia for something that (to my knowledge) never left the airwaves, or if it had left the airwaves, it was only off for a few short years.

NPR rightly notes that kids of the 1990s may be "the last generation to use television as their main cultural snorkel to the universe". I think the main difference between them and Generation X is that they already had many cable channels to choose from, while Gen X had just the major networks (ABC, CBS, NBC, and later Fox plus PBS if you count that, too).

I've written in the past about (see http://goo.gl/l4Z85 for details) how cable as we know it didn't become widespread until the 1980s. Many small towns in the U.S. weren't even wired for cable until the 1980s. (I provided stats that cable subscriptions more than tripled from 15 million in 1980 to 47 million in 1989 in my post on "Family Ties", see that post at http://goo.gl/DRmhw for that).

The New York Times writer notes that the nostalgia-so-soon phenomenon seems to be accelerated by using apps like Instagram which has functionality to make a photo appear like a distinctive old Polaroid instant photo, for example, even though few users have ever seen a real Polaroid camera.  However, The New York Times article opinion piece also wrote:

"Furthermore, the nostalgia cycles have become so short that we even try to inject the present moment with sentimentality, for example, by using certain digital filters to 'pre-wash' photos with an aura of historicity."

She appropriately added:

"Nostalgia needs time. One cannot accelerate meaningful remembrance."

Always-Connected Means Nostalgia for Simpler Times May Be Real

Harvest Gold Memories is all about nostalgia, but until I caught the NPR "Children Of The '90s Nostalgic Over TV" story, I never thought that a decade was anywhere near enough time to feel nostalgic about something, especially when the stuff (like TV shows from the 1990s) has never really disappeared. However, I believe that in the always-connected world we live in today, with a never-ending stream of news, emails, and other media content, the evolution of short nostalgia cycles is perhaps understandable.

Still, wonder how nostalgia might be delivered 30 years from now when it's already available on-demand? Will Hipster Millennials look back at their own past?  Will they be able to write a blog in coherent prose without all text acronym gibberish?  Maybe they'll pick it up!

December 26, 2012

The Bitter Story of How America’s Beer Was Destroyed (or was it?)

For nearly 150 years, Anheuser-Busch (AB) was a family company that was passed from father to son for generations.  The Busch family turned a family business into a world-renowned beer manufacturer.  Budweiser was branded to the world as the "King of Beers," and the Busch family wasn't too far from American royalty in terms of wealth and respect (catch my post on American Royalty by visiting http://goo.gl/8Axil).  According to family historians, a couple drops of the company's namesake Budweiser beer were put onto the tongue of each first-born son before he even tasted his mother's milk.

For the early part of the company's storied history, the St. Louis, MO  family demonstrated very good business acumen, mass-marketing a beer that is viewed by many Americans as mediocre at best.  But prohibition all but wiped out most of Anheuser-Busch's competition, yet the family demonstrated considerable business skills, surviving by selling the raw ingredients (it wasn't illegal to sell those, only to assemble them), so the company was able to survive by selling the raw ingredients instead of the full product; even while many rivals disappeared.

William Knoedelseder, the author of "Bitter Brew: The Rise and Fall of Anheuser-Busch and America's King of Beer" said "Their yeast profits saved the company. That was the cash engine that was able to keep the company open."

What really differentiated AB was not necessarily a superior product, but the company's ability to sell it to millions of Americans over regional brews by taking an approach not too dissimilar to other consumer products marketers including companies like Procter & Gamble.  Notably, AB was the first company to pasteurize beer so that it would stay fresh on cross-country trips. However, the latter part of AB history is much like other royal families, and was less about keeping up the family traditions, but being scarred by embarrassments.

For example, in 2008 AB was a $19-billion-a-year Fortune 500 company and was still operating as a family business. August IV, the great-great-grandson of one of the founders Aldolphus, and then-CEO, showed up to speak at a beer industry convention but he couldn't seem to get a word out. "He's stoned, he's loaded, he cannot deliver the speech," Knoedelser wrote.

