It's here! It's here! All the local news headlines you need to know about, delivered straight to your e-mail box and from there to your little grey brain.
Learn more about it here.
Sign up at the handy link below.
CLICK HERE to get on board with your very own MISCmedia MAIL subscription!
sherriequilt.blogspot.com
via boingboing.net
The American parade of pathetic little bigots, who falsely imagine themselves to be valiant crusaders instead of the bullheaded jerks they really are, just goes on and on.
Recent examples:
benjamin day's new york sun, one of the original 19th century 'penny press' papers; via ricardoread.wordpress.com
Even before the online news “revolution” (that looks more and more like “creative destruction” without the “creative” part), newspapers and TV/radio stations, and especially local slick magazines and “alt” weeklies, had begun to ignore whole swaths of their communities, all in the name of the dreaded “upscale demographics.”
That means wanting only wealthy (or at least really affluent) people in your audience, the audience you sell to advertisers. (The original Seattle Weekly was particularly notorious at this. Its rate cards proclaimed, “Who are the Weekly’s readers? In a word, rich.”)
The age of dot-com media has only exacerbated this trend. AOL’s “Patch” sites deliberately only cover wealthy communities. The West Seattle Blog is apparently pulling in a lot more ad revenue than the Rainier Valley Post.
And the “future of news” bloggers, who demand that all news orgs conform to their formula of unfettered-access, ad- and pageview-dependent standard websites, sometimes seem to believe the entire nation is made up of people exactly like them—18-34-year-old, college-educated white males, with home broadband, smartphones, and techie jobs that let them browse the web throughout the day.
And now a Pew Research study claims “fewer than half of Americans who make under $75K a year go online for news.” If the online realm, as we now know it, becomes the only place to get written short-form journalism, a lot of Americans are going to be informationally shut out.
That last stat came from the page for “A Penny Press for the Digital Age.” That was a panel discussion at the digital media section of the SXSW music/media convention last week. You can hear it here.
Its aim: to explore “how low-income and working-class people–the majority of Americans–can be included in the future of online news.”
(Hint: Most of the solutions offered by the panelists involve non-profit, cooperative, and/or volunteer operations.)
It’s just one of more than a dozen “future of news” panels at SXSW you can hear at this link. They’re all full of “cutting edge” new-media concepts.
Indeed, the new-media world these days has more cutting edges than a blister pack of Bic razors (most of which will prove just as enduring).
•
Elsewhere in journalistic doom-n’-gloom land, Eric Alterman at HuffPost has collected a whole boatload of depressing industry statistics. Perhaps the most depressing of them all:
Newspaper revenue fell to its lowest level since 1984, although adjusted for inflation the income is actually worth half of what papers earned back then.
Many of these stats come from media-biz blogger Alan Mutter. Mutter also notes that retailers are putting up more “advertorial” content—and even ads for other stores—on their own sites (which would help negate the need for these stores to advertise in news-media outlets).
Meanwhile, the entertainment side of the media biz (at least the movie and TV entertainment side) continue to hold its ground against the “open web” demanders.
By continuing to insist on affiliate rights fees from cable providers and streaming websites alike, the big media giants have largely kept themselves surviving, if not thriving.
Could the news biz, including the news sides of some of these same companies, learn something from this?
american institute of architects—seattle
twenty-flight-rock.co.uk
Remember, we’ve got a free Vanishing Seattle presentation at 2 p.m. Saturday in the Klondike Gold Rush National Historic Park, 319 2nd Ave. S. in Pioneer Square.
filmfanatic.org
donald levin's holdings range from cancer sticks to hockey sticks.
The Toronto Globe and Mail has confirmed the rumors (mentioned here a few weeks back) that Donald R. Levin, owner of a minor league hockey team in Chicago, is interested in owning a new or moved National Hockey League team in Seattle.
Levin’s interest in the Seattle sports world has been known for a while. Last July, KIRO-TV reported Levin was looking into potential Bellevue sites for a new NHL arena. But the Globe and Mail story says Levin’s willing to be roomies with Chris Hansen, who wants to build an NBA arena in Sodo.
Besides the American Hockey League’s Chicago Wolves, Levin is the principal owner of the privately held D.R.L. Enterprises.
It’s a mini conglomerate built around Republic Tobacco. Levin built that from a single smoke shop in the Chicago suburbs. From there he moved into wholesaling, and eventually into manufacturing.
Republic’s properties include JOB rolling papers* (bought from the original French owners), Drum and Top “roll-your-own” tobacco (bought from R.J. Reynolds), and assorted other brands in assorted countries.
Levin has funneled some of his cancer-puff profits into businesses with brighter futures; principally industrial leasing (including aircraft, though I don’t know if that includes Boeing aircraft) and licensed sports gear and merchandise.
And, according to the Chicago Wolves’ website, Levin has “made nearly 20 motion pictures distributed in the U.S. and overseas.”
The Wolves’ site doesn’t identify them, but the Internet Movie Database lists 12 films produced or executive-produced by Levin from 1983 to 1995. They include:
In other words, he sounds just like our kind of guy.
* (PS: Yes, I am aware that rolling papers are sometimes filled with a substance other than tobacco. If you can find a relevance from that fact to this story, go ahead.)
A scene from the 2008 Japanese film Love Exposure (dir. Sion Sono).
tinyprints.com
…the last places in America where books are still a dominant part of the culture, consumed, discussed, pondered, and critiqued with gusto.
john mattos, via tor.com
filmschoolrejects.com
Alexander Wolcott at Vanity Fair ponders the not quite as rare as it used to be phenomenon of male nudity in U.S. movies, and sees farce and weakness and busted bravado. He goes on to describe these scenes as…
…caution flags, symbolic indicators of a national power drop that encompasses politics, economics, education—the works. Now that we’re no longer king of the world, American self-confidence is undergoing its own shrinkage; no one believes in the Top Gun jockstrap bravado anymore, and the joshing attitude and shrugging posture our movies have adopted reflect a country and a culture that have lost their spunk and don’t feel like keeping up the pretense of swagger anymore.
As my half-namesake Kenneth Clark might say, more lucidly than I, there are many ways to see a naked man.
The typical Hollywood way is best exemplified in the (phallus-free) Porky’s films: Female nudity is drama; male nudity is comedy. Every sex (or almost-sex) scene turns from enticing to ridiculous the instant the guys drop trou.
And thus you get the premise of Seth Rogan’s entire career.
Anna North at Jezebel.com doesn’t like that male parts only appear on screen to be laughed at:
This stereotype is a bummer for men, many of whom enjoy the chance to be admired. But it’s also sad for heterosexual women, reinforcing the notion that they don’t really desire men, that they’re only interested in guys’ fame or money or desire to get married, and not in, say, their butts.
As for the nation-in-decline part of Wolcott’s premise, there are historical examples to the contrary.
Imperial Greece had plenty of statues and paintings of nude men (or rather, of men with boy-size privates).
Victorian England had a mini-renaissance of nude studies (albeit carefully coded in mythological narrative, at least at first).
And stern-faced nude dudes were prominent in Nazi kitsch art.
Of course, nude paintings, statues, and even posed still photos tend to depict what Kenneth Clark called “the Ideal Form.”
Which isn’t something the makers of the Hangover movies care much about.
treasurenet.com