Friday, May 16, 2014

You Have Been Assimilated: The Rise of the Brand

Richard Van Dyke
Sylva Miller
ENG 121 1N4
2-27-2014
You Have Been Assimilated: The Rise of the Brand
In the book “No Logo” Naomi Klein proposes that the recent growth in wealth and cultural influence of multinational conglomerates can be directly attributed to branding and advertising (967).  She claims that the rise of the brand has had the effect of making the actual product being marketed less important.  This new trend in advertising focuses on how the consumer feels about the idea behind the product and how that idea reflects on their sense of self-worth.  She further states that these companies are in the business of promoting a “lifestyle” by convincing consumers that their branded product will point the way to contentment (976).  In a “post product” age the desires of the consumer are no longer significant.  Madison Avenue now dictates the wants and even the needs of the masses. 
Branding, above all else, drives shoppers into stores to buy items that they otherwise would eschew.  How do you know Nike has the best shoe?  Or that Starbucks has the best coffee?  You know because you are constantly fed a narrative that this is the truth.  In all reality, most of us know on some level that nearly all sneakers are produced by underpaid workers in developing countries such as China and Indonesia and that their quality is nearly identical.  Just as surely as we know that the mom and pop coffee shop on the corner (as well as the coffee maker on our own counters) makes a cup of Joe that would probably be just as good as the one you would find at Starbucks.  It’s how the product makes us feel that drives the sale.
By taking ubiquitous products and branding them, advertisers made them seem preferred and allowed companies to build “brand loyalty” (969).  In reality, the products being purchased by consumers without the brand name were usually identical to what the grocer was already selling.  The difference was in the marketing.  Instead of going into the grocery store to pick up a loaf of bread, the consumer was now convinced that any old bread would not do.  “Wonder Bread” was the product the shopper was there for and no substitute would suffice.
Over the last century, product marketing and branding has had the effect of illuminating areas of “need” in consumer’s lives that they otherwise had no idea existed.  The automobile is a perfect example.  Companies such as GM and Ford were so successful at delivering their message to the common man, sales of their (relatively) expensive products skyrocketed.  Once seen as a convenience item, the car, through aggressive advertising and branding, became to be perceived as a necessity.  A status symbol a consumer could use to differentiate himself from his neighbor.  Mass transit and even walking became passé, something only low class people engaged in.
During the post-World War II era the emergence of the middle class and availability of disposable income allowed marketers to further advance the idea of “brand essence” (970).  Coke, Marlboro, Kraft.  These brands all evoke powerful images of class, convenience and “the good life”.  The public gladly accepts a higher cost because these branded products are perceived to be premium.  This was a direct appeal to a consumer’s idea of how a product could enhance their lives.  What does a cowboy on horseback have to do with smoking cigarettes? Or a polar bear with caramel colored, carbonated sugar water?  Nothing, but the feelings that they evoke drive sales of the products.  Marketers understand this effect and do their best to exploit it for their clients. 
A hundred times a day consumers are submerged in a sea of advertisements that are specifically crafted to make them feel that their life cannot be complete unless they possess the latest shiny widget.  From all directions the marketing assault on the senses is unrelenting. Are you an “Apple” person?  Well then the new iPad is for you.  Feeling a little thirsty?  A Coke is the only thing that will quench that thirst.  It’s unimportant whether or not the need is for these specific items.  A generic tablet at half the price would do the same job as that iPad and a glass of water is actually what your body is craving, but we have been convinced that these branded products are the only thing that will satisfy our desire. 
Marketers have found branding to be an effective hedge against profit loss.  Even during times of economic slowdowns effective marketing of well-known brands (brand loyalty) keeps sales steady (968).  As we all know, a generic substitute for a branded item is nearly always less expensive.  How many times in your own shopping excursions have you picked a more expensive, branded product because “We’ve always bought Tide.”?   This is a counterintuitive act and ultimately against our best interests.   It’s human nature to avoid change and stick with what we know.  Comforted by routine, consumers gladly pay the extra cost.

The rise of the brand through effective marketing and advertising has had a profound effect on what we purchase and ultimately how we live our lives.  Klein presents a stark reality in which advertisers prey on basic human needs and instincts in pursuit of the bottom line.  The ploy to separate the shopper from their money regardless of product quality and actual consumer need has been incalculably effective.  The post product age is all about promoting an idealized image of a modern lifestyle.  Marketers and the multinational conglomerates they represent have seen great success at influencing public opinions and trends.  Consumers are buying what they’re selling.  In short, they win. 

Mass Media & Me; The Long Strange Trip

Mass Media & Me; The Long Strange Trip
By: Richard J. Van Dyke
Introduction to Mass Media
Kitty King; Instructor
Pikes Peak Community College
Abstract
The day I was born, the movie “Beach Blanket Bingo” opened in theaters across the country.  If you’re not familiar, it’s a beach party movie that’s thin on plot, and big on the teen-age heart throbs of the day (Annett Funicello, and Frankie Avalon) doing the twist on the beach.  Comedy, and music collide in a setting that is more reminiscent of the 1950’s than the 1960’s.  The movie tries to be 1960’s hip, but never quite succeeds.  Of course, what we think of as the 1960’s counter culture, didn’t really take off until the 1970’s.  As someone who was born at the tail end of the Baby Boom, and at the beginning of Generation X, I feel like this film, and what it represents, has an interesting correlation to my experience with mass media.  It seems I have always been chasing just behind the next big thing.
Mass Media & Me; The Long Strange Trip