NPR recently interviewed author William Knoedelseder about a this fascinatingly sordid family story.  Have a listen to that below, or by visiting http://n.pr/VjPXjp:



Of course, the company ceased to exist as a family company in 2008, when InBev, the Leuven (Belgium)-based owner of Beck's and Stella Artois, acquired Anheuser-Busch, the maker of Budweiser, in a $52 billion hostile takeover. However, from there, the tale continues it's interesting (if sordid) path.

Anheuser-Busch Led To The Creation of AB InBev 

In late October 2012, Bloomberg BusinessWeek featured as it's cover story "The Plot to Destroy America's Beer" (see that article by visiting http://buswk.co/TZMIgU) which highlighted how the company, now known as Anheuser-Busch InBev is doing virtually everything right financially, EXCEPT that it can’t seem to sell beer.  For example, the company owns more than 200 different beers around the world, and it would like to buy more, but there's not many brewers left to acquire.

The man in charge of AB InBev is 52-year-old man named Carlos Brito. The Brazilian-born CEO is a millionaire many times over, although he wasn't always that way. BusinessWeek notes he was born in 1960, he was originally known as Carlos Alves de Brito and studied mechanical engineering at Federal University of Rio de Janeiro. He wanted to get an MBA from an American business school, but he couldn't afford the tuition. Through a family friend, Mr. Brito met a wealthy Brazilian banker named Jorge Paulo Lemann. The two were well matched.

According to a Brazilian business magazine, there were two ways that an employee of Lemann’s bank could quickly be shown the door. One was to appear in the Brazilian celebrity magazine Caras. The other was to purchase a foreign car (Lemann and his partners sold their bank to Credit Suisse in 1998 for nearly $1 billion).  Mr. Lemann thought Brito had potential, and he agreed to pay for him to get an MBA at Stanford University.  When Mr. Brito finished at Stanford, he went to work for a Brazilian brewing company, hence his start in this industry.

While Mr. Brito has been able to transform the company into a global brewing giant, he's operated the company much like a private equity firm, slashing costs at the combined company by $1.1 billion in a single year, for example. AB InBev's margins widened substantially, and its share price nearly quadrupled since the AB takeover.  The company's shares swooned during much of 2011. Mr. Brito has increased revenue and profit, but he's done so almost entirely by raising prices and cutting the cost of making the product.  That's done wonders for AB InBev's balance sheet.  He's also continued that with a seemingly endless stream of acquisitions.

However, much of his success has been strictly financial engineering, and once all the "efficiencies" are squeezed out of the company, he's got to figure out how to actually sell beer, and that's something he's not yet succeeded in doing.  He has yet to prove he can also be a good marketer, which Wall Street wasn't concerned about when he first transformed the company, although Wall Street may be thinking differently about that today.

AB InBev's Problem: It Can't Seem to Sell Beer in the U.S.

AB InBev was going to rely on profits from the U.S. to fuel its growth in more rapidly-growing markets like China. However, BusinessWeek reports that price increases have weakened thirst for Budweiser and Bud Light in their country of origin, Bud Light shipments in the U.S. declined 3% to 39 million barrels from 2009 to 2011, according to Beer Marketer's Insights.  Bud slipped 13%. Anheuser-Busch's shipments were actually rising before the InBev takeover, according to Beer Marketer's Insights.

Mr. Brito's attempts to wring dollars from other previously strong brands, such as deciding to brew Beck's and Bass in the U.S., have also met disapproval. According to Bump Williams Consulting, sales of Bass in food stores fell 17% in the four weeks ended September 9, 2012, compared with the same period in 2011. "They are hurting these brands," said Gerard Rijk, a beverage analyst at ING. "The authenticity of Beck's is that it is a German brand with German water, with German malt, with German hops. This isn't about brand building. It's about costs. Full stop. Heineken would never do such a thing."

