Category Archives: Uncategorized

The Daily Show, Jennifer Aniston, and Bird Poop

Last year, Ian and I managed to snag tickets to the Daily Show using their online reservation calendar. (I say “managed to snag” because it isn’t easy. You have to be lucky to catch an open date.) We had just returned to Connecticut after living in Tennessee for a year when one of our friends said she ‘d secured tickets online to the Daily Show, but had spent too long at a bar down the street before returning to the line. By the time she got there, it was long, and she wasn’t let in.

Ian and I, the first time we got a hold of some tickets, had left the house early and were determined to stay in line once we got there; what happened to our friend would certainly not happen to us.  Alas, we were foiled by traffic on the Merritt Parkway. People seven heads in front of us got in; we did not.

A few months ago, I – naturally a loyal Facebook friend of the Daily Show – saw their status update saying they had seats available for the next several months. I clicked the link to their reservation calendar, saw the available dates, and called Ian. “What do you think?” I said. “Get them!” he said. By the time I returned to the calendar less than two minutes later Continue reading

TIME’S next person of the year (hear me out).

I want to nominate TIME’s next person of the year, but are regular, everyday people who read the magazine afforded that opportunity?

My nomination would be the American Military, but TIME has already recognized The American Fighting-Man (1950) and The American Soldier (2003), and they’re not likely to do it again. So, I choose the American Military Family.

It’s not uncommon for TIME to name groups as Person of the Year. In 1960, it was U.S. Scientists. In 1966, it was 25 And Under. 1969: Middle Americans. 1975: American Women. 1993: The Peacemakers. 2002: The Whistleblowers. 2006: You.

But since 1927, through all of the wars and conflicts our country has seen, not once has the Military Family – often touted as the ‘backbone’ of the soldier and the country (during wartime) -  been recognized by TIME. These are families that undergo repeated periods of a year or more of anything from mild anxiety to absolute anguish, from “See you next year” to “I hope I see you again someday,” from “Goodbye for now” to “Goodbye forever.” Some children don’t meet their deployed parent until they’re a year old. Others have barely gotten to know who their father or mother is in the brief time they’ve shared between multiple deployments.

The military family (the spouse, the lover, the child, the father, the mother – big or small, married or not) has no idea how it will receive the loved one at the end of a deployment. Unscathed? Missing an arm? Missing two legs? Brain damaged? Challenged by PTSD?  Until the families see their loved ones get off that plane from Iraq or Afghanistan, all they can do is hope. Hope nothing bad happens today, hope they come home safe and whole. Hope the last time they saw them wasn’t the last time they’ll ever see them.

This generation’s military has been deploying for ten years to the Middle East. Their families have been suffering their own unimaginable war experiences for just as long. It’s time, TIME.

[Please share this if you agree. I'd like to see if we can make this happen. You're also invited to join the facebook community effort.]

ACTION! Author Ian T. Healy shows us how it’s done.

Ian T. Healy

Ian T. Healy, the most prolific writer I’ve ever met (internet “met,” that is), is the creator of the Adventures of the S-Team web comic, regular NaNoWriMo participant (and winner), and now the head of a workshop (which he imagined and then created) on writing successful action scenes. The workshop is scheduled to hold its first meeting in January of 2011 in Denver, Colorado. In the meantime, he’s accepting action scenes for critique.

I’ve known (internet “known”) Ian for a couple of years now, and my opinion of him is that he’s very nice.

Kristen: I can only assume, then, based on what I know of you, that you’ll also be a patient workshop instructor…?

Ian T. Healy: I think I’ll be a good workshop conductor. I’m animated in my presentation, bring a good amount of humor and earthiness to a discussion, know my material, and am a parent of three pre-teen children, so I know patience. :)

I know you’re always writing–your ability to find time to write no matter what has always managed to both impress me and make me disgusted with myself for my own lack of motivation–but what’s your writing background?

For years it was a picture of the planet Mars. More recently it’s been a picture of a steampunk-style workshop. Oh, wait, you mean my background in writing? I don’t really have one. I don’t have any real formal training. I grew up doodling out stories and even convinced a couple of teachers in high school to let me write papers in fictional format (for which I earned good grades, even!). A lot of my background comes from growing up playing Role-Playing Games – even into adulthood – where I really cemented my plotting skills.

What was the first book you wrote, how long ago was it, and how many have you written since then?

The very first “book” I wrote was a thumbprint comic book using a red inkpad on pieces of stapled-together 8 1/2×11 typing paper. It ws called “The Happy Days Gang Goes To The Disco” and I still have scans of it somewhere. I would have been about 6 years old. The first “novel” I wrote was back in junior high school, a horrid hackjob of an epic science fiction piece which has thankfully been lost to the ages (I suspect there may be a bootleg copy in my parents’ house somewhere). I’d say the first book of my modern writing career was a novel-length Star Wars fanfic I wrote in 2003. Since then I’ve completed ten other novels and have 3 (soon to be 4 with NaNoWriMo) active book projects going on right now.

How much of what you write contains action scenes?

Pretty much all of it with the exception of my current project Hope and Undead Elvis, which has been strangely devoid of action even fifty thousand words in.

What is it that attracts you to action ?

For me, a well-crafted action scene is lots of fun, like seeing a movie in your mind as you read. I love the sense of motion, clever stunts, witty repartee. I’m very much a GUY kind of guy in that respect.

What was the first action scene you wrote, and what do you think of it when you look back on it now?

The first one I clearly remember was in the junior high school novel. It was a car chase. My English teacher, whom I’d showed it to, commented on how well-crafted the action was (compared to, say, the plot). It really was a cut above the other stuff I was writing, and to this day I keep writing action because I’m pretty darn good at it.

Something must have prompted you to hold an action scene writing workshop. Have you read some pretty bad action scenes?

Oh my, yes. I’ve read some pretty bad ones in published books. I’ve seen workshops on developing characters, plotting, outlining, scene-crafting, conflict, etc. I’ve never seen anyone who’s teaching writers how to write action scenes, and it shows in their work. It’s hard to produce quality action on the page when you’ve got no basis for how to do it and your only references are some of the mediocre, disjointed scenes you’ve read by published writers. I’ve beta-read for fellow writers who have brilliant plots, outstanding characters and conflicts, but who fall flat when they write an action scene because they simply have no idea how to execute it. Numerous writer friends have come to me seeking help with their own action scenes, and it occurred to me that there’s a need I can fulfill with a wider group than just my closest writing buddies. It’s been an interesting job taking these scenes which I write naturally and really analyzing what I’m doing to make them work.

What do you hate to see most in an action scene, and do you have an example?

I have a laundry list of things I hate. Head-hopping (changing POV character mid-scene) is a biggie. So is interrupting a scene with a character’s self-absorbed pontificating. My biggest gripe, though, would have to be when an author sets everything up perfectly for an action scene, getting me very excited to read it, and then chickens out by taking the story on a different tangent to avoid having to write the sequence. I understand if the story you’re writing is about the character who stays home from a war, like you did in Pretty Much True.... But if you’re writing a story ABOUT the war itself, and you set everything up for the big main conflict between the heroes and the opponents, and then you write about watching the heroes go off to fight and then avoid writing about their heroic efforts, that sets my teeth on edge. I’m not going to name names, but there’s a well-known science fiction author guilty of this.

..
Is there one kind of action scene that’s significantly more difficult to write than another?

A large-scale battle is very tough, especially when the heroes are only one small part of it. Think of the way the final battle in Return of the King was filmed. Now think of how it was written. Does the written scene stick in your mind over the film? Because it doesn’t in mine. To keep your characters front and center when even bigger things are going on around them is tough. Your choices as a writer are to either pull the narrative way back to show everything that’s going on, which then minimizes the characters’ impact, or to pull in close to follow a character (or group) and then leave off some of the big important things going on elsewhere in the fight. I think it’s by far the hardest one to write.

What are the top three rules for writing an action scene?

Pacing, motion, continuity. Pacing is important because action scenes can’t be drawn-out, ponderous affairs; they have to pop off the page. Motion is important because all action is based upon the motion of characters through the world around them, and you have to convey that motion in your narrative. Continuity is important because the scene has to flow in a logical way from beginning to end. You don’t want to employ a scattershot, jump-cut scene technique where something happens over here, then something happens to this guy over here, but while that happened something else happened over here. That’s too hard to read and will turn off a reader.

Employing those rules, write an action scene in four sentences.

Detective Stein kicked open the apartment door. The suspect jumped up from his recliner, grabbed a shotgun from the end table, and fired both barrels at Stein.  The detective ducked behind the jamb as pellets tore apart the masonry.  He dropped prone, raised his gun, and put a bullet right between the suspect’s eyes.

Oh.

Okay, then. Maybe that’s easy for you

How can people get more information about your workshop?

Visit www.writebetteraction.com.

Interviewing the interviewer – About Sandy Ward Bell

Veteran radio personality Sandy Ward Bell, whose decade of experience working in a variety of radio formats was put on hiatus when her daughter  was born, is back. “Out of retirement,” she  writes in her blog talk radio bio, “to interview writers, musicians, and artists.”

Bell is also an author, and her novel In Zoey’s Head – which I had the privilege of reading and whose narrator I very quickly fell in love with – is available at Amazon.com as a paperback and Kindle book.

“Backstory with Sandy Ward Bell” is Bell’s break-out-of-retirement program,  and I’m fortunate enough to be her second interview since her return to one of her great passions. Having listened to her first “Backstory” interview (with author and book reviewer Holly Christine), I couldn’t be more excited. Even so, I wanted to learn more about her, and I wanted you to know why you should both listen to, and try to be on, her show.

How did you first get into radio?

When I was in 9th grade I was listening to TOTO’s Hold The Line. I decided then and there I was going to be a radio announcer. I picked Geneseo State college because it had 2 radio stations and I could start working my freshman year. Senior year – I was the first FEMALE general manager of the 2 thousand watt station WGSU. Because of internships and part-time work, when I graduated, I was a full-time DJ the day I got my diploma.

Who is your favorite radio personality?

That’s a tough question because there are so many. I really like a local guy. On afternoon drive-time – ‘Jeremy DANGER Frog’ on Froggy in Pittsburgh. He is funny, smart, and understands his audience, knowing exactly what to do to connect with them. I’m always amazed by radio personalities that present a talent that can’t be taught.

What made you decide to come out of retirement?

After being interviewed on a Blogtalk radio show, I was asked to assist another writer produce his show. After those experiences, the spark inside me was reignited. I loved being a radio personality. I had forgotten how much I enjoyed it. I decided that with my experience and passion with radio and interviewing, I could create a show that I could eventually turn into a business.

What plans do you have for “Backstory”?

I hope to produce and present an entertaining and informative program. Once I create an audience, I believe I can attract advertisers as well as new artists looking for a solid interview to use in their own marketing plan.

You recently released a book - In Zoey’s Head – about a woman whose experiences are, in her head, often accompanied by memories of songs or television programs, a kind of soundtrack to her life. I have to ask, based on your past and your love of radio, is Zoey based on you?

I’ve been asked that a lot. Yes, there is a lot of Zoey in me, or is it, I put a lot of me in Zoey. We aren’t exactly the same – just similar. I had Zoey say and do things I always wanted to do. That is what is so great about writing fiction.

[Personal note: usually I give myself more time to put together interviews, but I wanted this to post before Tuesday, when I'll be on Bell's radio show. If I had more time, I would ask, "What did you have the most fun having Zoey say that you would never say in real life?" If we're lucky, she'll stop by, read this, and answer in the comments section. - KT]

Tell me about In Zoey’s Head. It’s obvious readers are really enjoying it, because it’s been available a relatively short time and already it’s receiving 4- and 5-star reviews with readers calling it  “tasty” (which, frankly, confuses me and intrigues me at the same time), “fun,” and “compelling.”

In Zoey’s Head can literally get into your head. I had one reader make the comment – “the characters stayed with me even after I closed the book.” It is perfect for book discussion groups. There are several hot topics in the story that help create a heated debate. That is why I offer my services, free of charge, to join book clubs via Skype for readings or to join in on the discussion of my novel.

Are you working on another book in the midst of all this skyping and radio show hosting?

I’m working on my second novel – it is a modern version of Jane Austen’s Mansfield Park. Plus, I write short stories to change things up now and again.

Which do you feel more intimately connected to – radio or writing?

I feel intimately connected to both radio and writing. They both make me extremely happy. I get a high from talking/interviewing people with passions and interesting stories. Then, I love to sit down and create an escape world full of intriguing characters. Fiction keeps me sane.

[Join Sandy Ward Bell and me on "Backstory" Tuesday, October 19,  at 7:30 PM Eastern Standard Time. We're going to talk about many, many things. The program runs about 20 minutes, so it won't be THAT many things. Probably just enough things.]

The popular dead guy across the street.

Last winter, I moved into a house across the street from a cemetery. Not sort-of across the street, as in, down the road and across the street, but immediately across the street. If-I-press-the-gas-too-hard-when-backing-out-of-the-driveway,-I’ll-end-up-desecrating-someone’s-grave across the street.

As someone who likes to avoid all things death, yet who simultaneously spends an inordinate amount of time thinking and worrying about it, living here made me a little nervous at first, but after walking through a few times and getting to know the names of my neighbors–conveniently etched in big block letters–the creepiness faded.

What took its place was my appreciation for the hilly walking path winding through plots that go back as far as the late sixteen hundreds, and my fascination with a group of five or six young men in baggy clothes and baseball caps who would gather about once a month around one of the graves closest to my house.

They’d stand over the spot for hours, some on one side and some on the other, their voices carrying across the flat patch of grown-in grass between them, and through the open windows of my porch and into my living room through the open door. They looked like punks, but to someone in her mid-thirties, anyone who dresses like someone under twenty pretty much looks like a punk.

But they never caused trouble. It was just a bunch of guys hanging out with a dead friend, having the kind of conversation I imagine takes place between the 20-somethings who gather in parking lots and stand around their parked cars.

For the first few months, the visits were pretty regular, but I noticed recently that I haven’t seen anyone stop by in a while. (They would usually come late afternoons or early evenings, and I could always hear them from inside the house. I would hear them before I saw them, in fact. Yes, I live that close to the cemetery.) For months, no one visited the grave. I figured I must have moved in pretty shortly after the time of his death, because people tend to stop visiting after a while. You know. Life goes on.

The morning after their first visit, I cut through the tree-hedges to find out  when he died, how old he was, but there are three or four headstones pretty close together, and his friends hadn’t left anything behind that would tell me who they’d come to see.  Any time they came, no one brought anything, no one left anything behind. But any time I walked through on a short-cut to the store or on an after-dinner ate-way-too-much-pasta walk, I’d still try to guess who it was with such devoted friends.

I hope to find out soon. When I came home from work today, eight cars were parked on the cemetery path closest to his plot, and at least forty people – all of them in their early to mid-twenties -  were loosely gathered in the general vicinity of his grave, and bass-heavy music streamed from one of the cars. There are more cars now – sixteen, at least. So many they spilled onto the street in front of my house. I think it must be his birthday. The music is still playing, and somebody brought balloons. They’ve already blown away once – here in New England we’re catching the edges of a hurricane – but one of his friends chased them down and brought them back. I hope they’re still there in the morning.

UPDATE: 7pm – It is his birthday. They just sang to him.

Former Counterterrorism Director Richard Clarke explains why the US attacked Iraq

It’s one thing to have heard talk of something, but it’s another to hear it said in this way by a person who was in the room at the time. Thank goodness for DVR, which made rewinding and transcribing (and pausing to type and pausing to type) not only easier, but possible.  The exact words of Richard Clarke follow:

Richard A. Clarke - photo belongs to Wikipedia

In meetings on Sept. 11 and Sept. 12, the Defense Department officials, including Secretary Rumsfeld, began talking about the need to attack Iraq. I at first thought they were kidding. It became clear they weren’t. Uh…Rumsfeld said, “Well, yeah, we could attack Afghanistan, but there aren’t very many targets to bomb in Afghanistan, and they’re not worth very much. So we should bomb Iraq where there are much better targets.”

And I thought, but there’s no connection between what just happened and Iraq. That didn’t seem to bother them. I said, “Uh, well, attacking Iraq actually will make it more difficult for us to get the kinds of support we need in the world, particularly in the Muslim world.” That didn’t seem to bother them.

Secretary Powell tried to have a restraining influence on this discussion. Secretary Powell said, “Look, the world is not going to understand if we don’t go after Afghanistan. That’s where the attack of September 11 was launched from.” So, reluctantly, during the course of the week, uh, the Defense Department came around to a consensus, and the consensus was called “Afghanistan first.” And that’s what the President approved. An “Afghanistan first” policy. But it was very clear what was second, and what was second was Iraq.

Readers slam blog in defense of “Girls Gone Wild” victim “Jane Doe”

In what I think is an incredible show of united support for a woman who claims to have had her privacy violated, readers of the blog “Riverfront Times” left nearly 150 comments on two separate articles to blast the publication for doing what readers amounted to condoning sexual assault. (In cases like this, I’m used to seeing, instead, “Dood! You’re so funny!” and “the chick asked for it! F*** her!”)

Writer Chad Garrison nominated “Jane Doe,” a woman who recently lost a lawsuit against “Girls Gone Wild” producers for violating her privacy, as a possible “ass-clown” of the week in the first article, “Ass Clown of the Week: An Ax, a Watermelon, a Dirty Teacher, and a Naughty Video.” (“A naughty video” refers to the “Girls Gone Wild” video showing Jane Doe having her top pulled down to reveal her breasts.)

As I write this blog entry, 101 comments follow Garrison’s piece, the majority of them questioning his decision to label Doe an “ass-clown” for losing the lawsuit.

In response to those comments, managing editor Sarah Fenske issued an “apology” on Garrison’s behalf. Accompanying her apology is a photograph of Garrison, his face painted in clown makeup. From her apology:

So, yes, we can all agree that Chad screwed up. Even Chad agrees that he screwed up: It was mistake to include Jane Doe on the list of choices for this week’s Ass-Clown poll. It was an even bigger mistake not to include the jury.

In light of that, we have now amended this week’s poll to include a new nominee for Ass-Clown of the Week: Chad Garrison.

It’s worth nothing that Chad has won this dubious honor once before. (It was, in fact, the Daily RFT’s inaugural Ass-Clown poll, back in April 2009.) I have every confidence he’ll win it again.

Readers weren’t any more satisfied with her apology than they were with Garrison’s original article. Comments range from accusing Fenske of simply trying to bring the website more attention

If this is all he gets … getting voted Ass Clown of the Week (for the second time, apparently)? That’s essentially the same thing as high fiving him and saying, “Thanks for the hits, bro!” I think this deserves a real, honest, serious apology.

to Fenske herself condoning the behavior of “Girls Gone Wild” producers

Anyone who could laugh this off can’t be too empathetic toward women in general and to this woman in particular. I wonder if you’d be laughing it if was your sister? Or your mom? Or your wife? Or any woman you loved? (Assuming you actually do love a woman.)

to Doe’s lawsuit accused “Girls Gone Wild” of violating her privacy by filming, and then selling, video of someone yanking down her top to expose her breasts without her consent.

Why blame any of the girls on the tapes for being “stupid” instead of the sexual predators who exploit their inebriation? Thanks for perpetuating rape culture, assclown.

to calling for Garrison to be fired

Fire the assclown already.

Don Imus lost his radio job for calling the Rutgers women’s basketball team “nappy-headed hos” and so should Chad Garrison follow in his footsteps to the unemployment line.

Doe was 20 years old when she was filmed dancing, and then having her top pulled down, at Laclede’s Landing. A jury’s 90-minute deliberation determined Doe’s consent wasn’t required for the release of a video showing her exposed breasts, even though, according to an article in the St. Louis online publication STLToday.com, her lawyer Stephen Evans argued “she could could be heard in original footage saying “no” when asked to show her breasts shortly before another woman suddenly pulled Doe’s top down.”

Jury foreman Patrick O’Brien explained Doe had “in effect consented by being in the bar and dancing for the photographer,” according to STLToday.

Ahh. Just think of where “implied consent” can lead. We’re now one step closer to legally sanctioned sexual assault through victim blaming.

(Thanks to Jezebel to originally pointing me to both articles. If anyone reading this is going to click the links to RFT, I hope you’ll also share your clicks with a more worthy publication.)

Avianova Airline’s Racy “Airline” Ad

So, there’s this Avia Nova ad coming out of Russia (see video at the Huffington Post) that starts off super-cool.

Note the neat-o multiple-plane effect as it swoops down from the sky!

And then there’s this:

See how it looks like the plane is in two different locations at once? It’s like immediate travel. “We take you fdom Rdussia to New Jork like dees.” Here to there – BAM!

And this:

…is just beautiful photography. I love the opening of this commercial. I’m thinking, “Now, this is a kick-ass airline! Look how innovative they are! Look at the way they use the camera and the software and the…and the…   oh, no.”

“Well,” I thought, “maybe this is as lame as it’ll get. I mean, who doesn’t still fantasize – however unrealistically – that flight attendants are all strutting, nubile twenty-somethings there to bat their eyes and make men horny as their job? It’ll go back to the cool airplane shots. I know it.”

“Oh. Firemen. Well, okay. Sure. I mean, I’ve rarely seen firemen just sort of hanging out on the tarmac (or ‘ramp,’ my pilot husband would want me to say) for no reason at all. But I guess there could have been a fire that day when they were making the commercial. Of course, why they wouldn’t wait for another day to film it is curious. They kind of get in the way of the whole idea of this being a cool airplane commercial, but…well, they do have a noble profession, saving lives and all, so maybe this is a sort of tribute to them. I’m positive we’ll get back to the cool airplane shots, now.”

“Oh, no…I see. So flight attendants are actually strippers. The firemen were–they could see the–they’re there to–”

“Ahhh, yes. They’re there to leer at the flight attendants like someone has just presented them with prostitutes at their bachelor party. I guess I can see how that might, maybe, in a sixteen-year-old boy’s bedroom have something to do with airpla–”

“–nes…? Wait a minute – why were the flight attendants wearing bathing suits?”

“Oh! *gasp* Look! It’s like she’s saying, ‘Lookee here, boys. Do you know what this hose represents? Ten guesses. You’ll never get it, so I’ll just tell you: it’s your PENIS. If you fly this airline, I’ll hold your PENIS!’”

“‘And I’ll get all turned on after washing this big, rubbery, soapy airplane tire and make sweet, sudsy, soapy love to you!’”

Uh…okay…

A facebook (and real-life) friend posted this video on his facebook page and said he’d like to move to Russia. I said I thought the ad was not only ridiculous and sexist and all those other obvious things, but that it was also unimaginative, uncreative, and very likely conjured by a few pimply eighteen-year-olds giggling under the blanket with their sister’s romance novel (or, more realistically, they were 30-somethings with the same mentality).

I was told I was taking it too seriously.

Here’s why I don’t think I take this sort of idiotic sexist BS “too seriously.”

According to a 2004 report by John Miller, then director of the federal Office to Monitor and Combat Trafficking in Persons in Washington, D.C., modern slavery plagues every country, including the United States.

Not an easy question to answer is why our country, considered by many to be a progressive nation at the forefront of securing individual human rights, is one of the principal destinations for 14,500 to 17,000 women and children trafficked annually for the purposes of slavery.

In a 2004 Trafficking in Persons Annual Report, Miller noted that information on slavery is inexact, “but we believe that the majority of slave victims, in the neighborhood of 80 percent, are of the female gender.” He added, “We believe the largest category of slavery is sex slavery.”

Ms. magazine reported in the summer of 2007 that sex trafficking is one of the most profitable crime industries in the world — second only to the drug trade — and that U.S. trafficking victims are most prevalent in New York, Texas, Florida, and California.

The question now becomes, how is it females have come to be considered a viable, and apparently an even somewhat palatable, commodity, particularly in the United States?

While it’s not possible to blame the use of female slaves on any one factor, it’s difficult not to question the effect media and advertising could have on a society’s perception of women. Mabelle M. Segrest, Fuller-Matthai professor of Gender and Women’s Studies and chairwoman of the Gender and Women’s Studies Department at Connecticut College, says that to be objectified is to be turned into an object, and to be commodified is to be turned into an object for sale.

“The sex slave is the ultimate of a commodified body, which I think we are numbed to with all this advertising,” she says. “We’re so used to the female body being commodified.”


Women can be used to sell anything from insurance to perfumes to vacations, Segrest says. Even a phone book advertisement uses a young woman in a tight yellow shirt to draw attention to the publication, and an Internet domain registration Web site uses a large-breasted woman in a tight shirt to lure online customers.

Social activist and media literacy proponent Jean Kilbourne, who with Diane E. Levin co-authored the newly released book, “So Sexy So Soon: The New Sexualized Childhood and What Parents Can Do to Protect Their Kids,” maintains that turning a human being into an object invites abuse.

“When women are constantly shown as objects, the abuse and the violence makes a chilling kind of sense,” she says. Kilbourne, whose attention to media awareness has been ongoing since the late 1960s, says advertising has a tremendous effect on how men and women operate and view one another, and themselves, in a society.

In her book, “Can’t Buy My Love,” published in 1999, Kilbourne reported companies at the time were spending more than $200 billion on advertising per year.”If you’re like most people, you think that advertising has no effect on you,” she writes in the book’s opening chapter. “When (Victoria’s Secret) paraded bra-and-panty-clad models across screens for a mere 30 seconds” during the 1999 Super Bowl, “one million people turned away from the game to log on to the Web site promoted in the ad. No influence?”

Kilbourne said in 2003 that the average American was exposed to 3,000 advertisements a day.In a presentation titled “The Naked Truth: Advertising’s Image of Women,” Kilbourne says the first step in committing a violent crime is to dehumanize the victim. She adds that many advertisements reinforce the idea that a woman’s body is an object.

Scott A. Lukas, chairman of anthropology and sociology at Lake Tahoe Community College and creator of GenderAds. com, a Web site that analyzes advertising images that relate to gender, also says sex slavery goes back to objectification and forms of dehumanization.”It’s hard to ignore it’s a big issue in our society,” he says. “It says, ‘This person is different from us, this person is less than us, so we can do what we want to them. There’s a movement toward something that leads to breaking down personal barriers that would normally prevent them from doing something wrong.”

Joan C. Chrisler, Psychology professor at Connecticut College and an American Psychological Association and Association for Psychological Science fellow, says the media, in general, is largely responsible for how women are viewed in today’s society.”Certainly advertising is a big one, but not the only one. Music videos, movies, video games … in cartoons, women’s bodies are often sexualized even if they’re animals,” she says.

The YouTube video “Generation M: Misogyny in Media and Culture,” released on Aug. 6, provides images of advertisements objectifying women and clips from Gangsta Rap videos portraying women as barely dressed collectibles, symbols of the wealth and status of their male collectors.Educator Jackson Katz, one of the country’s leading anti-sexist male activists, warns in the video that another generation of women is being trained to please men, “and to know their
second-class status — and not complain about it.”

But someone must have complained. Secretary of State Condoleeza Rice said in the June 4 release of the Eighth Annual Trafficking in Persons Report that the United States has devoted more than $500 million in the last seven fiscal years to combat human trafficking globally.

However, the only sure way to substantially curb the success of the sex slave industry is to somehow eliminate demand.

*The above, beginning with the John Miller report, is an almost-complete excerpt of an article  I wrote for the Journal Inquirer in 2008.

Interview with Murray Dunlap

The worst two things that can happen to a writer are losing the hands and losing the mind.

Just a little over two years ago, on 6.7.08, a man who wasn’t watching the signals breezed through a red light and slammed into Murray Dunlap’s blue Volkswagen Jetta. After a three-month coma, Murray woke up to a severe traumatic brain injury (TBI) and amnesia.

The accident cost him not only much of his memory (which he’s slowly regaining with the help of good friends and a loving family, he says), but also his wife, his dogs, and his job.

We can choose to look at Murray as the poor writer who suffered a traumatic brain injury. We can choose to look at him as someone who lost the kind of life it could kill a person to lose. Or we can choose to look at him as a writer who went through some shit and now has another story to tell.

I recently had the pleasure of getting to know, and interviewing, Murray Dunlap. For the full interview published at Night Train, click here.