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ward sutton
‘Tis election day. The most infuriatingly nervous day of the year, or in this case of the quadrennium. (I believe that’s a word.)
The polls, even the progressive leaning polls, predict a tighter race than I want. I want Obama across the board over Mr. Lying One-Percenter Tax Cheat Hypocrite in previously “red” states, and all victorious long before the Pacific Time Zone results show up. If I can’t get that, I at least want an Obama victory big enough that even the partisan-hack dirty tricks in Ohio and Florida (and even here) can’t threaten it.
Back to randomosity:
aaron tung, via digitalbookworld.com
There are many differences between the book world and the music world.
For one thing, music-world people have long held a healthy disrespect for the weasels, hucksters, and corporate wolves running their industry.
Book-world people, in contrast, are often willfully supplicant toward their industry, its masters, and its most crippling business-as-usual tactics.
Until, perhaps, now.
Germany’s Bertelsmann and Britain’s Pearson Group announced they’re merging their respective English-language book publishing units, Random House and Penguin. Those firms, two of the Big Six in the U.S. book biz, have each absorbed other imprints over the years—Viking, Putnam, Bantam, Doubleday, Knopf, Pantheon, and many others.
Bertelsmann will control the merged entity, once the Feds approve (perhaps one year from now).
The official excuse, this time, is that big publishers need to become even bigger so they can “stand up to Amazon.”
But we know the real reason. Monopolistic greed and dreams of global conquest, as always.
Now, the publishing biz is too consolidated for its own good already. It has been since at least the mid-1990s.
But “people of the book” (authors, reviewers, editors, etc.) said or did little to challenge the takeovers.
They’d often complain about book selling falling into fewer hands, especially in the heyday of the Borders/Barnes & Noble duopoly. But these folks didn’t complain as much about publishers becoming ever fewer and ever bigger.
Book fans cold have used some of the music fans’ cynicism about the companies who claim to have their interests at heart.
And now, they might finally be developing some of that wise-assery.
Publishers don’t, and never really have, acted in the best interests of either authors or readers. They, like other businesses, are in it for themselves.
And in this case, their actions may lead (as an LA Times business writer puts it) to “higher prices and less diversity of book titles.”
Yet that piece, and other commentaries summarized by UK trade blog TheBookseller, repeat the seldom questioned presumption of a “diminished interest in books.”
Even though total print and e-book sales are rising, even soaring in some categories.
And even though print book sales have held their own in this economy, better than a lot of other media sectors.
Instead of ever mega-er mega publishers saving the book biz, perhaps the biz is renewing itself in spite of them.
amidst-the-everyday.com
“Amidst the Everyday,” a project by photographers-artists Aaron Asis and Dan Hawkins, aims to reveal “elements of the unseen urban environment.” You go to places around town, scan QR codes (etched in wood!) at various buildings, and receive images of their hidden treasures. (Above, one of the unoccupied-for-decades upper floors of the Eitel Building at Second and Pike.)
shewalkssoftly.com
first newsweek cover, 1933, via taylormarsh.com
So after 80 years, umpteen awards, hundreds of little insights and major scoops, and (particularly lately) a lot of dross, Newsweek magazine will fold in December. The name will live on as a section within the DailyBeast.com website; but we all know this is an ending, not a “transition.”
It’s a shame. But it’s been a while in coming.
The Washington Post Co. unloaded Newsweek a few years back, just to have one fewer money-losing journalistic enterprise on its books. It was propped up for a little while by audio-equipment tycoon Sidney Harman; but he died last year, and his family stopped subsidizing the mag.
That left Newsweek at the mercy of DailyBeast, the punditry and gossip site run by media mogul Barry Diller and serial failed magazine editor Tina Brown.
Circulation, at 3 million a decade ago, dropped by more than half. Brown imposed several sleaze cover stories this summer and autumn; these only led some former fans to wish it put out of its misery.
No one, except laid off employees and their kin, will mourn what Newsweek had become.
But many of us will mourn what it had been.
