"As we move into the future, most everything's going to end up wireless and as it ends up wireless, [the government is] going to be auctioning off bandwidth," Lucas told the House Energy and Commerce's subcommittee on telecommunications and the Internet. "As you auction this off, why don't you just hold some back for schools and libraries?"

Lucas appeared at a hearing about universal service (USF), a fund intended to provide all Americans with access to telecommunications service. Though providing technology services to underserved areas of the country is a laudable goal, USF funding has been a point of contention for years.

The program is currently funded by surcharges on interstate telecom services, which show up on consumers' landline and cell phone bills. Broadband providers, however, do not pay into the fund, which telecom providers claim is unfair given that some of the USF funds go to provide Internet service to schools and libraries under a program known as "e-rate".

A number of bills have been introduced to combat the problem, from Rep. Joe Barton's more market-based approach to Reps. Rick Boucher and Lee Terry's idea to broaden the base of USF contributors.

"I believe that the eventual goal should be to make these connections free for all schools and libraries," Lucas said. "I think that possibly an educational Internet, a third Internet that is only for education and that is not charged and that the carriers cannot charge would be a rather simple way to solve the problem."

Lucas started the non-profit George Lucas Education Foundation in 1991, which encourages innovation in kids via its Edutopia magazine, Web site, and documentaries.

Lucas acknowledged that his "goal is ambitious" but said it was as "important as free public schools and libraries themselves."

The idea of taxing people via USF surcharges and then giving it back via government-subsidized telecom services "seems like a very cumbersome way to do it," according to the director. "If you're making [wireless providers] pay for the right to have the frequencies, why don't you just say you can have it for a little less, but you have to give the schools something for free?"

Lucas did not offer any concrete funding mechanisms to get his idea off the ground. "Arguing about whose going to pay and how it's going to work, that's basically the job of you guys to figure that out," he told subcommittee members. "That has to happen somehow, so you have to figure out how to do that."

Several members took advantage of Lucas' appearance to make Star Wars-themed jokes.

"The universal service fund needs to be blown up like the Death Star," said Pennsylvania Republican Mike Doyle.

"Rick Boucher and I are the Luke Skywalkers riding in to save the universal service fund by those who want to destroy it, the Darth Vaders," Rep. Terry said of his USF bill.

Can superhero style save the world?

June 24 2008

More than at any other time since they hit the comic book stands during the Great Depression, superheroes are capturing the American imagination. Two of the biggest movies of the summer are “Iron Man” and “The Incredible Hulk,” with the latest Batman adventure, “The Dark Knight,” due out in July.

There’s an escapist thrill that comes with watching the exploits of these brave men and women saving the world while wearing their underwear on the outside. Now, in New York — the theoretical setting of a lot of comic-book dramas — superhero fans can get a little closer to that Marvel magic.

Just so long as they don’t touch it. At “Superheroes: Fashion and Fantasy,”

an exhibition showing at the Metropolitan Museum of Art through Sept. 1, spectators can ogle, at less than arm’s length, the original outfits of most of the superheroes who have graced the silver screen.

A fashion exhibition put on by the Met’s Costume Institute might not seem like a likely place for comic- book addicts to get their fix. The institute has been known to assemble tributes to such designers as Paul Poiret — titillating for a select few, perplexing for most.

But there’s a method behind the mixing of fashion and heroics. Just as a red cape transformed Clark Kent into Superman, a tool belt allowed Bruce Wayne to become Batman and a metal suit made Tony Stark Iron Man, most of us like to think Chanel, Manolo Blahnik or even Banana Republic can transform us from mere mortals into movie stars, if not superheroes.

Depending on your mood, the exhibition can be about as profound as you want it to be. You could mull over the simple beauty of the human form, as showcased in a unitard, or ponder the sexualization of violence in the Armored Body section of the exhibition, where women’s armor fails to cover the vulnerable breast and belly areas. You also might spend time contemplating the ubiquity of branding, from the logos on Superman’s chest to those on Ralph Lauren’s polos.

That, or you could just gape at the lifelike Rebecca Romijn- Stamos mannequin, dressed as Mystique from the 2000 film “X-Men”— it’s not naked, but it might as well be.

