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nytimes.com via nytsyn.com
ioffer.com
The first Spider-Man cartoon series (ABC, 1967-70) is fondly remembered by the geekerati, not only for its low-budget thrills but for its bold, saucy, spooky music.
You know the theme song, perhaps from its many remakes and cover versions. (It’s the only song the Ramones slowed down when they covered it!)
The background music has been a lot harder to track down.
Among the reasons why:
Fans eventually figured out that most of the music cue for seasons 2 and 3 came from KPM, a “library music” provider based in London (and now owned by the about-to-be-dismembered EMI).
Once KPM put up a website with samples of its library, these fans sorted out which tracks had been used on Spider-Man, and began to post some of them online.
But that left the season 1 background cues, composed expressly for the show by Ray Ellis and Bob Harris.
As this 2007 story on WFMU’s blog goes, some longtime fans of the show tracked down Ellis in L.A. He told them he’d left the original tapes behind when he moved from New York, but would track them down the next time he went there. Ellis died in 2000, before ever making that trip.
Other fans later reached Harris’s widow, who said she had no idea about the Spider-Man music tapes’ existence.
Not only were the original recordings a dead-end, no M&E tracks (music-and-sound-effects soundtracks, which some studios keep for foreign-language redubbing) were around either. Only the dialogue-heavy final episodes.
Dan O’Shannon, a writer-producer who’s worked on Cheers, Frasier, and Modern Family, is another of the ’60s Spider-Man‘s lifelong obsessive fans. O’Shannon’s taken it upon himself to reassemble the first-season cues.
So far he’s posted 34 tracks. He’s mixed and matched sections of the same tunes from different episodes (or different parts of the same episode) to avoid the dialogue.
O’Shannon hasn’t, however, been able (or wanted) to edit out the frequent THWIP! sound effect of Spidey’s web shooters.
comicsbronzeage.com
Just Sayin’ Dept: Here’s something that hasn’t been publicized much in the World’s Fair 50th anniversary celebrations.
via david haggard at flickr.com
'jseattle' at flickr, via capitohillseattle.com
Yes, it’s been nearly a week since I’ve posted any of these tender tidbits of randomosity. Since then, here’s some of what’s cropped up online and also in the allegedly “real” world:
lindsay lowe, kplu
beautifullife.info
Band name suggestion of the month: “Premier Instruments of Pleasure.” (From the “Sexual Wellness” section of the Amazon subsidiary Soap.com.)
Why do we value the network and hardware that delivers music but not the music itself? Why are we willing to pay for computers, iPods, smartphones, data plans, and high speed internet access but not the music itself? Why do we gladly give our money to some of the largest richest corporations in the world but not the companies and individuals who create and sell music?
Why do we value the network and hardware that delivers music but not the music itself?
Why are we willing to pay for computers, iPods, smartphones, data plans, and high speed internet access but not the music itself?
Why do we gladly give our money to some of the largest richest corporations in the world but not the companies and individuals who create and sell music?
theoatmeal.com
Matthew Inman, known to all as The Oatmeal, is Seattle’s (the world’s?) greatest online satirical cartoonist.
He’s also, like so many of us, trying to make a living from his craft in an Internet world in which anything anybody posts is treated as fodder for reposting, revising, or just plain stealing.
Lately, commercial ad-supported dotcoms are using “social media” as their current excuse for taking, and making money from, other people’s creative work without paying those people for such work. “Hey, don’t blame us. We didn’t repost your work. It was one of our users (whom we merely encourage to repost stuff here).”
Inman publicly complained about one such “social aggregation” site, where dozens of his drawings had appeared. Some of his drawings had stayed up at that site, even after others were removed.
The site responded by suing him!
They wanted $20,000 in damages to the reputation of the site’s “brand,” or something like that. At the same time they sent a “cease and desist” letter, demanding Inman stop dissing them.
Inman’s posted response was hilarious; pure Oatmeal snark at its finest.
Inman vowed to start an online fund drive. (Yes, even though he’d already made a cartoon comparing such drives to street begging.)
Then, he vowed to take a photo of himself with the $20,000. The aggregation site’s lawyer would get the photo, plus an original cartoon of the lawyer’s mother (imagined as an unattractive slag) and a Kodiak bear.
The money, however, would be split between the National Wildlife Federation (hence the bear image) and the American Cancer Society.
The (real) fund drive’s title: “BearLove Good. Cancer Bad.”
The result: With 11 days to go, the drive has raised over $165,000!