BusinessWeek also reports that once Mr. Brito was done with his latest round of merging and acquiring (the last acquisition was Mexico's Grupo Modelo, best known to Americans as the brewer of Corona), shareholders started paying more attention to AB InBev's declining market share in the U.S. (and elsewhere). AB InBev's shipments in the U.S. have declined 8% to 98 million barrels from 2008 to 2011, according to Beer Marketer's Insights.  Last year, Coors Light surpassed Budweiser to become America's No. 2 beer. (Bud Light still remains No. 1 for now, but how long it can retain that distinction remains to be seen, Bud Light shipments in the U.S. declined 3% to 39 million barrels from 2009 to 2011, according to Beer Marketer's Insights). Meanwhile, Bud slipped 13%.  Of note is the fact that Anheuser-Busch's shipments were rising before the InBev takeover, again according to Beer Marketer's Insights.

The company is also alienating lovers of AB InBev's imports like Becks by not importing them anymore (or using the signature hops and other ingredients which gave the products their distinctive flavors). Indeed, a former top AB InBev executive, who declined to be identified by BusinessWeek because he didn't want to get in trouble with his former employer says the company saved about $55 million a year substituting cheaper hops in Budweiser and other U.S. beers for more expensive ones like Hallertauer MittelfrĂĽh.). And Mr. Brito is now risking the devotion of American beer lovers by fiddling with the Budweiser recipe in the name of cost-cutting.

Americans Are Moving Away From Mass-Market Beer In Favor of Nanobrews

American consumers are drinking less beer than they once did, but even those who do drink beer seem to have moved on from big brews. But, as BusinessWeek reporter Devin Leonard wrote "After one last carnival of cost-cutting, Mr. Brito would have no more easy ways to juice his company's stock." BusinessWeek speculates that Mr. Brito may have set his sights on PepsiCo, but that's entirely speculation, and it may not happen. And, in the meantime, he now has to prove he can sell beer because he's running out of costs to cut. The bigger question is whether he'll be able to do that?

Meanwhile, the growth of America's craft beer scene is well documented: smaller, independent brewers are flourishing even as big beer companies fight declining sales.  Indeed, such brewers are growing even as the overall U.S. beer market shrinks, which means the only place their growth is coming from is from the big guys like AB InBev or SABMiller.

While big brewers have tried to buy their way into that market (typically unsuccessfully), a new, potentially more challenging trend is now emerging: demand for ever smaller, ever more local beer has opened brand new opportunities for talented home brewers to test the marketplace for their beers, which have collectively captured nearly 10% of the market. The mid-six figure investment required to start a microbrewery was too high a bar for most people who begin brewing as a hobby, but for those who are serious and passionate about building a beer business, they can now launch nanobreweries with a much more attainable five-figure investment.  That means hometown breweries can emerge in places where sales for beer was once the domain of national brewers.

American Public Media's Marketplace recently featured a story about what it calls "Nanobreweries" which can be listened to below, or by visiting http://bit.ly/VXlnCD:



While the story of Anheuser-Busch rise and fall is somewhat tragic, this seems to be one example where consumers could actually end up as the winners.  It will be interesting to see how the giant breweries respond to the changes in the U.S. beer market, but consumers are already voting with their dollars, and big brews don't even appear to be on their collective radar screens.  Meanwhile, the emerging youth market appears even more predisposed to accelerate this trend, in much the same way as they've embraced gourmet cuisine (often prepared by themselves).  Winning them back will require more than skilled financial engineering.

Author P.S., January 31, 2013:  Bloomberg News reported (see http://bloom.bg/XqpjIq) that Anheuser-Busch InBev may have to give up more control of U.S. beer distribution or even sell a brewery in order to settle an antitrust lawsuit by the U.S. to block its $20.1 billion takeover of the rest of Mexico's Grupo Modelo SAB.  The U.S. Justice Department has expressed objections to the deal because the transaction would give AB InBev with almost half the U.S. market, therefore the Justice Department has threatened to sue, arguing that the proposed acquisition would violate antitrust law because it would eliminate the "substantial head-to-head competition" between AB InBev and Modelo and would "diminish the company's incentive to innovate."  Stay tuned for more!

