Sugar: The Bitter Truth

Robert H. Lustig, MD, UCSF Professor of Pediatrics, Division of Endocrinology explores the damage caused by sugary foods.

Health Matters: Behavior and Our Brain

What makes us who we are? What makes us fall in love, become addicted to chocolate, or become a musician? Renowned neuroscientist Terry J. Sejnowski, whose cutting edge research has unlocked many of the mysteries of the brain, joins our host, David Granet, to discuss this fascinating topic.

Richard Wiswall discusses the business of organic farming (30 mins)

http://blip.tv/file/2475124

Contrary to popular belief, a good living can be made on an organic farm. What’s required is farming smarter, not harder.

In The Organic Farmer’s Business Handbook, Richard Wiswall shares advice on how to make your vegetable production more efficient, better manage your employees and finances, and turn a profit. From his twenty-seven years of experience at Cate Farm in Vermont, Wiswall knows firsthand the joys of starting and operating an organic farm—as well as the challenges of making a living from one. Farming offers fundamental satisfaction from producing food, working outdoors, being one’s own boss, and working intimately with nature. But, unfortunately, many farmers avoid learning about the business end of farming; because of this, they often work harder than they need to, or quit farming altogether because of frustrating—and often avoidable—losses.

In this comprehensive business kit, Wiswall covers:

• Step-by-step procedures to make your crop production more efficient
• Advice on managing employees, farm operations, and office systems
• Novel marketing strategies
• What to do with your profits: business spending, investing, and planning for retirement

A companion CD offers valuable business tools, including easy-to-use spreadsheets for projecting cash flow, a payroll calculator, comprehensive crop budgets for forty different crops, and tax planners.

Richard Wiswall started Cate Farm in East Montpelier, Vermont, where he has farmed since 1981. Known for his work on farm profitability and appropriate business tools, Wiswall consults with other farmers, and writes and speaks frequently on organic-farm business issues. To learn more about Wiswall and Cate Farm, visit www.catefarm.com.

Big Bucks, Big Pharma - Marketing Disease & Pushing Drugs

ConditionedReality

Big Bucks, Big Pharma pulls back the curtain on the multi-billion dollar pharmaceutical industry to expose the insidious ways that illness is used, manipulated, and in some instances created, for capital gain. Focusing on the industry's marketing practices, media scholars and health professionals help viewers understand the ways in which direct-to-consumer (DTC) pharmaceutical advertising glamorizes and normalizes the use of prescription medication, and works in tandem with promotion to doctors. Combined, these industry practices shape how both patients and doctors understand and relate to disease and treatment. Ultimately, Big Bucks, Big Pharma challenges us to ask important questions about the consequences of relying on a for-profit industry for our health and well-being.

Featuring interviews with Dr. Marcia Angell (Dept. of Social Medicine, Harvard Medical School; Former Editor New England Journal of Medicine), Dr. Bob Goodman (Columbia University Medical Center; Founder, No Free Lunch), Gene Carbona (Former Pharmaceutical Industry Insider and Current Executive Director of Sales, The Medical Letter), Katharine Greider (Journalist; Author, The Big Fix: How the Pharmaceutical Industry Rips Off American Consumers), Dr. Elizabeth Preston (Dept. of Communication, Westfield State College), and Dr. Larry Sasich (Public Citizen Health Research Group).

Source : http://www.mediaed.org/cgi-bin/commerce.cgi?preadd=action&key=224

The Social Animal

The Scientist and the Humanist: A Conversation with Elliot Aronson

A landmark text that maintains its relevance and unique approach edition after edition, The Social Animal offers a brief, compelling introduction to modern social psychology. Through vivid narrative, lively presentations of important research, and intriguing examples, Elliot Aronson probes the patterns and motives of human behavior, covering such diverse topics as terrorism, conformity, obedience, politics, race relations, advertising, war, interpersonal attraction, and the power of religious cults.

About Elliot Aronson and This Web Site

Cheney's Law PBS FRONTLINE

For three decades Vice President Dick Cheney conducted a secretive, behind-closed-doors campaign to give the president virtually unlimited wartime power. Finally, in the aftermath of 9/11, the Justice Department and the White House made a number of controversial legal decisions. Orchestrated by Cheney and his lawyer David Addington, the department interpreted executive power in an expansive and extraordinary way, granting President George W. Bush the power to detain, interrogate, torture, wiretap and spy -- without congressional approval or judicial review.