The aggregation site and its lawyer picked the wrong funnyman to aggravate. (Though the lawyer says he’s thinking of responding with more suits.)
The Power of Oatmeal indeed.
…the value of digital ads decreases every quarter, a consequence of their simultaneous ineffectiveness and efficiency. The nature of people’s behavior on the Web and of how they interact with advertising, as well as the character of those ads themselves and their inability to command real attention, has meant a marked decline in advertising’s impact.… I don’t know anyone in the ad-Web business who isn’t engaged in a relentless, demoralizing, no-exit operation to realign costs with falling per-user revenues, or who isn’t manically inflating traffic to compensate for ever-lower per-user value.
…the value of digital ads decreases every quarter, a consequence of their simultaneous ineffectiveness and efficiency. The nature of people’s behavior on the Web and of how they interact with advertising, as well as the character of those ads themselves and their inability to command real attention, has meant a marked decline in advertising’s impact.…
I don’t know anyone in the ad-Web business who isn’t engaged in a relentless, demoralizing, no-exit operation to realign costs with falling per-user revenues, or who isn’t manically inflating traffic to compensate for ever-lower per-user value.
Thriller author Barry Eisler, a born-again proponent of self-publishing (and the first established author to sign with Amazon’s publishing division), told a local audience that :
Needless to say, in many parts of the book establishment (the most tradition-bound establishment in all the lively arts), them’s fightin’ words.
•
Meanwhile, authors Sarah Weinman and Maureen Ogle have put up separate online essays. Each questions the future of “serious non-fiction” in the digital age.
Under the old regime, profitable publishing houses subsidized this work with large advances against royalties. In many cases, the publishers knew authors would never earn these advances back. It was the companies’ way of subsidizing prestigious “loss leader” works.
But if self-publishing becomes the new business-as-usual, Weinman and Ogle ask, what will become of long, research-heavy projects—projects that could take as many as five years of an author’s full-time attention?
There’s always Kickstarter.com. That’s where local comix legend Jim Woodring is raising funds so he can work full-time on his next graphic novel.
And there are always grants, fellowships, teaching gigs, and working spouses (for those authors who can land any of them).
And there’s another answer, one that’s right under Weinman and Ogle’s proverbial noses.
Both essayists note that the most successful e-book self-publishers, thus far, are fiction writers who churn out several titles per year.
Non-fiction writers can do likewise.
They can chop up and serialize their longer works, one section at a time.
When it comes time to put out the full book, authors can still revise and re-sequence everything.
In another sector of the digital media disruption, music-biz attorney Ken Hertz reminds you that even (or especially) with the new marketplace, bands still face tremendous odds against “making it.”
udhcmh.tumblr.com
to earn enough money so that you can behave in a way that makes the very existence of other people irrelevant.… Wall Street is far too self-absorbed to be concerned with the outside world unless it is forced to. But Wall Street is also, on the whole, a very unhappy place. While there is always the whisper that maybe you too can one day earn fuck-you money, at the end of a long day, sometimes all you take with you are your misguided feelings of self-righteousness.
to earn enough money so that you can behave in a way that makes the very existence of other people irrelevant.…
Wall Street is far too self-absorbed to be concerned with the outside world unless it is forced to. But Wall Street is also, on the whole, a very unhappy place. While there is always the whisper that maybe you too can one day earn fuck-you money, at the end of a long day, sometimes all you take with you are your misguided feelings of self-righteousness.
escapistmagazine.com
foodbeast.com
david eskenazi collection via sportspressnw.com
And a happy Friday the 13th (first of the year) and Mariners home opening day to all of you!
It’s called “Control-based Content Pricing,†and the basic idea is dynamic pricing of video content, based on the preferences of the user at any given moment—essentially setting different prices for different functions of the TV remote.
gjenvick-gjonvik archives
Three of the Big Six book publishers (Hachette, News Corp.’s HarperCollins, and CBS’s Simon & Schuster) have settled with the U.S. Justice Dept. in the dispute over alleged e-book price fixing.
The publishers still insist they’re innocent; but they agreed in the settlement to not interfere with, or retaliate against, discounted e-book retail prices.
Apple, Pearson’s Penguin, and Holtzbrinck’s Macmillan have not yet settled; they also insist they did not collude to keep e-book prices up. Bertlesmann’s Random House was not sued.
This is, of course, all really about Amazon, and its ongoing drives to keep e-book retail prices down and its share of those revenues up. The big publishers, and some smaller ones too, claim that’s bad for them and for the book biz as a whole.
In other randomosity: