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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:
priscilla long, via the american scholar
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
via fuckyeahrollingstonemagazine at tumblr
The last great liberal atop a Presidential ticket (yes, including Nader) might have saved the nation, and the world, from Nixonism (a disease which still afflicts us yet).
And he might have had a chance if he’d only had enough procedural control over his own convention. He wound up not giving his acceptance speech until the wee hours; not a good selling point when you’re trying to show you’ve got the chops to be Commander in Chief.
Still, he remained a champion of the common folk and of a more just society to the end of his days. A populist, a humble crusader, a role model.
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.
via interestingengineering.com
via kathrynrathke.blogspot.com
All good tidings and shout-outs to my fellow Stranger refugee and prominent commercial illustrator Kathryn Rathke. She’s created the new official logo for Wendy’s restaurants. The deceptively simple mascot caricature took three years of client approval and market testing.
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
from the book 'mail order mysteries' via laughingsquid.com
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).
xkcd.com
Randall Munroe’s hilarious online comic strip xkcd (“a webcomic of romance, sarcasm, math, and language”) is usually a minimalistic enterprise, populated by faceless stick figures individualized only by their hairstyles.
But Munroe, suddenly and perhaps for one time only, has gone maximalist with the entry “Click and Drag.”
He’s created an immense silhouette landscape that starts in the middle. You then drag the image inside a relatively small window.
There are ocean waters (with boats large and small), islands, hills, cliffs, trees, aircraft, a skyscraper, radio/TV towers, and a labyrinth of underground tunnels.
Munroe’s stick-people show up all along the way, offering gag lines and little playlets. There are references to Star Wars, Super Mario Bros., Pokémon, 2001: A Space Odyssey, the Icarus legend, previous xkcd strips, our ol’ pal Sean Nelson, and even Elizabeth Warren’s Senate campaign.
Glenn Hauman at Comicmix.com claims Munroe’s tableau is probably “the biggest comics panel ever.”
How big, you ask?
Some online reviews estimate it at 165,888 pixels by 79,872 pixels. The whole thing, if printed out at an average screen-resolution rate, would be about 150 feet wide.
Folks have made screen shots of the different segments and stitched them together into a single zoomable image. Yes, viewing it this way reveals even more “Easter egg” gags you might have otherwise missed.
I can imagine only two practical ways to turn “Click and Drag” into a real-world thing. It could be published as a folding-scroll “accordion book” (like old Chinese “scroll paintings“). Or it could be installed as a mural in a contemporary art museum somewhere.
Either way, I can imagine someone in charge trying to persuade Munroe to condense some of the long stretches of grassy plains and ocean waves between gags.