Author P.S., March 17, 2013:  NPR's "All Things Considered" news program reports, in a story entitled "Craft Brews Slowly Chipping Away At Big Beer's Dominance", that although 90% of beer sold in the U.S. is from just 2 companies (Anheuser-Busch InBev and MillerCoors), innovators are challenging that dominance in the form of craft beer breweries. Small craft and regional breweries — now account for about 6% of domestic beer sales, which has been growing every year since the early 1990s, while big brewer share is declining.  That story can be viewed (or listened to) by visiting http://n.pr/111Ju1B.  However, it remains a challenge for craft brewers to get on eye-level store shelves.  NPR's Jacki Lyden, host of weekends on All Things Considered, said "Everyone wants to be on grocery store shelves at eye level," Flock says. "Craft brewers say big beer is increasingly pushing them out of those prime spots."

Author P.S., April 23, 2013:  NPR reports (see http://n.pr/14PW0Hs) that a federal court has approved a settlement agreement between the U.S. Department of Justice and Anheuser-Busch InBev that will allow the mammoth beer company to complete its purchase of Grupo Modelo, a Mexico-based brewer that produces Corona, Pacifico and other beers.  However, the deal requires AB InBev to sell ALL of Modelo's U.S. business, but it now clears the way for the $20.1 billion acquisition of the remaining portion of Modelo that AB InBev did not yet own.  Under the terms of the deal that were announced, Constellation, the company to whom Grupo Modelo will divest its U.S. holdings, will pay AB InBev $2.9 billion for control of the beer brands in the U.S., along with $1.85 billion for full control of Crown.

Author P.S., November 23, 2014:  The Wall Street Journal reports that sales of craft beer -- defined as beer made by independent breweries using traditional methods now surpass those of Budweiser. Slate does a good job of recapping the article HERE.

Author P.S., March 23, 2016: As this post notes, once upon a time, a lack of transportation and refrigeration meant that most beer sold in the U.S. was locally produced.  But with the advent of of that plus pasteurization, the beer industry had become largely nationalized.  But according to new data released by the Brewers Association, a trade organization representing small and independent American brewers based on data from several sources representing the beer industry over the years, there were 4,269 operating breweries in the country at the end of 2015, surpassing the previous record logged back in 1873, when breweries in the U.S. basically had to be local because refrigeration and pasteurization didn't exist at that time.  Big companies may still churn out more barrels, but small and independent breweries now comprise 99% of the total breweries in operation by count.  The trend now is because American consumers are rejecting bland, mediocrity for more flavorful brews that Americans once admired Europe for.  For Carlos Brito, industry consolidation (driven largely by AB Inbev and big competitors) hasn't stopped consumers from voting with their taste buds.  See http://bloom.bg/1SgcsWI for more details.

December 4, 2012

Television As A Shared Cultural Experience

I've written on a number of occasions so far that with the advent of digital television, DVRs and television on-demand, streaming video and a choice of hundreds of cable channels in an average household (for example, see my posts HERE and HERE and HERE for a few examples) that something is kind of lost with the lack of a shared TV experience.

It was much easier in the past when everyone got the same 3 or 4 television networks, so we weren't overwhelmed with choices.  If you didn't like what was on one of those stations, the alternative was to do something else (like listen to the radio, or read a book or magazine, of course printed books and magazines may someday be on the endangered species list, as Newsweek announced it is converting to an all-digital format starting next year, see http://goo.gl/lZ6mr).

In Time magazine (see http://ti.me/mG2aM), Steve Gillon, author of "Boomer Nation: The Largest and Richest Generation Ever, and How It Changed America," argued [I would add rather unconvincingly] that Baby Boomers (people born between 1946 and 1964) were the last [emphasis mine] generation to really experience national culture in such a unified way.  He told Time "If you grew up in the '50s and '60s, you came of age at the same time that national culture first developed.  There were three major TV networks. Everyone was watching the same thing. The assassination of J.F.K., for instance, was the first event the nation experienced in real time at the same time."

Maybe, but Boomers weren't the first (or last) ones to experience that at the same time.  Gen X even has historical events to prove it.

