Anytime Playdate: Inside the Preschool Entertainment Boom, Or, How Television Became My Baby's Best Friend
Author: Dade Hayes
In this eye-opening book, the first to investigate the explosion of the multibillion-dollar preschool entertainment business and its effects on families, Dade Hayes -- an entertainment expert, author, and concerned father -- lifts the veil on the closely guarded process of marketing to the ultra-young and their parents.
Like many parents, Dade Hayes grabbed "me time" by plopping his daughter in front of the TV, relaxing while Margot delighted in the sights and sounds of Barney and the Teletubbies. But when Margot got hooked, screaming whenever the TV was turned off, Hayes set out to explore the vast universe of this industry in which preschoolers devour $21 billion worth of entertainment.
Going behind the scenes to talk with executives, writers, and marketers who see the value of educational TV, Hayes finds compelling research that watching TV may raise IQs and increase vocabularies. On the other side, he brings in the voices of pediatricians and child psychologists who warn against "babysitter TV" and ask whether "TV trance" is healthy -- in spite of the relaxation that the lull affords exhausted parents -- as recent studies link early television viewing with obesity, attention and cognitive problems, and violence.
Along the way, Hayes narrates the fascinating evolution of Nickelodeon's bilingual preschool gamble, Ni Hao, Kai-lan, from an art student's Internet doodles to its final product: an educationally fortified, Dora-inflected, test audience-approved television show. At the show's debut, jittery experts hold their breath as the tweaked and researched Kai-lan faces Mr. Potato Head in the battle for a three-year-old's attention.
Anytime Playdate reveals the marketing science of capturing a toddler's attention, examining whether Baby Einstein and its ilk will make babies smarter, or if, conversely, television makes babies passive and uncritical, their imaginations colonized by marketing schemes before they even speak. It tells us why the raucous Dora the Explorer has usurped Blues Clues for preschool primacy, why the Brit hit In the Night Garden won't follow Teletubbies into American tot stardom, and why the comparatively quiet and wholesome Sesame Street has reigned for decades. Hayes vividly portrays the educators, psychologists, executives, parents, and, lest we forget, kids who have shaped the history of children's television, uncovering the tensions between the many personalities, the creative foment that combines story, music, and message in this medium to produce today's almost dizzying array of products and choices.
In the end, Hayes gives readers a provocative but balanced portrait of an age in technological transition, and shows that what's at stake in the "Rattle Battle" is nothing less than the character of the next generation.
Publishers Weekly
After introducing his infant daughter to TV, Varietyeditor and author Hayes (Open Wide: How Hollywood Box Office Became a National Obsession) begins to wonder how the $21-billion preschool market—TV shows, DVDs, CDs and tie-in toys-works behind the scenes. He sets out to question the experts, including honchos at Nickelodeon and CTW, as well as entrepreneurs such as Julie Clark, whose brainchild was Baby Einstein. Hayes gives a nod to the American Academy of Pediatrics recommendation of no screen time for children under two, but also notes that only 6% of parents are aware of it. He learns, too, that there has been no government research to study preschool media use. Raised on Mr. Rogersand Sesame Streetin a pro-TV family (his father worked in the biz), Hayes doggedly follows the paths of such heavy hitters as Dora the Explorer and Blues Clues, dissecting their appeal and pondering the merits of TV for the very young even while continuing to let his daughter tune in. While one pundit notes, "The content on television... can open windows and widen horizons for children who otherwise don't have those experiences," the effect is eerily chilling when Hayes's newborn son tilts his head toward the screen. (May)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.Lynne F. Maxwell - Library Journal
Several recent parenting books have dealt with the role of corporations, advertisers, and the media in commercializing both parenthood and childhood. Journalist and father-of-two Hayes (coauthor, Open Wide: How Hollywood Box Office Became a National Obsession) here presents one of the most interesting new works in this category. He makes the usual claim that television and TV-based toys hinder children's creativity and language acquisition skills, but his particular contribution to the literature is an insider's view into the institution and evolution of educational programming. Hayes's background in journalism puts him in good standing to interview the creators of such children's programs as Nickelodeon's Dora the Explorer and the cable network's newest show, Ni Hao, Kai-lan. Like Susan Linn's The Case for Make Believe: Saving Play in Our Commercialized World and Pamela Paul's Parenting, Inc., Hayes's fascinating book merits a place on the shelf in all public libraries as well as in academic libraries collecting titles on developmental psychology and popular culture.
Table of Contents:
1 The Active Viewing Revolution is Here 1
2 Finding Ni Hau: Nickelodeon Plants the First Seeds 23
3 Attentional Inertia: Parsing Preschool TV Research 44
4 No Swiping: The Molding of Dora the Explorer 65
5 Howdy Duty: The Long Shadow of Early Kids TV 87
6 Story Time: Kai-Ian Meets Her Audience 105
7 Toyetic: How the Toy Aisle Became a Preschool Battleground 117
8 Zero Hour: Birth of the Postpartum Demographic 133
9 Chinese Democracy: How Much Mandarin Can a Toddler Take? 158
10 Live Acts: "If You're Old Enough to Walk, You're Old Enough to Rock" 173
11 Delayed Edification: Kai-Ian Finally Enters the Living Room 185
12 "Time to Go": Dreaming of a Televised Future 198
Notes 223
Acknowledgments 227
Index 231
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A Million Little Pieces
Author: James Frey
“The most lacerating tale of drug addiction since William S. Burroughs’ Junky.” —The Boston Globe
“Again and again, the book delivers recollections that leave the reader winded and unsteady. James Frey’s staggering recovery memoir could well be seen as the final word on the topic.”—San Francisco Chronicle
“A brutal, beautifully written memoir.”—The Denver Post
“Gripping . . . A great story . . . You can’t help but cheer his victory.” —Los Angeles Times Book Review
Entertainment Weekly
[A] thoroughly engrossing memoir...