Sound Recording & Radio

My earliest memories of music are of my father listening to his collection of Jazz records on our old floor model RCA Hi-Fi system.  Miles Davis, Charlie Parker, Duke Ellington, and Ella Fitzgerald were staples, and usually piled three or four records deep on the spindle.  On Saturday, and Sunday afternoons. our house was always filled with the sounds of my father’s musical obsession.  You could hear the music blaring out of the house, and out into our suburban Kalamazoo, Michigan neighborhood.  Much to the chagrin of the neighbors, and my mother.  It wasn’t always jazz playing out of that Hi-Fi.  My parents would frequently listen to “Arthur Fidler, and The Boston Pops” on our local NBC radio affiliate “WOOD FM”, as well as classical music programs on our local Public Radio station. 
My parents never cared much for Rock-N-Roll music, and so it did not enter my lexicon until grade school.  Programs such as “The Electric Company”, and “School House Rock” which were marketed towards my demographic, quickly changed that.  The first record that I owned was “The Carpenters, This One’s For You”, followed by several “K-Tel” compilations, and of course, in 6th grade, Shawn Cassidy’s self-titled, pop extravaganza.  
Hard Rock was just the noise that our high school age neighbors played, and my parents hated.  When I was thirteen, one of those neighborhood delinquents (as my parents often referred to them) informed me that the records I was listening to by “Gloria Gaynor”, “The Bee Gees”, and “The Bay City Rollers” were garbage, and I should be listening to music that was, in his words, “More artistically relevant.”.  I didn’t know what this meant, but he loaned me some of his records by bands including “Boston”, “Foreigner”, and “Blue Öyster Cult”.  They blew my mind, and freaked my parents out.  My teenage years were defined by that clash of cultures. 
Things only got worse when, in 1979, a good friend came back from a summer spent with family in New York City with albums by the likes of “The Ramones”, “The Talking Heads”, “Blondie”, and “The Sex Pistols”, in tow.  This started a love affair with Punk Rock that lasted well into my twenties.  Needless to say, music from hardcore Punk bands like “The Dead Kennedys”, “The Circle Jerks”, and “Millions of Dead Cops” did not go over well with my Dutch Reformed parents.  Neither did the type of clothing the music inspired.
As I got into my late twenties and early thirties I held on to my affinity for edgier music, but also branched out into others genres as well.  I was introduced to music from Patsy Cline, and other Country Music artists from the 1950’s, and 1960’s (I have never had much use for newer Country music).  When the Air Force chose to assign me to Howard Air Force Base in Panama, I began to listen to some of the local “Tipico” bands there, as well as “Rock-En-Español”.  My forties have been defined by the eclectic mix of musical influences from my youth, as well as from my children.  My oldest daughter is twenty-four, and our musical tastes are nearly identical.  As of late, she has me listening to a performance artist called “Bass Nectar” who plays a type of music called “Dub-Step”.  I like it.

Books & Periodicals

I am an avid reader, and always have been.  I don’t remember a time that I didn’t have a book that I was in the middle of reading.  I spent countless hours at the local library, the book store, and the used book store in our town.  I started out reading paperback compilations of “Peanuts” cartoons by Charles Schultz.  This led to “Mad” magazine, and anything else that seemed funny, or controversial.  “Encyclopedia Brown”, and “The Hardy Boys” series were some of my favorites in grade school.  In junior high school, I discovered Science Fiction, and my love of reading shot to a whole new level!  Silverberg, Asimov, Heinlein, and Clarke were among my favorite authors at the time.  I devoured anything that concerned space travel, mutants, or time travel.  In high school I discovered Kurt Vonnegut, Hunter S. Thompson, and Jack Kerouac, and read everything they had written.  As an adult in my thirties, I became interested in historical novels, and political non-fiction by Victor David Hanson, and others.  For the last few years I have become more interested in non-fiction books concerning scientific discovery, and theology.  The authors I currently follow are Christopher Hitchens, Richard Dawkins, Ray Kurzweil, and Laurence Kraus, to name just a few.
Periodicals, newspapers, and magazines have been a big part of my life as long as I can remember.  My parents had subscriptions to our local paper “The Grand Haven Tribune”, the “Grand Rapids Press”, and “The Wall Street Journal”.  Monthly we received “The Readers Digest”, “The National Review”, “The Ladies Home Journal” and “The National Geographic” among others, at one time or another.  My brother, and I had subscriptions to “Boys Life”, “Highlights”, and “Ranger Rick”.  Currently I am subscribed to “Bicycling Magazine” and “The Atlantic Monthly”.  On-line I follow “Salon”, “Slate” and more daily blogs that I could list here.
Television/Cable
Television was limited during my childhood.  Not only by my parents (they thought of it as the “Boob Tube” that was rotting kids’ minds) who limited me to one half hour of television time after school, and three hours on the weekends, but by design as well.  There were only four stations that we could receive from our rooftop antenna, NBC, CBS, ABC, and PBS.  Cable television, and the viewing choices it would bring was still years away.  When I was growing up in the late 1960’s, and 1970’s television viewing was more “event driven” than it is today.  The summers were a re-run wasteland, and my brother, and I would look forward to the fall every year, because that was when the new season of all our favorite shows would start.  The “Wonderful World of Disney” was a big deal, and the annual airing of “The Wizard of Oz” on CBS could not be missed! 
The television extravaganza of them all however, (for the bubblegum set anyway) was Saturday morning cartoons.  We would get up at the crack of dawn every Saturday, and sneak down to the family room, where at 7:00 AM the fun would start.  “H.R. Puff-N-Stuff”, “Scooby Do”, and “The Banana Splits” would melt our brains for as many hours as our parents would let us sit in front of the screen.  Like the network prime time line up, the Saturday morning cartoons were refreshed in the fall as well. 
As I entered my teen years I became more interested in science fiction and comedy.  Shows like “Buck Rogers”, ‘The Incredible Hulk” and “Saturday Night Live” captured my imagination.  Around the time I graduated from high school, music videos were gaining in popularity.  We never had cable, so on Friday nights we would stay up late to watch “Friday Night Videos”, and “Liquid Television” on NBC.
As an adult I don’t have much use for broadcast television, other than for local, and national news.  Occasionally when I’m up late, I enjoy a little David Letterman.  I’ve never had cable and never will.  If there is a particular show I want to watch, I can usually catch it on Netflix, and before that, the video store would usually have something worth watching for rent.
Movies
When I was a child going to the movies was a big deal.  The only way you could see the big hit films of the day was in the theater.  It could be years until they made it to television.  They still had a cartoon, or two before the movie when I first started going in the late 1960’s, and early 1970’s.  The first movie my parents took me to at the theater was Disney’s “The Jungle Book”.  The first “PG” rated movie I saw was “Star Wars” with my grandmother in 1976.  She didn’t care for it, and fell asleep halfway through.  The first “R” rated movie that my parents thought I saw was “Private Benjamin” with my mother, who was a big Goldie Hawn fan.  The first ‘R” rated movie I actually saw was “Ceech and Chong’s “Nice Dreams” after my friends and I snuck into the theater through the emergency exit. 
My taste in movies has changed radically over the years.  Of course, as a kid I was into the fare that Disney studios was pushing.  As a teen my interest in science fiction carried over into the theater as well.  In my twenties I became somewhat of an art film snob seeking out little known films at small theaters in Chicago, and Detroit.  In my thirties I was stationed with the Air Force overseas, and went to see (pretty much) whatever was playing at the theater on base.  Today I am (mostly) interested in documentaries, or films that have some social relevance, but I am often coerced by my teenage son to go attend the latest action blockbuster, or by my daughters to see a sappy romantic comedy.
Perspective