Now, as the White House appears ready to ignore subpoenas in the investigations over wiretapping and U.S. attorney firings, FRONTLINE examines the battle over the power of the presidency and Cheney's way of looking at the Constitution.

"The vice president believes that Congress has very few powers to actually constrain the president and the executive branch," former Justice Department attorney Marty Lederman tells FRONTLINE. "He believes the president should have the final word -- indeed the only word -- on all matters within the executive branch."

After Sept. 11, Cheney and Addington were determined to implement their vision -- in secret. The vice president and his counsel found an ally in John Yoo, a lawyer at the Justice Department's extraordinarily powerful Office of Legal Counsel (OLC). In concert with Addington, Yoo wrote memoranda authorizing the president to act with unparalleled authority.

"Through interviews with key administration figures, Cheney's Law documents the bruising bureaucratic battles between a group of conservative Justice Department lawyers and the Office of the Vice President over the legal foundation for the most closely guarded programs in the war on terror," says FRONTLINE producer Michael Kirk. This is Kirk's 10th documentary about the Bush administration's policies since 9/11.

In his most extensive television interview since leaving the Justice Department, former Assistant Attorney General Jack L. Goldsmith describes his initial days at the OLC in the fall of 2003 as he learned about the government's most secret and controversial covert operations. Goldsmith was shocked by the administration's secret assertion of unlimited power.

"There were extravagant and unnecessary claims of presidential power that were wildly overbroad to the tasks at hand," Goldsmith says. "I had a whole flurry of emotions. My first one was disbelief that programs of this importance could be supported by legal opinions that were this flawed. My second was the realization that I would have a very, very hard time standing by these opinions if pressed. My third was the sinking feeling, what was I going to do if I was pressed about reaffirming these opinions?"

As Goldsmith began to question his colleagues' claims that the administration could ignore domestic laws and international treaties, he began to clash with Cheney's office. According to Goldsmith, Addington warned him, "If you rule that way, the blood of the 100,000 people who die in the next attack will be on your hands."

Goldsmith's battles with Cheney culminated in a now-famous hospital-room confrontation at Attorney General John Ashcroft's bedside. Goldsmith watched as White House Counsel Alberto Gonzales and Chief of Staff Andy Card pleaded with Ashcroft to overrule the department's finding that a domestic surveillance program was illegal. Ashcroft rebuffed the White House, and as many as 30 department lawyers threatened to resign. The president relented.

But Goldsmith's victory was temporary, and Cheney's Law continues the story after the hospital-room standoff. At the Justice Department, White House Counsel Gonzales was named attorney general and tasked with reasserting White House control. On Capitol Hill, Cheney lobbied Congress for broad authorizations for the eavesdropping program and for approval of the administration's system for trying suspected terrorists by military tribunals.

As the White House and Congress continue to face off over executive privilege, the terrorist surveillance program, and the firing of U.S. attorneys, FRONTLINE tells the story of what's formed the views of the man behind what some view as the most ambitious project to reshape the power of the president in American history.

FRONTLINE: cheney's law

Frontline - The Merchants of Cool (2001)

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http://www.pbs.org/wgbh/pages/frontline/shows/cool/

They spend their days sifting through reams of market research data. They conduct endless surveys and focus groups. They comb the streets, the schools, and the malls, hot on the trail of the "next big thing" that will snare the attention of their prey--a market segment worth an estimated $150 billion a year.

They are the merchants of cool : creators and sellers of popular culture who have made teenagers the hottest consumer demographic in America. But are they simply reflecting teen desires or have they begun to manufacture those desires in a bid to secure this lucrative market? And have they gone too far in their attempts to reach the hearts--and wallets--of America's youth?

FRONTLINE correspondent Douglas Rushkoff examines the tactics, techniques, and cultural ramifications of these marketing moguls in "The Merchants of Cool." Produced by Barak Goodman and Rachel Dretzin, the program talks with top marketers, media executives and cultural/media critics, and explores the symbiotic relationship between the media and today's teens, as each looks to the other for their identity.

Teenagers are the hottest consumer demographic in America. At 33 million strong, they comprise the largest generation of teens America has ever seen--larger, even, than the much-ballyhooed Baby Boom generation. Last year, America's teens spent $100 billion, while influencing their parents' spending to the tune of another $50 billion.