The exhibition’s curator is Andrew Bolton at the Costume Institute, and its sponsor is Giorgio Armani. Much of the collection is couture runway fare, selected by Bolton for its comic-book parallels. There are also plenty of costumes, including the original Wonder Woman outfit and the Superman ensemble once worn by Christopher Reeve. If you’re looking for something more down to earth, so to speak, you can find real-life athletic gear — including a hooded tracksuit and a swimsuit fashioned from sharkskin that will be worn by Olympic swimmers in Beijing this year. There’s also a working jet pack that looks like some kind of cross between a bird and a plane.

Admission is $20, which might seem like a lot until you realize you’ve also just paid for access not only to “Superheroes: Fashion and Fantasy” but also to some of America’s most hallowed artworks in one of its most grandiose museums.

The Producers' not to be missed

"The Producers," the Mel Brooks musical that opened Friday night at Eastlight Theatre, doesn't waste a minute getting down to the slapstick vaudeville or the chorus girl lines.

From the "It's Opening Night" dance, this show is off and running, and it never stops.

Director Chip Joyce promises it will make you laugh from beginning to end, and he's right.

Even admirers of Zero Mostel and Gene Wilder in the original 1968 movie will be swept away by Mike Reams as Max Bialystock and Jimmy LaHood as the meek accountant Leo Bloom who discovers you can make money on Broadway if you produce a flop.

Both bring their theater experience to the stage, and it's a perfect fit.

"Springtime for Hitler" looks to be a surefire failure, but how to produce it is the plot line, and along the way are some of the zaniest, funniest moments you'll ever see on the Eastlight stage.

Desperate to sign up the rights to the play, Max and Leo set off to Greenwich Village to meet the playwright Franz Liebkind, played by Dave Montague.

Montague's performance as a leftover Nazi still committed to Der Fuehrer is simply a stunning act, earning roars of laughter and blistering applause as he blunders his stormtrooper way through every scene, straight-arming his "Sieg Heil!" salutes.

And there's Ulla, the Swedish bombshell played by Ingrid Weiman, whose accent is as much fun as Franz's. Part secretary and part office distraction, she proclaims "When You've Got It, Flaunt It."

She teases the prim, repressed Leo into dropping his ever-present hankie - the equivalent of Linus' blanket in the "Peanuts" comic strip.

Director Joyce has a blockbuster on his hands here - it's a rendering of the Mel Brooks longtime hit that's so professional it could be a national touring company.

Brooks hit every possible national nerve in this long-running farce mocking its Jewish producers, gays - in the characters of Roger DeBris (Rex Yancey) and Carmen Ghia (Andrew Werner) - sexy showgirls and Hitler.

The book by Brooks and Thomas Meehan keeps pace with all the frenzied action on stage. "I'll tell you when we're getting in too deep!" Max assures the cautious Leo.

To raise the $2 million to put on the show, Max has to cozy up to the "little old ladies" whose dance routine, complete with walkers, brought down the house opening night, with a final twist as they "go down" gracefully like the toy soldiers in the Rockettes Christmas show.

As for the big "Springtime for Hitler" revue scene, it's a knockout with a dramatic set and archway through which parades a spectacular line of overdressed "Ziegfield Follies"-style models.

Dance routines from gala Yiddish roundabout dancing to jackbooted girls are marvels of precision and style.

Well, even the fun has to end, and Max goes to jail. It's one of the poignant moments of the show, with his ballad "Betrayed" sung from a holding cell. But it's soon over, and the show ends on a high note.

The audience was on its feet in a standing ovation, applauding madly.

Kathy Chitwood, Eastlight Theatre executive director and producer, said early on "this show is huge, sets, costumes, everything." And she was right.

Eastlight is one of the first community theaters in the country to get the rights to present "The Producers."

Nick Myers is musical director in charge of the OrchExtra score; Dan Fisher is choreographer, Steve Cordle is technical director and in charge of set and lighting design; and all those costumes are the work of Jan Sullivan, Kathy Chitwood and Charles Killen, with props by Sue Cordle.

Credit: pjstar.com

Children and Their Families Invited to Come Aboard Frostburg Pirate

The Dark Knight: The Set Visit!

June 16, 2008

Star Wars affection-ados come out in full force

Costume display at Bozeman museum

  June 11, 2008 11:14 AM

REDLANDS - The 12th annual Charlotte S. Huck Children's Literature Festival, featuring several well-known authors and illustrators, will be held March 7 and 8 at the University of Redlands.

Registration costs $175, and includes five meals and a March 7 afternoon autograph party. The festival is limited to 300 attendees.