 This has been a difficult paper for me to write.  Not for lack of content, just the opposite, there is too much to cover (I didn’t even mention my obsession with “The Rocky Horror Picture Show” in my early twenties). Over my 48 years, I have read more books, and magazines, listened to more albums, tapes, CD’s, and MP3’s, watched more television, and seen more movies than I could ever recollect.  I was actually a little envious of my classmates in their twenties who have less to recount.  If I had followed the outline I created while preparing to write this paper it could have easily stretched to 15 pages. Reaching back to remember what my interests were during childhood, and other times of my life has been illuminating.  They say that physically, “We are what we eat.”  I think that mentally, we are what we read, watch, and listen to. 

Oh What You Can Learn In Three Weeks!

Richard Van Dyke
Regina Lewis
COMM SS3 SP14
2-9-2014
Oh What You Can Learn In Three Weeks!
I’ve always known that I have had some difficulty in communicating effectively with certain ethnic groups and subgroups.  This has been detrimental to the effectiveness of teams I have been tasked to lead.  Misunderstandings can quickly escalate to hard feelings among team members.  If I had had experience with the concepts that I will be summarizing in this paper before this class I may have been able to avert some of those misunderstandings.
The “Ethical Considerations” subsection of chapter one really held my attention (19).  As a student, my goal is to earn my undergraduate degree in Social Justice.  How intercultural communication relates to the broader subject of ethics in culture is something I was hoping would be part of the overall discussion in this class.  Each culture has its own truths in regards to ethics.  These differences are what can lead to misunderstandings and conflict.  The text highlights how some of these issues have plagued our own country and how effective communication is the bridge that can span these differences (21).
Another topic that was new to me was the “Four layers of Intercultural Communication” (35).  The manner in which these layers overlap exert powerful control over our daily actions. Exploring these concepts had the effect of making me reevaluate how I perceive the word around me.  I have always thought of myself as something of a free thinker but this information sheds new light on how I make decisions and ultimately take action on those decisions.  “Why did I decide to go back to school?”  In light of these new (to me) concepts, I think my answer to this question will be very different from the one I started the semester with.
Attribution bias is a concept that I was familiar with before this class (97).  As a White man married to a Latino woman I have experienced attribution bias in my own life.  Mostly as a result of others making judgments based on my wife’s ethnicity.  I could recount many examples of how people’s negative bias (mostly other White males) toward my wife magically changes when they realize that we are together.  Without the experience of being married to a person of color I would, at best, be oblivious to these issues, and at worst, buy into the stereotypes.  

Finally, the lecture by Tim Wise was excellent.  I had not heard of him before we watched the video, but after listening to his views on race relations in the United States I have a new hero.  His skilled critique of the history of White privilege opened my eyes to aspects of the struggle that that had not occurred to me before.  I especially enjoyed his ability to use personal experiences and humor to drive home his points.  Needless to say I have ordered his latest book and will attempt to work my way through his other published works over the course of the year.  

Beast of the Southern Wild Midterm Exam

Beast of the Southern Wild Midterm Exam
COM 220 Intercultural Communication
Dr. Regina Lewis

Student Name: Richard J. Van Dyke

For each question you must reference a term in the text, define, and explain how this particular term relates to any part of the question.