For example, on January 28, 1986, when Space Shuttle Challenger exploded shortly after takeoff, it was primarily Gen Xers who were tuned in at school, not Baby Boomers.  Less anyone forget,  New Hampshire schoolteacher Christa McAuliffe was on board, so many schools were showing the takeoff on televisions in classrooms across the country.

Cable as we know it today didn't become widespread until the 1980s.  Many small towns in America weren't even wired for cable until the 1980s. (I provided some stats that cable subscriptions more than tripled from 15 million in 1980 to 47 million in 1989 in my post on "Family Ties", see http://goo.gl/DRmhw for that), so Gen Xers weren't "wired at birth" as Mr. Gillon seems to be suggesting.  In fact, by then, Gen X was already graduating from high school.

And, that "national culture" was not a product of the Baby Boom, but of the so-called Silent Generation (born 1925-1945, recognized as the children of the Great Depression who arguably created network TV as we knew it).  A "national culture" already existed by the time Baby Boomers (and Gen X) came along.  I kind of presumed that Gen X might be the last generation to experience that.

Social Media Helps Save A Shared TV Experience

It turns out I was wrong.  Watching TV together isn't dead after all, it's merely changed form.

True, entire households may not necessarily watch a TV show together, but thanks to social media like Facebook and Twitter, a new era of shared pop culture moments via television are still alive and kicking!

NPR News Morning Edition today had a really interesting story entitled "Nielsen Study Notices Growth In Social TV" in which NPR reporter Renee Montagne talked to Dierdre Bannon of Nielsen about its new report on social media use (see that report at http://bit.ly/11wycnB), and one of its key findings: explosive growth in "Social TV", which is people watching television while connected to social media.  Have a listen to that below, or by visiting http://n.pr/Xm08ui:


I can say that I've watched television while Tweeting, and it does make the experience more fun than watching something by yourself.  As the report shows, Twitter rules in that space, not Facebook. The report shows that during June 2012, a third of active Twitter users tweeted about TV-related content, an increase of 27% from the beginning of the year.  Dierdre Bannon of Nielsen noted that Twitter is particularly well suited for that type of social interaction.  And although I've read some bloggers who obsess that it's youth who are glued to social media, as it turns out, adults aged 35-44 are the most likely to discuss TV programming with their social connections, not younger folks.  Too bad, they don't know what they're missing, but I guess if I was still in my 20s, I'd probably find going to bars more fun, too!  Maybe they'll figure it out ... someday.

Social media does have advantages over the traditional "shared" TV watching experience.  For example, you can share the experience with a much larger group of people, and they need not be in the same room or, theoretically, even the same country!  On the downside, there is something to be said about laughing at something together with people in the same room and being able to see the expressions on their faces.  But, compared to the alternative scenario of everyone watching their own show on their own tablets or phone, the shared enjoyment factor suggest that communal television rightfully deserves to continue.

The television networks are keenly aware that people are Tweeting about a show as it airs live.  These days, we see hashtags being promoted in program intros and during commercials.  Contest-oriented shows like American Idol and The Voice use them all the time to gather votes for contestants.

In the NPR interview, Ms. Brannon says:

"And you see that television networks are responding and recognizing to this as well. And people are really gaining a voice in how they feel about the programming content that they're seeing and having an influence on what they're seeing on the screen."

Having said that, the networks aren't exactly using this social feedback to alter storylines.  That, at least presently, is still controlled by the networks' anointed gatekeepers.  In fact, Fast Company wrote back in October (see http://bit.ly/TiMHUs for the article):

"The X Factor realized that its highly enthusiastic following on Twitter had strong opinions about the show’s contestants. The show’s executives got in touch with Digital Royalty, and we helped them see that their viewers didn’t necessarily care if the TV show itself was listening to their opinion; they were naturally sharing their thoughts, feelings, likes, and dislikes with their peers in the interest of a more personal viewing experience."