When News-Week: The Magazine of News Significance began in 1933, Henry Luce’s Time had been publishing for a decade. Many readers, particularly at the dawn of FDR’s New Deal era, had grown weary of Luce’s unabashed conservative slant. News-Week gave these readers a similar formula of digests and analysis, but with a nonpartisan, sometimes even pro-Dem POV.
The Washington Post Co. bought Newsweek in the 1950s, and beefed up its original reporting. It never overtook Time in circulation or revenue, but frequently outshone its rival in getting the biggest stories and the most insightful angles on the same stories.
These days, there are any dozens of websites and blogs and aggregator algorithms serving up customized, bubble-ized, non-threatening headlines and punditry and spin about the national political/economic sphere.
But there’s less and less original reporting for these sites to slice, dice, and interpret.
And there are fewer big places that serve a variety of points of view, challenging readers to think outside of their respective ideological boxes.
We need more of what Newsweek, at its peak, served up every seven days.
It’s 10/11/12! The sort of date-progression that only happens 11 times in a century and is utterly, completely meaningless!
Elsewhere in randomness:
kurzweilai.net
via imdb
It’s 10/4, good buddy!
via fastcompany.com
Sound Transit has a bus from downtown Seattle to downtown Puyallup (via Federal Way, Auburn, and Sumner). It ends at the Puyallup Sounder commuter-rail station, right by a classic small-town downtown garnished with street-corner public art works.
Civic authorities have restored this brick-wall painted sign advertising the company that created both the Puyallup fair scone and KOMO-TV.
A brisk ten-block walk took me to the fairgrounds entrance, guarded over as always by the noble cow heads.
While marketed since 1978 as “The Puyallup Fair,” the event’s official title has always been the Western Washington Fair. A new name, “Washington State Fair,” was phased in starting this year. This will surely lead to confusion with the smaller Evergreen State Fair in Monroe.
But I, along with almost every local old-timer, will always think of the fair as “The Puyallup,” thanks to a TV/radio jingle that has been embedded in our minds for more than three decades.
Along with the revised name, fair officials showed off a plan for a revised fairgrounds. The master plan would rein in the commercial exhibits that have sprawled over more of the grounds, and install outdoor agricultural demonstration areas. The idea is to re-emphasize the fair’s roots as a showcase for people of “the land.”
Other exhibits included a mini “factory tour” honoring the 100th anniversary of a Tacoma legend, the Brown & Haley candy company. Booth ladies outside were selling special commemorative Almond Roca tins. I asked if any of them contained Bjork’s life savings. They didn’t get my reference to the film Dancer in the Dark, alas.
In the fair’s Hobby Building, someone installed a private collection of memorabilia relating to another Tacoma institution, Nalley’s Fine Foods. The diversified processed-foods giant had made everything from pickles to potato chips; it closed last year, after decades of mismanagement by various out-of-state owners.
As a pop-culture compulsive, you know I always adore the collection showcases at the Hobby Building. This year folks showed off their stuff relating to the Girl Scouts (above), Lego, Dr Pepper, Sailor Moon, the Seattle World’s Fair’s 50th anniversary, Starbucks gift cards, and the Happy Face symbol.
I’ll have some more of this lovely stuff in a future post; so stay tuned.
via yowpyowp.blogspot.com
Having finally gotten the Boomerang cable channel, I’ve become re-acquainted with the early Hanna-Barbera cartoon shows (Huck, Yogi, Quick Draw, ‘Stones, Top Cat, Jetsons, Jonny Quest). They didn’t have fluid movement but they had great visual composition. They had pleasing character designs and cool semi-abstract backgrounds. They had funny dialogue. Then the company got too big and everything went downhill. This B.C.-based blogger explains it all thoroughly, including the links between the Jetsons look and the Space Needle (hint: ours came first).
chris lehman, npr via kplu
watch el chacal de la trompeta, via youtube
andraste.com via the smoking gun
zoo atlanta via king-tv
seattle mariners via mynorthwest.com