"Our intention is to keep the festival small enough that everyone can interact with the authors," organizer Marjorie Arnett said. "The focus of this conference is celebrating children's books with the objective of providing teachers the opportunity to learn more about quality books and their creators."

The authors and illustrators who are participating this year are Andrew Clements, Kristine O'Connell

Some of the books by authors who will be at the Charlotte S. Huck Children's Literature Festival at UR.

George, Susan Goldman Rubin, Susan Guevara, Daniel San Souci, Lauren Stringer, Christina Das and Diane Adams. Also on hand will be editor Allyn Johnston of Harcourt Children's Books.

Members of the planning committee are Arnett, Sue Hardy, Sherry O'Sullivan, Gretchen Pelle and Alayne Sullivan.

Huck was an internationally known children's author and professor at Ohio State University who helped create the Redlands Children's Literature Festival in 1996 with Katherine Thomerson, a children's literature instructor and former owner of the Frugal Frigate bookstore; O'Sullivan, formerly with the University of Redlands; and Arnett, an educator in the San Bernardino school district.

According to Arnett, the conference was named for Huck during its fifth year. Huck died in April of 2005 at the age of 82, and was active in the planning of the festival until her death.

At the festival

The festival will take place around the University of Redlands, and offer a variety of activities for participants.

"The conference aims to get a balance of fine writers for different age groups and different genres," Arnett said. "The conference is about getting good materials into the hands of teachers, librarians and students, bringing children and books together in order to develop readers who will find a lifetime of pleasure in reading good books."

Despite the fact that times are tough these days, there is still a lot of interest in the festival.

"With the midyear budget cuts, a number of school districts are not sending teachers to conferences and workshops," Arnett said. "But we find that many of these teachers are coming on their own."

During the festival, attendees will be able to meet and interact with the panelists, as well as attend small group sessions that are descriptions of classroom and library activities. There will also be a book signing party during Friday afternoon.

"Literary conferences are a wonderful way to stay connected with readers, librarians, teachers and other authors," author Christina Das said. "I enjoy sharing my current projects as well as learning about others' works. These events inspire me to be a better writer, and remind me why I started writing for children - to share my love of story and to educate and enlighten young readers."

Those looking for books by festival authors and illustrators, in addition to classic literature and new releases can check out an on-site bookstore.

The Book Market will be in the Orton Center. Vendors include Book Events, O.W.L Professional Books, Usbourne Books and Every Picture Tells a Story, which sells artwork from children's books.

Organizer Sherry O'Sullivan wrote a book, "A Festival of Talent: Wisdom from the First Decade of the Charlotte S. Huck Children's Literature Festival," which celebrates the first 10 years of the conference with observations from 30 of the authors and illustrators who have participated in the festival. It will be available for purchase, with all proceeds going to the Charlotte S. Huck Children's Literature Festival Endowment Fund.

A major event will be a lecture given by Andrew Clements, this year's Charlotte Huck Endowed Speaker. He will speak at 7 p.m. March 7 in the Casa Loma Room. For a $25 donation to the Charlotte S. Huck Children's Literature Festival Endowment, a limited number of seats have been made available for the public to attend this lecture.

Some of the authors have been to the festival in the past: Diane Adams first attended eight years ago, before her book "Zoom!" was published.

"It was an amazing event with well-established authors, whom we were able to talk to one on one," she said. "They had great camaraderie with each other, hilarious stories to tell, and it was evident through their stories that they truly loved what they did. I walked away from that event knowing that I wanted to write children's books."

The authors and illustrators at the festival all share a common bond: They've dedicated their lives to sharing their words and pictures with children.

How the authors got their start

Christina Das has been interested in writing since she was young.

"I had a lifelong dream of writing books," she said. "And then, I became a mother. When I started reading to my daughter, I rediscovered all of my favorite childhood books and longed to share them with her."

Inspired by her favorite authors, Das started creating rhymes and stories for her daughter, which eventually became picture books that are now shared with many children.

Susan Rubin first wanted to become an illustrator.

"As a young mother living in the San Fernando Valley and without money to finance a trip to New York to show what I thought was a portfolio, I decided to write a story to give myself something to illustrate," she said. "After many revisions with help along the way from interested editors and colleagues, that story became my first published book - five years later. I illustrated that book and the next two for Albert Whitman & Company."

Lauren Stringer fell into writing.

"I did not choose to write and illustrate children's books - it sort of chose me," she said.