My local NPR station, WNYC, has a program called "On The Media" and in a show that ran on May 25, 2012 which they named "Television's Trying Times", a segment of that program called "Will We Ever Watch TV Together Again?" aired.  In that segment, guests David Carr (media critic at the New York Times) and Matt Zoller Seitz, (New York magazine's TV critic) discussed "social viewing" of TV.  Mr. Zoller Seitz suggested social viewing doesn't change the long-term trends.  You may listen to that segment below, or by visiting http://www.wnyc.org/story/212464-televisions-trying-times/:


Perhaps expecting the social television experience to enable viewers to somehow be involved in key decisions is too much to expect.  But I'm psyched that shared, live TV viewing has found a new way to survive in the new Millennium!

September 12, 2012

Pop Culture Reunion: Three's Company & John Ritter Tribute

Today's post is a day late ... well, sort of.  For most Americans, September 11 marks the anniversary of the World Trade Center destruction by terrorists in 2001 (as well as attempts to hijack a commercial plane into the Pentagon which were foiled by American passengers on that flight).  As a result, the media coverage is typically fixated on the anniversary of those events.  However, September 11 also marks a pop culture anniversary of sorts: the death of actor John Ritter, who died (at age 54) rather unexpectedly on September 11, 2003 of heart failure.  Mr. Ritter was best known for his role of the goofy Jack Tripper on the 1970s to 1980s TV sitcom "Three's Company".

You can catch one classic iteration of the classic "Three's Company" theme song by visiting http://amzn.to/U8hNiA.

In "Three's Company", Mr. Ritter played a character who pretended to be gay so he could share an apartment with two, single women as his roommates.  It was based on a similarly-themed British TV show known as "Man About the House".  While the notion of a landlord being able to prevent certain types of tenants from co-habitating is pretty much illegal today, in the 1970s, it could be done, hence the core theme of "Three's Company".

NPR's "All Things Considered" featured a story of Mr. Ritter's death on September 12, 2003.  That can be listened to below, or by visiting http://n.pr/PcsbG4:


So far, I've only addressed the late John Ritter, but the original cast of "Three's Company" (ABC, 1977-1984) were Suzanne Somers, Joyce DeWitt as well as the late John Ritter.  Suzanne Somers and Joyce DeWitt did not talk to each other after Suzanne was replaced on the show due to a contract dispute.  After 31 years of not speaking, the two surviving original cast members were reunited briefly in a video which can be seen today online.  The depature of Suzanne Somers had many rumors associated with it back in the day, but the reality was about fairness in pay, so Somers, who played Chrissy Snow, was let go from the show.  Joyce DeWitt, who played Janet Wood stayed on along with Mr. Ritter.  However, rumors of DeWitt's disdain for Somers, among others, were widespread, and the fact that the two former cast members never spoke again added apparent credibility to the rumors, although as the following reunion proves, those rumors were unfounded.  Have a look at the following two YouTube clips:

Part 1: The Reunion of Two Former "Three's Company" Cast Members
See http://youtu.be/ks2NtZrSW8E


Part 2: The Surviving Cast Members Remember John Ritter
See http://youtu.be/Uq_XuhiXTWQ


Over it's lengthy duration (it ran for a now unheard-of 8 seasons on ABC), the show evolved with the times, and after Chrissy's departure, another ditzy blond character replaced her, first with Cindy Snow (Chrissy's cousin), who was later replaced by Priscilla Barnes as Terri Alden, who was blonde but far less ditzy, since she was trained as a Registered Nurse.  Also, the Roper's, the landlords in the first three seasons, were replaced (as they left to star in their own spinoff known as "The Ropers", which as I write this, is now airing on Antenna TV) and replaced by a TV legend, the late Don Knotts (known for his role on "The Andy Griffith Show" for his role of Barney Fife from the day's when TV was recorded in black and white).

"Three's Company" is still airing on Antenna TV, and all seasons have been released on DVD as well, so all have been digitized, hence the options for watching this show are varied, ranging from live streaming, or on the Android and iTunes app known as TV.com.

However, this posting is meant to honor the passing of John Ritter (who's father, as my grandparents reminded me, was Tex Ritter, an American country music singer and movie actor popular from the mid-1930s into the 1960s).  His presence on TV is missed.

Author P.S., March 9, 2017:  On March 9, 2017, the broadcast network Antenna TV had a really great 40th anniversary cast reunion for several of the cast members from the American sitcom "Three's Company" (minus Suzanne Somers who played Chrissy Snow, and of course, the now-deceased actor John Ritter who played Jack Tripper, as well as the now-deceased actors/actresses who played the different landlords known as The Ropers and Mr. Furley) of "Three's Company" in honor of its 40th anniversay.  The reunion video includes Joyce DeWitt (who played Janet Wood) Richard Kline (who played neighbor Larry Dallas), Jenilee Harrison (who played blonde roommate Cyndi Snow who replaced actress Suzanne Somers), and Priscilla Barnes (who played the third blonde roommate Terri Alden, who subsequently replaced actress Jenilee Harrison following her departure from the show).  The YouTube video can be found at https://youtu.be/senDLyrWRTQ and is worth having a look at.

August 1, 2012

Coke Formula Uses 30 lbs. of Sugar, Diet Coke at 30, Making It at Home, and More ...


Diet Coke can, circa 1982
2012 marks the thirtieth (30th) anniversary of Diet Coke, in what was (at the time) the first-ever brand extension of the iconic Coca Cola brand name (they have since introduced flavored versions as well as Coke Zero, but Diet Coke was the first).  According to AdWeek, the company will release special, limited-edition cans commemorating the anniversary cans (see HERE )  which are slated to hit stores in early September.  Note that Diet Coke is marketed in certain other markets as "Coke Light" (for example, in much of Europe).  Coke Light communicates something in languages that don't use the term "diet" as we do in the English Language.

I should note that to the best of my knowledge, the Coca Cola (or Coke) brands had never been officially extended prior to Diet Coke, as flavored varieties of Coca Cola like Cherry Coke were largely local soda fountain inventions that weren't adopted [at least officially] by the company until many years later.  Indeed, although the 30 year-old diet cola brand is pretty much known as Diet Coke, the earlier cans and bottles also featured the name "Diet Coca Cola" in the company's iconic font (albeit in a tiny version of the font) on the side of the labels and most still do.

Coca Cola has always been fiercely protective of it's iconic cola brand, and the formula for the beverage.  According to company legend, the recipe is locked in a bank safe deposit vault at a SunTrust location Atlanta and only two individuals at the company even have access to it (or half of it).  Needless to say, it's a fiercely guarded secret, although detailed facts coming from the company are done in such a way to preserve the legend of the Coke brand.

The 1985 "New Coke" Debacle

The so-called "New Coke" debacle from 1985 (hence we can celebrate it's 27th anniversary this year) is alleged by some as a big cover for the mass switch from cane sugar to high fructose corn syrup ("HFCS") which is significantly cheaper.  However, Snopes reports (see HERE) that in 1980, which was 5 years before the introduction of "New Coke", Coca-Cola had already begun to allow bottlers to replace half the cane sugar in Coca-Cola with HFCS.  Six months prior to New Coke's intro,  American Coca-Cola bottlers were already permitted to use 100% HFCS. Whether consumers knew it or not, many were already drinking Coke that was 100% sweetened by HFCS.  Anyway, cheap HFCS was definitely NOT in the original recipe, that's for certain, as HFCS only became available after researchers in Japan during the late 1970s developed a highly caustic and corrosive acid that's used to process genetically-modified corn (which itself did not exist until recombinant DNA technology emerged in the early 1980s) used in all HFCS.  Hence, HFCS has only been in existence for around 35 years itself.  The decision was based on little more than economics, hence the company had no problem altering the secret formula for that.

Diet Coke: A Radical Departure from a Brand That's Fiercely Protected

Diet Coke was a radical departure for the company from a branding perspective.  Prior to 1982, Coca Cola offered a diet cola known as "Tab" cola, a completely distinct diet cola brand that continues to have loyal fans who can buy it from some local bottling companies even today.