  1. What new idea, perspective, and/or setting did you learn about from this film?
I never knew that cultures like the Bathtub existed.  After watching the film and doing some research on my own I discovered that a group of people actually live in that area.  On the “Isle de Jean Charles” a group of people live in a manner very similar to how the characters in the film live.   After watching this film, participating in class I think that I have experienced a form of deculturation, in that I have had to “unlearn” some of my cultural biases, and am now more able to view these cultures for what they are, and not through my own preconceived ideas. 
  1. What is the most impactful or powerful moment in this film to you? What similarities in the film did you find to your life? Culture?
There were actually two moments in the film that had me on the edge of my seat.  First, when Hushpuppy sets her house on fire, and then, during the hurricane, when she has the fight with Wink.  During the fire Hushpuppy hides in a cardboard box and I was sure she was not going to make it out alive.  Thankfully, Wink finds her in time.  During the fight that she and Wink have during the storm, I was convinced it would end badly with either hushpuppy or Wink getting injured.  That did not come to pass either.
The similarity I found with my own life and values was the theme of being willing to do anything to keep a family together.  During my time in the Air Force, I guided my career and assignments to specifically avoid getting a posting that would send me overseas or on a long deployment (over a year) without my family.  This would be an example of danger control.  I sought out information, and took a stand to control what happened to myself, and my family. 
  1. What themes do you think were most prevalent in Beasts of the Southern Wild? In terms of a cultural group, what does Hushpuppy represent to you in this film?
The main theme that resonates with me throughout the film is “change”.  The world is trying to impose change on the people, and culture of the Bathtub, and they are constantly trying to resist it.   This could be easily characterized as uncertainty avoidance.  The hurricane is coming and Wink does whatever he can to fight it.  When they are taken to the shelter all they can think of is escape.  The group of children walk for miles and days to return to the only home they have ever known.  Through all this upheaval Hushpuppy is the most defiant of all.  Even though she is only a young child, in some ways she plays the role of the matriarch.  She stands up to Wink and any adult who gets in the way of her goal to maintain her cultural status quo. 
  1. Throughout the film, Hushpuppy listens to different heartbeats. What is the significance of heartbeats in this film?
The heartbeats are seen by Hushpuppy as a form of communication.  Early in the film she refers to this by saying that all living things have a heartbeat, and they all speak to one another in a language she can’t always understand.  She believes the animals are saying “they’re hungry or they have to poop.”  I think this can be related to a type of accommodation, in that she interprets them as a nonverbal language that all animals engage in.
  1. What do you think the aurochs represent in this film? When Hushpuppy finally confronts them, what does that moment signify? What are the aurochs for your culture?
The aurochs represent a clash of cultures. They are an extinct animal, and the culture in the bathtub is on the verge of extinction. They are feared by Hushpuppy through most of the movie. This is a form of fatalism.  Hushpuppy feels that she has no control over her environment and the things that are happening to her.   At the end though she makes peace with aurochs.  I believe this alludes her coming to peace with the idea of changes coming to her culture, and her life. 
In my culture the aurochs could represent the inevitable march of time.  The years pass and the culture I grew up in has changed.  Examples are all around us; music, food, even the landscape. 
  1. How do themes of independence and community relate in this film? Do the characters lean more toward one or the other? In what ways are the characters independent and in what ways are the characters dependent?
I think that there is a balance between independence and community in the culture of the Bathtub.  The members of the community are all strong individualists, but as a collective they lean on each other for moral, economic and other types of support.   We can see examples of conformity orientation in the way members of the community share attitudes, values, and their beliefs. They collectively believe in educating their children, celebrating holidays together and, treating each other with respect.   You can also see examples of “horizontal self” at work.  Status, rank, and position are present in the culture of the Bathtub but it does not influence how members of the community treat each other.
  1. How do you think Hushpuppy would define family? How do you define family?
I believe that in a narrow sense Hushpuppy would define her family as herself, and her father, Wink.  However, I also think that she might define family in broader terms to include other members of the Bathtub community as well.  This relates strongly to her social identity.  The cultural norms that she shares with the other members of her culture.
I define family as a group that that (usually) cohabitate and have a shared set of values.  In my home that’s the traditional model of mother, father, and children, but that model is no longer the norm, and there is room for all types of families today.
  1. What is your impression of Wink as a father figure? What is your impression of Wink and Hushpuppy’s relationship?
Their relationship is complicated.  There is love, but also a certain amount of resentment.  Wink seems to resent Hushpuppy’s very existence, while Hushpuppy resents that Wink can’t be the mother that she desperately wants. My interpretation of Hushpuppy’s and Wink’s relationship relates to subjective culture.  If I came from the culture of the Bathtub I would likely view their relationship through the lens of their beliefs and, values and come to very different conclusions. When seen through the lens of my own culture, Winks parenting skills, however, could use a little work.  There can be no denying that Wink loves his daughter and Hushpuppy loves him.  It is no surprise to me in the movie when the government officials take her away from him.  He is somewhat complicit in this after he considers his health problems. 
  1. What is your opinion of the Bathtub? How are the children of the Bathtub different from the adults? How are age and gender roles in the Bathtub similar to/different from those you observe in your own experience?

If you can overlook the crushing poverty, I think the Bathtub would probably be a pretty fun place for a kid to grow up.  The residents seem to live life to the fullest.  The children are treated as children concerning education, and showing a certain amount of respect to adults.  But they are also given much more autonomy than children in mainstream American culture.  Because of this autonomy, they are much better able to fend for themselves when adults are not present.  In terms of cultural relativism, considering my own biases, I would not be comfortable raising my own children in that environment.  The children (and adults) face dangers on a daily basis from hygiene issues to the threat of flooding and hurricanes, to house fires.  Considering all these factors, I am of the opinion that the bad outweighs the good.