Stringer studied art and art history in college, moving to New York City to become an artist. For eight years, she painted, sculpted and created sets and costumes for dance and performance art, while working part time in museums to pay the bills.

After moving to Minneapolis in 1988 with her husband and setting up studios to continue painting and sculpting, she met author-illustrator Debra Frasier.

"I began working in the schools with Debra as an artist-in-residece" Stringer said. "For fun, she would stop with me at the Red Balloon Book Store in St. Paul, which specializes in children's books. Childhood memories of favorite picture books welled up, but at that time I had no sense that one day children's books would be my life."

After having her daughter in 1992, Stringer made painted sculptures that were very small and had doors that the viewer could open and close. At an exhibit of these small "box" sculptures, Frasier commented on how opening the doors was like opening a picture book.

"She took slides of my sculptures to her editor and her editor at Harcourt thought I should be illustrating picture books," Stringer said. "She sent me the manuscript for my first picture book, `Mud,' written by Mary Lyn Ray. Since `Mud,' the world of children's literature and all of its wonders has opened up to me."

Daniel San Souci came from a creative family.

"Writing and illustrating children's books came from a love of literature when I was growing up," he said. "I was fortunate to have a father who once was an aspiring artist and a mother who wanted to be the next Jane Austen. Because of circumstances like having to support and raise a family, neither of them were able to pursue their dreams, so when my brother, who is a writer, and I came along, we couldn't have had more enthusiastic supporters.

"It seemed my young years centered around reading books, the role-playing it encompassed, and spending all my free time writing and drawing," he said. "From my wonder years right up through my days at art college, creating children's books was a dream that always persisted."

`The best job I've ever had'

The participants enjoy their careers for different reasons.

For Rubin, it's the whole process that gets her excited.

"My favorite parts of the job are getting excited about the idea, doing the research, then struggling to write chapters that finally entertain my writers' group and gain their seal of approval," she said. "I come away from our weekly meetings on a high if they like what I've done."

Das likes the challenge and meeting with the kids she writes for.

"Being a children's author is the best job I have ever had," she said. "Creating the picture book is a challenging and satisfying creative experience. However, the most rewarding part is sharing my work with children."

Das regularly visits book festivals, schools and libraries to share her work.

"Being part of a child's growing years is a humbling experience," she said.

Stringer enjoys the first steps in the writing and illustrating process.

"I love the very beginning, whether it is writing a new idea for a picture book or my editor has sent me a new manuscript to consider for a picture book," she said. "The newness of it it exhilarating. And in the end, when my work on the book is done and the illustrations hang on my studio wall before being sent off to the publisher, I have such a wonderful feeling of accomplishment and relief."

For Adams, it's getting in touch with her audience.

"One of my favorite parts of writing for children is reading the story out loud with students at school visits," she said. "Their laughter and joy, and their comments about their favorite parts, make me want to keep writing."

Kristine O'Connell George likes entering the world of children through her writing.

"Writing for children brings me joy," she said. "A child's world is new and filled with surprise and discovery. I love the challenge and joy of writing for this audience."

San Souci appreciates getting to use his imagination.

"My favorite part of doing my books is creating the characters," he said. "There's something about having nothing and creating a character who can sustain an entire adventure. I love to do this both literally and visually."

An invaluable experience

It's not just the teachers, librarians and book lovers who benefit from attending the festival, but also the authors.

"I find it invaluable to hear what other writers and editors say about children's literature," Rubin said. "I come away with new insights about the process of writing and even promoting a book, and a greater understanding of what makes a good book good."

"Most often I return home with a renewed sense of hope for good children's books and their important place in the lives of children and adults," Stringer said. "The company of `lovers of children's literature' is always stimulating to me. I come home with lots of stories and new friends."

"Going to these festivals is important to me," San Souci said. "My profession is solitary. I spend my time by myself in my studio creating my books. Festivals like this give me the opportunity to meet so many book people - other authors, teachers, book lovers. I always come back from these conferences feeling more connected and uplifted. It's like running a marathon, then you stop to have that drink of water, and start running again, feeling refreshed."

To register for the Charlotte S. Huck Children's Literature Festival, call Colleen Quesada during the day at (909) 748-8791.  (redlandsdailyfacts.com)

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Create a child-friendly home

It is said that a child who is truly at home in his house is likely to be much more happier and pleasant.

However, if the house is one in which he or she is often made to feel unwelcome, or is constantly meeting in accidents, the effect will be a markedly negative one.

Parents and caregivers should start to create the child-friendly home by making it safe.

"Dangerous situations should not be object lessons or training grounds for obedience," states Natia Meehan, certified Montessori teacher.

Keep your home neat and well ordered. This appeals to children's sense of order (strongest between the age of one and three) and will help them to be neat also.

Provide them with low drawers, baskets and shelves or clothes, books and toys. Children, if grown in an accessible environment, will enjoy placing their own clothes and toys in the right place and keeping their room neat, without quarrels from Mom or Dad.

Cleaning game

If you provide your child with child-sized mops and brooms this will also make the real work of cleaning floors as enjoyable as a game, the experts note.

In the kitchen, dishes stored down low and child-sized cooking utensils will encourage them to do their own mixing and 'cooking' while you cook, instead of watching television or hanging on to your feet asking for attention.

Place their clothes for the day where they can reach them, and even choose what to wear before coming out for breakfast.

At www.lowes.com, it is noted that decorating your house to accommodate children doesn't have to mean giving up beautiful fabrics and decorator hues for a collection of cartoon characters and primary colours.

It is quite possible to let your home make a statement about your tastes and satisfy your child's needs at the same time.

Baskets under a coffee table make convenient toy storage. Make your children's toys accessible to them.

Make sure that the things your children are allowed to use are placed within their reach.

Make sure things they aren't allowed to play with are well out of reach. Keep plants, flowers and decorative items off tables where little hands can reach.

Children are also happier when they see the things they want around them. Let the children help with decisions on how their spaces will be decorated. (jamaica-gleaner.com)

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Star Wars nerds target Moby

Apparently, You Can Be Too Sexy

Victoria's Secret likes to ask in its marketing, "What is sexy?" Now the lingerie chain is trying to figure out, "What's too sexy?"

The chief executive of the brand known for its provocative televised fashion shows and alluring stores made an admission yesterday. In her mind, the brand has become "too sexy" -- or at least the wrong kind of sexy.

"We have so much gotten off our heritage," CEO Sharen Jester Turney said in a conference call with analysts. Responding to the past year's weak sales and focus-group feedback, she said, "We will return to an ultra-feminine lingerie brand to meet [customer] needs and expectations."

A Victoria's Secret model in the company's recent Super Bowl ad.

Whatever Victoria's Secret does could shake up the $10-billion-plus U.S. lingerie industry, which the chain owned by Limited Brands Inc. dominates, with sales of more than $5 billion for its most recent fiscal year. Following a dismal holiday season, during which sales at stores open at least a year dropped 8%, executives have been doing some soul-searching and preparing to take steps to overhaul the brand's image.

Ms. Turney cited the brand's recent Super Bowl television commercial as a small move in that direction, describing it as "less seductive." The ad showed a model wearing a modest gray camisole and panties, sitting in a white armchair.

Victoria's Secret blamed its weak sales in the fiscal quarter ended Feb. 2 on the economic downturn and offerings that have veered too much toward young shoppers.

Ms. Turney said Victoria's Secret needs to win customers back to its core lingerie business by producing more sophisticated merchandise. It plans to improve the quality of its sleepwear, and has hired executives, including a new head of its beauty division, to bolster its product and store design.

The chain, which has about 1,020 stores, also is slowing its expansion plans. Victoria's Secret has been pouring money into a major program of remodeling stores and enlarging them by an average of 50%. In the fall, it opened 23 stores and refurbished 73 locations.

While the remodeled stores have produced sales gains, Ms. Turney said, they haven't performed as well as the retailer had hoped. This spring, it will open 31 stores and remodel 45.

Victoria's Secret still plans to hold a fashion show before Christmas. However, Ms. Turney said, executives "want to continue to re-invent" the event, which has featured models wearing tiny, sparkling lingerie sets, enormous angel wings and teetering heels.

Limited, based in Columbus, Ohio, on Wednesday reported a 12% decline in net income for its fiscal fourth quarter. Its shares fell more than 11% to $15.85 on the New York Stock Exchange yesterday. Standard & Poor's placed Limited's corporate credit ratings on review yesterday for a potential downgrade. Its current long-term credit rating is BBB-.

Changing customer views will be a huge challenge. Sheri Coulter, a 42-year-old secretary in Flower Mound, Texas, worked at a Victoria's Secret store three years ago. "It was like pulling teeth to get the women our age to come in there," she says. "In our 40s and up, we are sexy -- just not the same sexy a college gal is."