Without getting too far off-topic, today's post is not about diet Coke's 30th anniversary, or even about the New Coke debacle in 1985 (although it certainly could be), but about a fascinating clip I from the weekly radio program "This American Life" produced by Chicago Public Media and distributed by Public Radio International which aired on February 15, 2011.  I happened to listen to it while I was on vacation recently.  Anyway, in that fascinating program, the reporter, Ira Glass reveals what he believes could very well be the secret formula for Coca Cola, but he also talks with historians on the subject, and even provides some interesting background on why Coca Cola has so much sugar (the formula for a small batch of the syrup alone calls for 30 lbs., that's right, POUNDS of sugar) which is because in 1885, Atlanta voted for prohibition, and Pemberton realized that he was going to have to get rid of the wine he used in his drink. So he kept the two other ingredients, the cocaine and the caffeine. People loved those!  (Any guess as to why?).

Early Coca Cola's Secret Formula: Cocaine and Caffeine



Yes, the original formula for Coca Cola contained cocaine (at least it did until 1903).  This is big reason Coca Cola has so damn much sugar (or HFCS) in it: apparently, when you mix cocaine and caffeine together, they're extremely bitter. So John Pemberton, Coke's inventor, poured in a ton of sugar to cut the bitterness and voilĂ , it became Coca Cola. Pemberton called it his "temperance drink" (it may have lacked wine, but the cocaine made up for it).

The interview also explains a bit more about the formula, which, incidentally, "This American Life" says can be seen HERE.  The story created a bit of an uproar last February [2011], and they explain why they believe their discovery might be legit, talking to historians, and even soda experts such as Eric Chastain and Mike Spear, who are the VP of operations and the marketing director (respectively) at Jones Soda in Seattle. Jones makes primarily "natural" soda flavors like cream soda and green apple. But, apparently, they're also known for being willing to try almost anything, and the company has even made turkey and gravy soda, as well Brussels sprout soda (needless to say, those flavors weren't among their big hits).

On the cocaine front, the company has special permission from the U.S. Government (largely because it is grandfathered, having sold a product containing the ingredient prior to laws prohibiting it) to attain the raw cocoa leaves, which are considered a Schedule II controlled substance, and they use a little-known operation in Maywood, New Jersey that's part of the Illinois-based Stepan Chemical Company which removes the cocaine from the cocoa leaves so Coke can still have it's distinctive flavor.  No details were provided in the podcast on what, exactly, the company does with the wasted byproduct ... cocaine, although Wikipedia claims it is sold for medicinal purposes to a St. Louis, Missouri-based chemical company known as Mallinckrodt (which was acquired by Tyco in 2001, and in 2007, Tyco spun those healthcare business units off under the name Covidien) which also deals with cannibis and opium.  I guess it's an interesting company to work for!

I have no perspective on whether the "secret" formula revealed in the program might be legitimate or not, but I can say the discussion was positively fascinating.  Have a listen to the podcast (I believe it's about 30 minutes in length, although I have the complete podcast below, and the relevant content is basically the first half, although you're more than welcome to listen to all of it) by visiting HERE (short link http://bit.ly/MjG5Zq). Unfortunately, I initially had some trouble embedding the podcast here (it seems to be working now), but it's definitely worth listening to!



You can also download the podcast via iTunes or Amazon.com.  As I write this, the cost was less than a can of Coca Cola is sold for (at least where I live) at just $0.99.  This particular story was a good one in my honest opinion, and the press release for this podcast (see the press release at http://prn.to/MjPy2V) actually received a wave of international press coverage because they boldly proclaimed they had found the "secret formula" for Coca Cola.

Is it real?

You can try and make it for yourself if you're so inclined.

You be the judge.  I will say that it was a fascinating look into an icon of American pop culture, and for me, the 30th anniversary of diet Coke is a big deal, but for those who like the sugary stuff, or even just details of a closely-guarded corporate secret, this podcast is worth tuning into!

Links in this Post:


Press Release:
http://www.prnewswire.com/news-releases/this-american-life-reveals-what-it-believes-is-the-original-recipe-for-coca-cola-116263029.html

Podcast Web Page:
http://www.thisamericanlife.org/radio-archives/episode/427/original-recipe/

"Secret" Recipe for Coca Cola:
http://www.thisamericanlife.org/sites/default/files/TAL_original_recipe.pdf