But marketing to teens isn't as easy as it sounds. Marketers have to find a way to seem real: true to the lives and attitudes of teenagers; in short, to become cool themselves. To that end, they search out the next cool thing and have adopted an almost anthropological approach to studying teens and analyzing their every move as if they were animals in the wild.

Take MTV. Long considered to be the arbiter of teen cool, the late 1990s saw MTV's ratings on the wane. To counter the slide, MTV embarked on a major teen research campaign, the hallmark of which was its "ethnography study"-- visiting teens' homes to view first hand their lives, interests and ask some quite personal questions.

But what lessons do MTV and other companies draw from this exhaustive and expensive study of teenagers' lives? Does it result in a more nuanced portrait of the American teen? In "The Merchants of Cool," FRONTLINE introduces viewers to the "mook" and the "midriff" -- the stock characters that MTV and others have resorted to in order to hook the teen consumer.

The "midriff"--the character pitched at teenage girls, is the highly-sexualized, world-weary sophisticate that increasingly populates television shows such as Dawson's Creek and films such as Cruel Intentions. Even more appealing to marketers is the "midriff's" male counterpart, the "mook." Characterized mainly by his infantile, boorish behavior, the "mook" is a perpetual adolescent: crude, misogynistic--and very, very, angry.

But also very lucrative. To appeal to the "mook," MTV has created programs such as Spring Break -- a televised version of teen beach debauchery--as well as a weekly program capitalizing on the current wrestling craze.

"What this system does is it closely studies the young, keeps them under constant surveillance to figure out what will push their buttons," says media critic Mark Crispin Miller. "And it blares it back at them relentlessly and everywhere."

Of course, there is resistance to the commercial machine. FRONTLINE takes viewers to downtown Detroit, where media analyst Rushkoff speaks with teens at a concert by the Detroit-based Insane Clown Posse, purveyors of a genre of music that's become known as "rage rock." When asked to describe what appeals to them about such music, the teens invariably respond that it belongs to them; it hasn't yet been taken and sold back to them at the mall. Full of profanity, violence, and misogyny, rage rock is literally a challenge thrown up to marketers: just try to market this!

But marketers have accepted the challenge: rage rock is now big business. Not only has Insane Clown Posse become mainstream, but much bigger acts like Eminem and Limp Bizkit are breaking sales records and winning industry accolades in the form of Grammy nominations and other mainstream music awards.

In "The Merchants of Cool," correspondent Rushkoff details how MTV and other huge commercial outlets orchestrated the rise of Limp Bizkit--despite the group's objectionable lyrics--and then relentlessly promoted them on-air.

But in doing so, critics ask, is MTV truly reflecting the desires of today's teenagers, or are they stoking a cultural infatuation with music and imagery that glorifies violence and sex as well as antisocial behavior and attitudes?

In today's media-saturated environment, such questions, it seems, are becoming increasingly difficult to answer.

"It's one enclosed feedback loop," Rushkoff says. "Kids' culture and media culture are now one and the same, and it becomes impossible to tell which came first--the anger or the marketing of the anger."

Therein lies the danger of today's teen-driven economy, observers say: As everyone from record promoters to TV executives to movie producers besieges today's teens with pseudo-authentic marketing pitches, teenagers increasingly look to the media to provide them with a ready-made identity predicated on today's version of what's cool. Rather than empowering youngsters, the incessant focus on their wants and desires leaves them adrift in a sea of conflicting marketing messages.

"Kids feel frustrated and lonely today because they are encouraged to feel that way," Miller tells FRONTLINE. "You know, advertising has always sold anxiety and it certainly sells anxiety to the young. It's always telling them that they are not thin enough, they're not pretty enough, they don't have the right friends, or they have no friends...they're losers unless they're cool. But I don't think anybody, deep down, really feels cool enough, ever."

And as more and more teens look to the media to define what they should think and how they should behave, even some cool hunters are no longer sure that their work isn't having a negative impact.

"Even though I work at MTV...I am starting to see the world more like someone who's approaching forty than someone who's twenty," says Brian Graden, the channel's president of programming. "And I can't help but be worried that we are throwing so much at young adults so fast. And that there is no amount of preparation or education or even love that you could give a child to be ready."
merchants of cool: media giants