For a time, she says, the store where she worked stopped carrying sizes 38 or larger, embarrassing some older customers who were turned away.

Limited bought Victoria's Secret in 1982, when it had just four stores and a catalog. Under Limited Chief Executive Leslie Wexner, Victoria's Secret improved its quality and toned down racy styles to appeal to mainstream customers.

In the 1990s, professional women shopped the pastel-painted stores for colorful, European-inspired lingerie, supplementing underwear wardrobes previously filled with black, white and beige styles. Soft music played in the background while saleswomen discreetly offered help.

But over time, Victoria's Secret adapted to a changing culture. Women began wearing camisoles and bustiers as outer garments, the growth of the Internet made skin-baring photographs ubiquitous, and teen pop stars such as Britney Spears gyrated on stage in revealing costumes.

One reason Victoria's Secret got off track, Ms. Turney said, was the success of its Pink brand, which launched in 2002 and aimed to introduce college students to Victoria's Secret stores. Pink has grown tremendously; in October, an executive said it would probably reach $900 million in sales for 2007.

But as teens and 20-somethings snapped up Pink underwear and pajamas, too many other product lines at Victoria's Secret shifted to target that same customer, Ms. Turney said.

Today, Victoria's Secret stores are lacquered black, with neon-pink accents and oversize images of scantily clad models. Pounding music pumps through the loudspeakers. Malls endure protests from parents who are outraged by window displays that feature suggestively posed mannequins.

Although basic colors and styles still account for much of the Victoria's Secret bra business, new merchandise lines, such as one from French lingerie brand Chantal Thomass, are far less modest than older fashions.

The word "sexy" is everywhere: on the "Very Sexy" makeup and bra lines, on the "Sexy Little Things" room of risque underwear, and on the chain's Valentine's Day list of "What is Sexy." (Victoria Beckham and Dallas Cowboys quarterback Tony Romo made the cut this year.)

Older shoppers have noticed the brand's orientation toward a younger, flashier look. They don't want the merchandise to become dowdy, but their image of "sexy" is more refined.

"As a customer over the years, I believe their trend toward a youth-oriented pop style is anything but sexy," says Cecil Van Houten, a 53-year-old shopper from Bath, N.Y.

While purchasing perfume at a Victoria's Secret store with his wife recently, Mr. Van Houten noticed that most of the display area "was taken up by product that looked as though it were designed for teenage girls rather than adult women." The rest of the merchandise, he says, "varied between trashy and uninspiring."

As the giant in the marketplace, Victoria's Secret is vulnerable to competition from all directions. Discounters and department stores, such as Target Corp., J.C. Penny Co. and Kohl's Corp., have been revamping their lingerie offerings. Teen chains such as American Eagle Outfitters Inc. have gone after the business, too.

The latest entry is Gilly Hicks, a small intimate-apparel chain started by Abercrombie & Fitch Co. With its more-romantic and casual feel, Gilly Hicks has been described by industry-watchers as a less-provocative alternative to Victoria's Secret for younger shoppers. But Abercrombie Chief Executive Michael Jeffries has said he doesn't envision the two brands competing for customers.

Meanwhile, lingerie purveyor Frederick's of Hollywood Group Inc., which has more than 130 stores and calls itself "the original sex symbol," has focused in recent years on affordable fashion inspired by red-carpet styles. While she wouldn't speak directly to the changes at Victoria's Secret, the chain's Chief Executive Linda LoRe said, "We feel very strongly that there are a lot of different interpretations of sexy. It's about confidence; it's about how you feel."

Ms. Turney said Victoria's Secret sees opportunities to introduce both higher-priced and less-expensive merchandise to fend off rivals. That's a strategy that has tripped up other industry leaders, such as Wal-Mart Stores Inc., that strayed from their roots. Wal-Mart stumbled in its efforts to upgrade its apparel offerings and introduce pricier products. Its sales recovered after it returned to its historical focus on discounting. (online.wsj.com)

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Let's Rewrite the Rules for Kids' Media

Four decades ago, Joan Ganz Cooney and her colleagues created the gold standard for using mass media to educate children when they founded the long-running kids' program Sesame Street. Today, the Joan Ganz Cooney Center, the nonprofit research organization Ganz Cooney founded, is pushing for an overhaul of children's media legislation that may prove no less far-reaching.