A Study in How to Sabotage Your Cause

Richard Van Dyke
Sylva Miller
ENG 121 1N4
4-5-2014
A Study in How to Sabotage Your Cause
In his essay “Animal, Vegetable, Miserable”, Gary Steiner proposes that a vegan lifestyle is an ethical lifestyle.  As a strict vegan, he eats no meat, cheese, or eggs, and uses no products that are derived from animals.  As an animal rights advocate, he pushes his agenda with the hope that his opinions will gain traction in the American mainstream.  Steiner’s pro-vegan argument successfully highlights the ethical conflicts in the use of animal products in our lives, but the “holier than thou” tone of his essay may have the effect of alienating the reader and undermining his cause.
            Steiner immediately sets the adversarial tone of his essay with an attack on the American tradition of eating turkey on holidays.  Referring to the “fever pitch in the days leading up to Thanksgiving” (Steiner 845), he breaches the topics of animal quality of life, humane treatment, and the effects of eating animal products on consumer health.  To connect with average consumers, Steiner introduces these issues (that may be unfamiliar) by tying them in with an American cultural norm.  The appeal to ethos through these points serve his thesis well.  Sadly, his winning streak ends there.
            His appeal to the reader’s emotions (pathos) concerning animal suffering and their capacity for thought fall flat.  His audience, the average American, whose daily lives are filled with the use of animal products, is likely to dismiss this argument without a second thought.  He offers a story by Isaac Bashevis Singer to illuminate this point.  In the story, Singer calls “the slaughter of animals the “eternal Treblinka.” (Steiner 846).   In this quote he compares the slaughter of animals for food to the pogroms of the Nazis during World War II.  Using hyperbolic rhetoric such as this is a risky ploy that can easily backfire on an author.
            According to Steiner, even vegetarians (a group with whom he should be trying to find common ground), and other groups committed to the fight against animal cruelty, are not thoughtful enough on the subject of animal rights.  He decries the free range movement as having “little, if any practical significance” (Steiner 846).  He goes so far as to even refer to the people who advocate for this more humane form of animal treatment as “blissfully ignorant”, and the lives of animals raised in this manner as “living a life of pain and confinement that ends with the butcher’s knife” (Steiner 846).  He also states that, “The simple answer is that most people just don’t care about the lives or fortunes of animals” (Steiner 846), further characterizing them as uncaring and heartless.  These may be the author’s deeply held beliefs, but alienating potential allies will not serve to further his cause.
            His description and (to be frank), complaints about the difficulties of managing his strict vegan lifestyle are meant to highlight his dedication and determination, but come off as little more than whining.   When Steiner states, “You just haven’t lived until you’ve tried to function as a vegan in a meat-crazed society” (Steiner 847), it seems as if he is about to relate a part of his life that the reader can empathize with, but it turns out to be nothing but a springboard to launch a self-centered diatribe in which he laments how difficult his commitment to the strict vegan way of life is to maintain.  The quote, “To go down this road is to stare headlong into an abyss that, to paraphrase Nietzsche, will ultimately stare back at you” (Steiner 847), is so ridiculous, it nearly elicits a mental image of the author’s tears staining the page.  As an appeal to pathos, this is meant to elicit sympathy from the reader, but given the self-serving tone it falls far short.
The description of a typical dinner eaten out with his friends who do indulge in eating meat should serve to help him connect with readers who are hostile to his main thesis, but Steiner ultimately can’t help himself and lets go a salvo against them as well.  He refers to his fellow diners who happen to eat meat as “a self-righteous bunch” and all but accuses them of murder (Steiner 848).  The counterproductive nature of these comments cannot be over-emphasized.  By the end of this passage, any sympathy that the reader had for Steiner’s point of view has evaporated.  If this is how Steiner treats people he calls his friends, his readers don’t stand a chance.  It comes as no surprise, considering his lack of respect for others, that this behavior has cost him friendship.
The use of sarcasm in emphasizing nuance is a common tool that authors use to drive home a point.  Unfortunately, in this essay, Steiner’s use of sarcasm and obvious hyperbole only serve to alienate the reader.  When he proclaims that his cat “can’t appreciate Schubert’s late symphonies”, and “can’t perform syllogistic logic”, it is meant to focus attention on the fact that regardless of its lack of mental prowess, the cat deserves to be treated humanely (Steiner 848).    The irony, and hypocrisy contained in this passage seem completely lost on Steiner.  The cat is his pet, and unless Steiner has somehow garnered the cat’s permission to keep him captive, this seems to run exactly opposite to the point he is trying to make. 
As an advocate for animal rights and a strict vegan lifestyle, there can be no doubt that Gary Steiner’s beliefs are truly heartfelt.  His disrespect for his audience, however, and all people who use animal products, is apparent throughout his essay.  His criticism and antagonistic rhetoric can only serve to anger the individuals and groups with whom he should be allied.  The lack of factual evidence to back up his accusations further hampers his credibility.  It is the responsibility of an author to know his audience and present an argument that is sincere, and not condescending to his readers. Steiner’s failure to take this into account does a disservice to not only his argument, but also the important cause he claims to represent. 


A War on Women

Richard Van Dyke
Kitty King
JOU-105125-SP14
4-15-2014
A War on Women
            In the article, “How I escaped”, Sabatina James shines a light on the harsh realities of growing up as an immigrant in a strict Islamic family.  As a girl, she and her family emigrated from Pakistan to the city of Linz, in Austria.  Coming from a country where women are routinely repressed and treated like possessions, life in Austria was a total sea change.  She enjoyed the new freedoms afforded her, and quickly took to this new way of life.  Her parents, unhappy with the manner in which she embraced her new western lifestyle, attempted to restrain her both emotionally and physically. They ultimately attempted to force her into an arranged marriage.    In the article she documents the troubled relationship she had with her parents, and her rebellion against their fundamentalist way of life.  The unjust treatment Sabatina James suffered at the hands of her Islamic parents is not unique.  Women are abused and killed in the name of religion every day. 
            I believe that it is unfair to characterize the treatment that James suffered at the hands of her parents as exclusively an “Islamic” problem.  Most of the religions of the world (especially the Abrahamic religions) openly promote the idea that women are subordinate to men in their holy books.  Most sects of Christianity and Judaism, however, have undergone major reformations over the last few centuries, and the passages in their texts (the Bible and Torah respectively) that blatantly advocate female subjugation have been “reinterpreted”, or are simply ignored by modern believers.  This unfortunately has not been the case with many of the followers of Islam.
In the article, James highlights how her parent’s shame at her disrespect for their way of life drove them to extreme measures against her.  Shame and “family honor” are powerful forces in Islamic culture.  If it’s perceived that a family member has, with their actions, brought shame upon that family, they may call for an “honor killing” per Islamic law.  These honor killings are not only tolerated, but the legal frameworks of many Middle Eastern countries actually encourage them.  In Pakistan alone, over 500 women and girls are killed each year for perceived damage to their families honor (Jihadwatch.org, 2014).  This very real threat to her life was what finally drove James to flee her family, go into hiding, and finally form a foundation to help other women who have suffered her same plight.

There is never an excuse in a civil society to abuse women or treat them as chattel.  Sabatina James was lucky to finally escape the violence and maltreatment that is suffered by other women around the world every day. That these atrocities are carried out by the very people who are supposed to care for them cannot be excused or allowed to continue unchecked.  How many more women and girls have to die for an outmoded, despicable code of honor created by theistic thugs?

Pikes Peak Community College Hosts Poverty Conference

Pikes Peak Community College Hosts Poverty Conference
By: Richard J. Van Dyke
Pikes Peak Community College
JOU105125 Introduction to Mass Media: SS3
Kitty King: Instructor

On Friday, March 14th, Pikes Peak Community College (PPCC) hosted day three of the “Multi-cultural Awareness Conference (MAC) on Poverty” at its Centennial campus.   According to its organizers, the MAC is designed to be a vehicle to expose PPCC students and faculty to the plight of the impoverished and to highlight ways to get involved and make a difference.  The title of the keynote address for day three was “Bridges out of Poverty”.  The speaker for this day of the event was originally scheduled to be Doctor Regina Lewis who chairs the Communication Department at PPCC, but due to a scheduling conflict, one of her mentors, Bart Givens, gave the presentation in her stead. As the retired Executive Director of Pikes Peak Community Action Agency, and with over 30 years’ experience in domestic and international anti-poverty work, Bart Givens was an eminently qualified substitute speaker.
The presentation began with a video introducing the audience to a poor family living in rural America.  The family’s home was a dilapidated mobile home surrounded by junk cars and other refuse.  The narrative of the video outlined the extreme hardship faced by the family.  The mother had to walk 10 miles to a fast food job every day to earn enough to support her children.  She was dressed in her Burger King uniform and appeared much older than her years.  Her sons had aspirations to better themselves by going to college, but they were vague on how they might accomplish this.  The father was nowhere to be seen and not mentioned.  Overall the video did a good job of setting the tone for the lecture and presentation to follow.
During the lecture portion of the key-note Givens focused on a “Framework of understanding poverty”.  This framework outlines how different classes in society manage the resources that they have (or do not have) available to them.  Classes were broken down into poor, middle class, and wealthy.  According to the Givens, the poor rely heavily on relationships with family and friends to provide support for themselves.  The middle class focuses on achievement, and the wealthy on traditions and history.  Givens further broke these distinctions down into ‘Mental Models” describing the ways in which these diverse groups see themselves and the world in an effort to emphasize the daily struggles those gripped by poverty must endure. 
One of the topics that seemed to resonate with the audience was the idea of “Hidden Rules”.  Givens argues that each class possess a set of rules that it lives by and hands them down from one generation to the next.  An example could be something as simple as knowing how to correctly set a table for dinner.  These rules are rarely verbalized, and those following them hardly know they even exist.  In following and understanding these rules the classes maintain their own status quo and are able to identify others of the same or a different class.  Not understanding the rules of other classes is one more barrier the poor must surmount to escape the bottom rung on the social ladder.
Other topics of the presentation included access to education, reacting versus responding to a crisis, and control over ones destiny.  Givens claims that the poor have little access to education, believe that “fate” has great influence over their lives, and live in constant “crisis mode.  The middle class have greater access to education and put great value on it.  They believe that they have the power to change their future and have the means to save for the adversities that they may face.  The wealthy see education as a means to make social and business connections that will serve them later in life.  Their opportunities are vast and adversity does not hold power over their daily lives. 

The powerful ideas delivered by Bart Givens during his “Bridges Over Poverty” keynote address are vital for his (primarily) student audience to connect with.  That PPCC would give them such a prominent platform, speaks volumes for the college administration’s dedication to the causes of social and economic justice.  Far too often, in our popular American culture, these issues are not given the attention they deserve.  

Charles Foster Kane: Journalistic Idealism in the Progressive Era

Charles Foster Kane: Journalistic Idealism in the Progressive Era
By: Richard J. Van Dyke
Pikes Peak Community College
JOU105125 Introduction to Mass Media: SS3
Kitty King: Instructor

The period of United States history from 1890 to 1930 is popularly referred to as the “Progressive Era” (Campbell, Martin, and Fabos, 2011. p. 26).  Immediately following the upheaval of post-Civil War Reconstruction, and the excess of the Gilded Age, it is best known as a time of great social and political change (Campbell, Martin, and Fabos, 2011. p. 26).  The journalistic legacy of the Progressive Era was characterized by “yellow journalism” and “muckraking” (Campbell, Martin, and Fabos, 2011. p. 226).  These styles of writing are generally thought of as purely sensationalistic, but hard hitting investigative journalism also grew out of this movement (Campbell, Martin, and Fabos, 2011. p. 26, 226).  This is the setting for the film Citizen Kane, and the themes of this era are broadly reflected by the thoughts and actions of our protagonist, Charles Foster Kane.  As a true man of his times, Charles Foster Kane thoroughly embraced the spirit of political and social reform that were the hallmark of the Progressive Era. 
At the onset of the film, after it recounts his back story, Kane is presented as a wealthy, young ideologue.   Freshly returned to the United States from the sparkling capitals of Europe, and having been expelled from the top Ivy League universities in the country, he decides that, “It would be fun to run a newspaper”.  The influence of European culture, and his disdain for authority were key factors in developing his political leanings, and his passion for social change.  He incorporates this youthful enthusiasm, and a desire to better the life of the common man into his management of the “New York Inquirer”.  In the style of the times, his headlines are flashy. The truth comes second to the dramatic tone Kane strives to set for the publication.  In striving for what today we would call “social justice”, he sets out to make the Inquirer a vehicle for change.  Kane eschews the monetary interests of the paper in favor of these ideals, proclaiming that he would continue the paper on its current course, “even at a million dollar annual loss, for decades”.  This “win at any cost” mentality is a theme that resonates throughout the film and was indicative of Yellow Journalism (Campbell, Martin, and Fabos, 2011. p. 226).
  Once established in his position as “Editor in Chief” at the Inquirer, Kane became widely celebrated by the public for being a champion of the people.  In his “Declaration of Principles”, a list of values he vowed to uphold during his tenure as editor, he states, "I will provide the people of this city with a daily paper that will tell all the news honestly. I will also provide them with a fighting and tireless champion of their rights as citizens and as human beings."  The dichotomy between Kane’s stated values and his, “ends justify the means” actions is striking.  In direct opposition to his publicly pronounced convictions, Kane “head hunts” talented reporters from another newspaper, and derisively states to his partner and best friend, “You don’t expect me to keep any of those promises, do you?”.  This cynicism first begins to express itself in small ways, but ultimately, he succumbs to it.
As the film progresses, Kane continues to pursue his journalistic manipulation of public opinion.  He begins to use the inquirer as a megaphone to further his own personal agenda.  He publishes sensationalistic and speculative headlines with the hope to incite the United States into war with Spain.  During his campaign for governor of New York, he runs as “The Fighting Liberal”, and publishes articles with the specific intent of advancing his candidacy and crushing his opposition.  After a personal scandal derails his campaign and political aspirations, he staunchly refuses to pull out of the race, and continues attempting to defame his opponent.  Finally, losing the race for governor, he runs the disingenuous headline, “Charles Foster Kane Defeated, Fraud At Polls".  These are all strong examples of the hyperbole and outright fabrication so common during this age of journalism (Campbell, Martin, and Fabos, 2011. p. 226).  Actual news often took a back seat to circulation numbers and editorial agenda (Campbell, Martin, and Fabos, 2011. p. 226).
Entering middle age, Kane’s journalistic idealism begins to be replaced by a cold pragmatism.   His principle motivation becomes the accumulation of money and power.  In the vein of William Randolph Hearst, who the character is arguably based on, he begins to amass a publishing empire (Campbell, Martin, and Fabos, 2011. p. 185).  This change is also reflected in his personal life.  In an argument with his first wife, Emily, Kane demonstrates his growing contempt for anyone foolish enough to disagree with him or stand in his way.  She asks him about scathing articles published in the Inquirer that malign the President, her uncle.  She states, “Charles, People will think…” , to his callous reply, ”… what I tell them to think!”  This stark revelation makes it abundantly clear to her (and the viewing audience) that Charles Kane, man of the people, is no more.  His metamorphosis into a self-serving plutocrat is complete.
Old age sees Kane become a shadow of the man he once was. A deluded recluse sentenced to a self-imposed exile. From the safety and seclusion of his opulent mansion, ironically named “Shangri La”, he remains bent on retaining control of his crumbling empire, and those around him.   All is for naught, however, and finally, when his second wife leaves him, he cuts off all contact with the outside world.  Only in death does he finally come to realize how he has lost his way.

As an example of its times, Citizen Kane creates an accurate picture of the high ideals, and passion for domestic social reform indicative of the Progressive Era (Campbell, Martin, and Fabos, 2011. p. 26).  Fighting for the common man and taking on social injustice in the press was a relatively novel idea at the time (Campbell, Martin, and Fabos, 2011. p. 226).  The character of Charles Foster Kane, idealistic journalist, embodied the dramatic spirit of yellow journalism and the muckrakers of his era.  That he ultimately fails in his endeavor is not the lesson to be learned from the film.  What the viewer should take away from the narrative, is that he strived to make a reality of the groundbreaking, progressive ideals of his time, and advocated tirelessly for the plight of the common man.   That’s the “take-away”, and a moral worthy of the greatest film ever made.

“Ag Gag” Laws: Censorship in Every Bite

Richard Van Dyke
Sylva Miller
ENG 121 1N4
5-5-2014
“Ag Gag” Laws: Censorship in Every Bite
Since the advent of video recorders, animal rights advocates such as People for the Ethical Treatment of Animals (PETA), and other organizations have been busy recording and exposing corporate animal maltreatment, and unsanitary conditions across the country.  With the rise of “Ag Gag” laws over the last twenty years, this effort, on the part of those who cannot advocate for themselves, and for the public at large, has been aggressively abridged.  The idea behind the bills being proposed (and in some cases signed into law) is to keep organizations from exposing these illicit activities by making the very act of filming them a crime.  Branding animal rights advocates “terrorists”, lobbying to make it a crime to clandestinely record animal abuse, and advocating for legislation to silence whistleblowers makes one wonder what these conglomerates have to hide.  Consumers have the right to know how the animals that are used in the food they eat are treated, just as corporate whistleblowers should have the right to expose corporate “bad actors” without fear of reprisal under the law.  State and federal Legislators must vote “no” on pending “Ag Gag” bills, and work to repeal the laws already on the books.   Our First Amendment rights demand it.
To understand the significance of these laws and how they stifle free speech, we first must explore what they entail, and how the industry came to believe there was a need for them.  Spurred on by what they perceived as a serious threat to their industry from animal rights groups, meat producers lobbied for laws that they felt would better protect their interests (Pitts, 97).  Under the guise of “public safety”, “Ag Gag” law is arguably designed to prevent animal abuse and other illegal practices perpetrated by these conglomerates from getting any public exposure (Genoways, 46). The majority of these laws make it a crime, “to enter an agricultural facility under false pretenses", to include walking in through the front door (Pitts, 97).  This is principally targeted at thwarting animal rights activists, whose sole intention to obtain employment is to record animal abuse (Pitts, 97-99).  Actual employees of these firms are being targeted as well.  The law in Missouri requires facility employees to turn over to law enforcement, any video they have filmed that they suspect contains abuse, within 24 hours (Pitts, 98).  If they violate this law they can face steep fines and possible jail time (Pitts, 98). 
The history of these laws has been played out in the halls of state and federal government for over two decades. The first state to enact “Ag-Gag” legislation was Kansas in 1990, shortly followed by North Dakota, and Montana in 1991 (Pitts, 97-98).  In 2012, Iowa instituted the nation’s first modern Ag Gag law (Flynn, para. 7).  As of July of 2013, initiatives to pass these laws have succeeded in four states, were ongoing in nine, and have failed in five (Genoways, 45).  The corporations promoting these laws have deep pockets and strong incentive to keep the pressure on lawmakers to achieve their goals.  With more and more state legislatures taking up “Ag Gag” initiatives, the need for educating the public on the specifics and history of these issues has never been greater.
State enacted “Ag Gag” laws are problematic on many levels, but when federal legislators weigh in on these matters the problems are compounded.  The Animal Enterprise Terrorism Act (AETA) was enacted by congress in November, 2006 (Hill, 264).  The AETA makes “interfering” with any animal enterprise (read as “corporation”) a crime at the federal level (Hill, 264).  This would include videotaping corporate animal abuse by animal rights groups.  The law is further designed with the intent of, “thwarting domestic terrorism threats” and, “preventing violent attacks by extremists" (Hill, 657).  Unfortunately, the manner in which the AETA is written makes it, “susceptible to abuse and misinterpretation” and it could have the chilling effect of, “hindering whistleblowing or other traditionally protected activities” (Hill, 658).  In a post 9/11 world, the label “terrorist”, and the harsh sentences that prosecutors can pursue for those accused of crimes branded as such, make these issues all the more serious. 
State and federal representatives, spurred on by “Big-Ag” campaign contributions, and promises of support from lobbyists, continue to champion these laws in both state and federal government.  Legislators at the state and federal level walk a careful line between the public’s tolerance of perceived cronyism and the need of corporate dollars to fund expensive reelection campaigns.  To gain reelection, a legislator must secure enough votes to defeat their opponent. The cost of securing them is high, and entails accumulating, “sufficient money to purchase the publicity and endorsements to obtain those votes” (Pitts, 106).  Corporate lobbyists are well aware of this fact, and promise big donations to politicians who will help them secure legislation that will advance their industry’s agenda (Pitts, 106). The balance between the demands of the citizenry, the demands of corporate donors, and the desire to get reelected, creates a treacherous loggerhead for lawmakers (Pitts, 106). Calculating negative public opinion against their need for these contributions is a complicated game all politicians play (Pitts, 107).   “Spinning” the issues as, “beneficial to the people as well as industry” is integral to the process (Pitts, 106).  There is a strong urge to maintain the status quo among the corporate and political elite, even when it comes at the expense of the governed.
               In the early part of the twentieth century, the phrase, “sanitary working conditions”, and the concept of, “humane treatment of animals”, were unknown in the slaughterhouses and poultry farms of the United States.  Upton Sinclair’s book, The Jungle, published in 1906, largely changed this (McIntyre, 8).  The “Federal Meat Inspection Act” of 1906 was largely in response to Sinclair’s scathing manuscript (Matson, 30).  The sweeping changes to the industry this legislation brought about cannot be overemphasized.  Prior to 1906, “rats scurrying onto piles of diseased meat” (Matson, 30), and a host of other noxious practices were the norm.  Only by shining a light on these insanitary conditions and exposing them to the public at large, did change finally come to the industry.  The creation of the modern Food and Drug Administration’s, Food Code can principally be credited to the efforts of Sinclair and other “muckrakers” of his time (McIntyre, 8).  This journalistic practice of exposing corruption for the good of the common man continues to this day.
The attention grabbing tactics PETA and other animal rights groups use have been instrumental in facilitating reform in the meat and poultry industries.  Shock advertising, a common tactic used by PETA, helps to draw attention to their cause (Matusitz and Forrester, 85).  The ad campaigns and public relations stunts carried out by PETA over the last thirty years have been immensely successful at changing public perception, and have become a well-known element of our cultural lexicon (Matusitz and Forrester, 87).   PETA members going undercover to film video of animal abuse has also been effective.   In the summer of 2008, in Greene County, Iowa, PETA executed one of its most successful clandestine operations ever (Genoways, 45).   Two activists, posing as employees, obtained hidden-camera footage that exposed systemic animal abuse at the MowMar Farms hog confinement facility (Genoways, 46).  The video was broadcast nationwide, and Hormel, the company who owned the plant, roundly condemned the cruel practices it showcased (Genoways, 46).  The individual filmed dealing out the abuse was the first person ever to be convicted of criminal livestock neglect in US history (Genoways, 46).  The perpetrator ultimately made a plea deal with prosecutors, and accepted six months’ probation, along with a $625.00 fine (Genoways, 46).  Though they felt the penalties should have been more severe, PETA considered this a major win (Genoways, 46).  Ironically, if this same film was released under similar circumstances today, it wouldn’t necessarily be the animal abuser being prosecuted.  The two activists who filmed that abuse would also be committing a crime, and not just any crime, an act of terrorism.   
Consumers have shown that they are extremely interested to know what goes into the production of the food they eat, and are quick to eschew companies and products they feel violate safety standards and ethical norms.  The recent “pink slime” controversy that monopolized the headlines for two months in 2012, and chronicled by Jessica Pitts in her work, “"Ag-Gag" Legislation and Public Choice Theory: Maintaining a Diffuse Public by Limiting Information”, effectively illustrates this point (109).  It was well known in the meat industry that what they referred to as “lean beef trimmings” was routinely added as filler to inexpensive ground beef and certain types of sausage (Honan, para. 9) (Pitts, 109).  This information, however, was not being related to the consumer on the product packaging (Honan, para. 9).  When this fact was exposed to the public, the ramifications for the industry were far reaching.  Many food retailers such as Costco, Whole Foods, and McDonalds’ have now pledged not to use pink slime in the meat they sell (Honan, para. 10) (Pitts, 109).  If the journalistic organizations who first reported this thought that their actions might expose them to criminal prosecution they may not have pursued them.  This would have been a net loss for consumers.
Industry lobbyists and other proponents of “Ag Gag” laws argue that these measures are needed to protect their corporate interests.  In Ted Genoways’ article addressing the rise of these laws, “Gagged by Big Ag” for MotherJones.com he writes, “Cindy Cunningham, spokeswoman for the National Pork Board, told me she thought such legal protections could be appropriate. And that she likened it (clandestine recording) to somebody walking into your living room and taking video" (44).  Backers of the laws further state that the actions of many animal rights groups are a form of terrorism, referring to videos PETA has released as “the 9/11 event of animal care in our industry” (Genoways, 46).  The claims made by the meat and poultry industry are not reflected by the reality on the ground, and as we have seen, are easily refuted. 

“Ag Gag” laws are little more than a new way for moneyed interests to paint activism as terrorism in an effort to stifle free speech.  If we as a country allow them, corporations and the politicians who do their bidding will continue to skillfully obfuscate their true intentions.  Industrial whistleblowers and others who expose corporate corruption and injustice are a vital part of a free press.  Without the tireless work of our “fourth estate” many aspects of our system that we routinely take for granted would simply not exist.  From exposing political graft, and holding the line on truth in advertising, to uncovering animal abuse and maltreatment, the legacy of the relentless activism of organizations like PETA is a safer, more humane world.   Without courageous authors like Upton Sinclair who were (and are) willing to bring issues of industrial hygiene and safety to the public’s attention, food borne disease would travel unfettered, from the slaughter houses and poultry farms, to the market, and ultimately to the dinner tables of every American home.  Speaking “truth to power” ensures that those who wield that power are accountable to the people.  We are, altogether, better off as a society with the transparency that they force on those who would otherwise hide their misdeeds.  Without it, we are lost.