The San Francisco Chronicle
[I]t gives away nothing to say that he finds himself whole at the end of A Million Little Pieces. How that came to be would be a first-rate tale of suspense, if it weren't drawn so hideously from an actual life.—James Sullivan
Publishers Weekly
For as long as he can remember, Frey has had within him something that he calls "the Fury," a bottomless source of anger and rage that he has kept at bay since he was 10 by obliterating his consciousness with alcohol and drugs. When this memoir begins, the author is 23 and is wanted in three states. He has a raw hole in his cheek big enough to stick a finger through, he's missing four teeth, he's covered with spit blood and vomit, and without ID or any idea where the airplane he finds himself on is heading. It turns out his parents have sent him to a drug rehab center in Minnesota. From the start, Frey refuses to surrender his problem to a 12-step program or to victimize himself by calling his addictions a disease. He demands to be held fully accountable for the person he is and the person he may become. If Frey is a victim, he comes to realize, it's due to nothing but his own bad decisions. Wyman's reading of Frey's terse, raw prose is ideal. His unforgettable performance of Frey's anesthesia-free dental visit will be recalled by listeners with every future dentist appointment. His lump-in-the-throat contained intensity, wherein he neither sobs nor howls with rage but appears a breath away from both, gives listeners a palpable glimpse of the power of addiction and the struggle for recovery. Simultaneous release with the Doubleday hardcover (Forecasts, Mar. 10). (May) Copyright 2003 Reed Business Information.
Library Journal
Frey wakes up on an airplane with four broken teeth, a broken nose, a massive cut on his cheek, and unsure where he is or where he's going. Where he ends up is a residential treatment center based in Minnesota. This is the story of his experiences in that center as an addict and alcoholic. Listeners will meet the residents, including some who helped Frey continue his treatment and his work toward sobriety. The author's tale is brutal and honest, providing a realistic view of the life of an addict, something not for the faint of heart. It's full of profanity and graphic depictions of violence and drug use. In fact, Frey's description of the repair of his teeth without painkillers or anesthesia may keep people from ever going to the dentist again. That said, this presentation, read by Oliver Wyman, is an important addition for all library collections. Organizations that provide support for substance abusers, counseling centers, and prison libraries also should consider purchase.-Danna Bell-Russel, Library of Congress Copyright 2003 Reed Business Information.
School Library Journal
Adult/High School-Frey's high school and college years are a blur of alcohol and drugs, culminating in a full-fledged crack addiction at age 23. As the book begins, his fed-up friends have convinced an airline to let him on the plane and shipped him off to his parents, who promptly put him in Hazelden, the rehabilitation clinic with the greatest success rate, 20 percent. Frey doesn't shy away from the gory details of addiction and recovery; all of the bodily fluids make major appearances here. What really separates this title from other rehab memoirs, apart from the author's young age, is his literary prowess. He doesn't rely on traditional indentation, punctuation, or capitalization, which adds to the nearly poetic, impressionistic detail of parts of the story. Readers cannot help but feel his sickness, pain, and anger, which is evident through his language. Ken Kesey's One Flew over the Cuckoo's Nest (Viking, 1962) seems an apt comparison for this work-Frey maintains his principles and does not respect authority at all if it doesn't follow his beliefs. And fellow addicts are as much, if not more, help to him than the clinicians who are trying to preach the 12 steps, which he does not intend to follow in his path to sobriety. This book is highly recommended for teens interested in the darker side of human existence.-Jamie Watson, Enoch Pratt Free Library, Baltimore Copyright 2003 Reed Business Information.
Kirkus Reviews
Frey's lacerating, intimate debut chronicles his recovery from multiple addictions with adrenal rage and sprawling prose. After ten years of alcoholism and three years of crack addiction, the 23-year-old author awakens from a blackout aboard a Chicago-bound airplane, "covered with a colorful mixture of spit, snot, urine, vomit and blood." While intoxicated, he learns, he had fallen from a fire escape and damaged his teeth and face. His family persuades him to enter a Minnesota clinic, described as "the oldest Residential Drug and Alcohol Facility in the World." Frey's enormous alcohol habit, combined with his use of "Cocaine . . . Pills, acid, mushrooms, meth, PCP and glue," make this a very rough ride, with the DTs quickly setting in: "The bugs crawl onto my skin and they start biting me and I try to kill them." Frey captures with often discomforting acuity the daily grind and painful reacquaintance with human sensation that occur in long-term detox; for example, he must undergo reconstructive dental surgery without anesthetic, an ordeal rendered in excruciating detail. Very gradually, he confronts the "demons" that compelled him towards epic chemical abuse, although it takes him longer to recognize his own culpability in self-destructive acts. He effectively portrays the volatile yet loyal relationships of people in recovery as he forms bonds with a damaged young woman, an addicted mobster, and an alcoholic judge. Although he rejects the familiar 12-step program of AA, he finds strength in the principles of Taoism and (somewhat to his surprise) in the unflinching support of family, friends, and therapists, who help him avoid a relapse. Our acerbic narrator conveys urgency and youthfulspirit with an angry, clinical tone and some initially off-putting prose tics--irregular paragraph breaks, unpunctuated dialogue, scattered capitalization, few commas--that ultimately create striking accruals of verisimilitude and plausible human portraits. Startling, at times pretentious in its self-regard, but ultimately breathtaking: 'The Lost Weekend' for the under-25 set.
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