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!
comicsbronzeage.com
Just Sayin’ Dept: Here’s something that hasn’t been publicized much in the World’s Fair 50th anniversary celebrations.
from the early pc game series 'leisure suit larry,' via classicgames.about.com
AÂ Mother Jones writer attended a tech panel at South By Southwest. A marketing rep (not a programmer) from a social-media startup company boasted of its fratboy-esque corporate culture, making borderline-rude “jokes” along the way.
The Mother Jones writer walked out of the session, then filed an essay claiming a rising subculture of sexist “brogrammers” had infiltrated the tech biz.
The term was quickly picked up by Businessweek, CNN, and others.
Then Gizmodo.com, using an equally small slice-O-reality as its own basis, claimed “There’s No Such Thing as a ‘Brogrammer.'”
My take: What there are, and have been for more than a decade, are dot-com douchebags.
Those are the loud, brusque, macho jerks running a lot of these companies—both startups and now-established sites.
You saw them in the early 2000s. You saw them in the film The Social Network.
You can see them in startup offices from Seattle to Brooklyn, preening and yelling deals into phones and being rude to people (female and otherwise).
I suspect you won’t see them as much among the coding rank-n’-file, in positions where precise thinking counts and the hard-sell doesn’t.
But all it takes is one or more a-holes at the top to make a shop feel like an uninviting place for women employees—or for women customers.
(You do know that social media, mobile gaming, and all these other fast-rising online realms have female-majority audiences, don’t you? Some dot-com douchebags apparently don’t.)
npr.org
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.
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:
american institute of architects—seattle
tinyprints.com
…the last places in America where books are still a dominant part of the culture, consumed, discussed, pondered, and critiqued with gusto.
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.
entertainment weekly via getty images
Our ol’ pal, Posies singer-songwriter Ken Stringfellow, is quoted at the East Portland Blog as saying the Madonna/M.I.A. halftime show at Super Bowl LSMFT was all OK but doesn’t really signify “empowering women.”
That sort of “feminist victory,” Stringfellow claims, will only occur when “50 percent of the media companies are owned by women.”
“Ownership,” of course, is a slippery thing with NYSE- and NASDAQ-listed companies.
Such companies could easily be more than 50 percent “owned” by women. Overall, a sizable majority of all corporate stock shares officially are.
But this “ownership” is often filtered through pension systems, trusts, mutual funds, broker-managed accounts, and other schemes that don’t infer practical control.
Of the major media companies operating in the U.S. today, only a few have any significant degree of individual or family ownership. Among them:
Redstone’s and Murdoch’s daughters have taken major roles within their respective aging dads’ companies, and may take greater roles in the future.
But they’ve shown every sign of supporting regular showbiz-content gender roles, including the roles Stringfellow derides as “T&A” and “soft porn.”
I, and I suspect many of you, wouldn’t count that as a “feminist victory.”
619 western's exterior during the 'artgasm' festival, 2002
from pulpcovers.com