The center's recent report, D is for Digital, analyzes the impact of digital media on kids and reaches some striking conclusions. "Federal regulatory bodies, such as the Federal Communications Commission, and voluntary industry, public interest advocacy and philanthropic organizations, should advance policies that protect children from commercialism," the center writes. "A revitalization of the Children's Television Act needs to be undertaken to modernize the child protections now called for in a digital age."

I heartily second the recommendation. I do not profess to be an expert on regulation, but I am a student of the impact of interactive media on children and young adults. I have been chronicling the explosion of virtual worlds for children over the past year and a half at Ypulse, a Web site that covers marketing to young people. Last autumn I held a conference on younger teens, or "tweens," and technology.

Digital Marketing Is Interactive and Immersive

We clearly need to develop standards when it comes to kids' digital media. One of the major goals of the Children's Television Act was to increase the quantity of educational broadcast TV programming for children. But it was enacted in 1990 and predates much of the digital era. And other than subsequent FCC rules on digital TV and the Children's Online Privacy Protection Act, which prevents personal data collection from children under 13 without parental consent, there's a dearth of rules and guidelines for kids' digital media. What's more, the standards for what constitutes "educational" content are weak at best.

Digital media—whether delivered via the Internet, cell phones, Apple iPods, or mobile gaming devices—is saturated with ad-supported content. And unlike TV ads, much digital marketing is interactive and immersive. Even broadcast TV is changing how it delivers commercials in an age where multitasking youth have become adept at using ad-skipping technology like digital video recorders. Marketers are increasingly placing products within shows, or even crafting entire shows or vignettes around a brand, using so-called branded entertainment. For instance, various companies promote brands on youth-targeted networks like the CW through "content wraps," serialized vignettes that appear at various intervals throughout a show.

Companies including Disney and Viacom's Nickelodeon plan to spend hundreds of millions of dollars developing virtual worlds and casual games for kids; we're seeing the proliferation of Web sites connected to real-life toys, including Webkinz, Build-a-Bear, LEGO, and Mattel's Barbie.

Dressing Avatars in DKNY

There's little doubt as to the reason behind these efforts. At this year's Consumer Electronics Show, a Mattel executive proudly announced that the company won't run any outside advertising in its Barbie Girls virtual world. Come on. The entire site is a Barbie ad. On Web sites like Stardoll, children under 13 can dress their avatars in virtual DKNY clothes.

There are no requirements or standards for labeling online advertising or for transparency around this type of sponsor integration within virtual worlds. There are also no requirements for any amount of educational content on commercial Web sites or any criteria for vetting kids' sites or electronic toys that claim to be educational.

Why all the fuss over messaging to kids? An American Psychological Assn. task force has recommended limits, citing research that shows that kids under the age of 8 can't critically comprehend TV ad messages and that they're prone to accept advertiser messages as truthful, accurate, and unbiased.

Advocacy organizations like the Campaign for a Commercial-Free Childhood (CCFC) argue that exposure to marketing exploits children's developmental vulnerabilities. A recent British study found that "the pressure to consume and conform can lead to excessive levels of materialism and competition among children leading to bullying." CCFC also argues that marketing is a factor in the childhood obesity epidemic. But unlike some European countries that have banned marketing to children on TV or in schools, the current U.S. regulatory climate makes such proscriptions unlikely.

Updating the Children's Television Act

Marketers do try to self-regulate, through such bodies as the Better Business Bureau's Children's Advertising Review Unit, which aims to ensure that messages for kids are "truthful, accurate, and sensitive." But experts say comparable efforts in Europe are far more effective in promoting healthy development.

So how do we redefine the Children's Television Act for the Digital Age?

• Reach out to industry. Several groups are hard at work investigating the impact of digital media on children. Among them are Common Sense Media's Digital Kids Initiative, the MacArthur Foundation's research into digital learning,  and of course the Joan Ganz Cooney Center at Sesame Workshop and others. These organizations need to reach out to the entrepreneurs and large corporations creating these new kids' spaces and begin a dialogue.

• Create research-based universal standards for what constitutes educational content. This applies to TV, online, and other electronic content and should be broken out by ages and development stages. If TV networks are required to provide educational content, let's hold their feet to the fire and make sure it's educational. They can still create fluff, but they shouldn't be able to pass it off as educational content. In the digital space, where there is no regulation yet, companies that comply could be given some sort of educational seal of approval. Let's reward sites that encourage kids' creativity and learning. These standards should be updated and informed by the latest research.

• Build new, ad-free business models for sites targeting children. Many people argue that subscription models make high-quality children's content inaccessible to low-income families. I agree. So let's come up with creative alternatives.

• Increase transparency and labeling of sponsored digital content. If the only way marketers can effectively reach youth is through product placement and branded entertainment, we need more transparency about who's paying the bills and what content is sponsored. Young people respect this sort of transparency and understand sites need advertisers to keep the lights on, but they don't always recognize branded entertainment, advergames, or brands in virtual worlds as advertising.

These steps alone won't reinvent how marketers get their messages before kids. But they could go a long way toward protecting children who are living long stretches of their lives immersed in ad-saturated digital media. (businessweek.com)

BARBIE® pairs up with the Lollipop Theater Network to host a "BUTTERFLY BALL" at the CHILDREN’S HOSPITAL LOS ANGELES in celebration of the all-new "BARBIE™ MARIPOSA

The "Barbie™ Mariposa™" Movie Inspires Self-Confidence, Reminding Viewers that "The Most Beautiful Thing You Can Be is Yourself"

EL SEGUNDO, Calif.- Barbie® celebrates the anticipation of spring with the launch of an all-new, butterfly fairy-themed DVD movie "Barbie™ Mariposa™" Featuring incredible CGI animation, the full-length made-for-DVD movie is released today by Universal Studios Home Entertainment and features a heartwarming storyline, including a wonderful lesson to inspire self-confidence and remind viewers that "the most beautiful thing you can be is yourself" The new supporting "Barbie™ Mariposa™" toy line, complete with glittering butterfly-winged fairy dolls, styling heads, accessories, playsets and lifestyle products, allows girls to bring the Mariposa™ story to life and relive their favorite whimsical moments from the movie.

To celebrate Barbie® doll’s newest release "Barbie™ Mariposa™" and the movie’s exciting new butterfly fairy-theme, Barbie® co-hosted a first-ever "Butterfly Ball" on February 22 at the Children’s Hospital Los Angeles with the Lollipop Theater Network (a nonprofit organization dedicated to bringing the magic of movies to children staying in hospitals nationwide). The "Butterfly Ball" brought the enchanting world of Mariposa™ to life by transforming the children’s hospital into a beautiful butterfly fairy garden. Barbie® kicked off the festive "Butterfly Ball" by announcing a $20,000 donation to the Lollipop Theater Network. Children in attendance were treated to an exclusive sneak preview of the new Barbie™ Mariposa™ movie and were gifted with special EB Butterfly Necklaces designed by actors Courteney Cox and David Arquette to support the EB (Epidermolysis Bullosa) Medical Research Foundation. Other keepsakes included butterfly fairy-themed Barbie™ Mariposa™ toys and dolls.

"Barbie movies continue to grow in popularity around the globe and are considered the new classics in home family DVD libraries, with more than 48 million units sold worldwide since 2001" said Barry Waldo, Vice President, Entertainment Marketing, Mattel. "Families watch our Barbie movies together because, in addition to having engaging and original magical storylines, each movie features positive messages and values that parents and grandparents appreciate for their kids"

"The brand new world of ’Barbie Mariposa’ gives girls a way to celebrate spring with an entire new line of butterfly fairy-inspired dolls in vibrant, glittering colors with magical transformation features that truly bring the butterfly theme to life" said Jamie Wood, vice president, Barbie Marketing, Mattel. "’Barbie Mariposa’ engages and delights girls in ways that only Barbie doll can"

Barbie™ Mariposa™ DVD

This spring, Barbie® stars in "Barbie™ Mariposa™" an all-new story set in the world of Butterfly Fairies! Mariposa™ (which means "butterfly" in Spanish) is a beautiful butterfly fairy who loves to read and dream about the world outside her home in the land of Flutterfield™. The land of Flutterfield™ is protected by the Queen’s glimmering magical lights, but when the Queen is poisoned by an evil fairy, the special lights begin to go out one by one. It’s up to the brave Mariposa™ and her friends to journey beyond the safe borders of the city in search of a hidden antidote that will save the Queen forever! The heartwarming storyline of "Barbie Mariposa" features a wonderful lesson to instill self confidence among its viewers, showing them that "the most beautiful thing you can be is yourself" Join the butterfly fairy friends on an exciting and enlightening adventure that will transform them. Available on February, 26, 2008, for a suggested retail price of $19.98.

The "Barbie™ Mariposa™" DVD also includes exclusive extras that will fuel young imaginations and provide hours of fun activities, including: