Joho the BlogApril 2015 - Joho the Blog

April 30, 2015

A UN museum?

I got to spend yesterday with an awesome group of about twenty people at the United Nations, brainstorming what a UN museum might look like. This was under the auspices of the UN Live project which (I believe) last week was endorsed by UN Secretary General Ban Ki-moon.

Some of the people at the meeting
Some of us

Although it was a free-ranging discussion from many points of view, there seemed to be general implicit agreement about a few points. (What the UN Live group does with this discussion is up to them, of course.)

Security Council
Where we did not meet

First, there was no apparent interest in constructing a museum that takes telling the UN’s story as its focus. Rather, the discussion was entirely about ways in which the values of the UN could be furthered by enabling people to connect with one another around the world.

Second, No one even considered the possibility that it might be only a physical museum. Physical elements were part of many of the ideas, but primarily to enable online services.

Here are some of the ideas that I particularly liked, starting (how rude!) with mine.

I stole it directly from a Knight Foundation proposal by my friend Nate Hill at Chattanooga Public Library. He proposed setting up 4K displays in a few libraries that have gigabit connections, to enable local residents to interact with one another. At the meeting yesterday I suggested (crediting Nate, but probably too fast for anyone to hear me, so I’m clear, right?) that the Museum be distributed via “magic mirrors” – Net-connected video monitors – that connect citizens globally. These would go into libraries and other safe spaces where there can be facilitators. (We’re all local people, so we need help talking globally.) Where possible, there might be two screens so that people can see themselves and the group they’re talking with. (For some reason, I like the idea of the monitors being circular. More like portals.)

These magic mirrors would be a platform for activities to be invented. For example:

  • Kids could play together. Virtual Jenga? Keep a virtual ball afloat? (Assume Kinect-like sensors.) Collaborative virtual jigsaw puzzle of a photo of one of their home towns? Or maybe each group is working collaboratively on one puzzle, but each team’s pieces are part of the image of the other’s team’s home. A simple mirror imitation game where each kid mimics the other’s movements? It’s a platform, so it’d be open to far better ideas than these.

  • Kids could create together. Collaborative drawing? Collaborative crazy machines a la Rube Goldberg?

  • Real-time, video AMAs: “We’re Iranian parents. AUA [ask us anything] at 10am EDT.”

  • Listings for other activities, including those proposed below.

Someone suggested that the UN create pop-up museums by bringing in a shipping container stocked with media tools. (Technically, a plop-down museum, it seems to me.) The local community would be invited to tell its story, perhaps in 100 images (borrowing the British Museum’s “A History of the World in 100 Objects”), or perhaps by providing a StoryCorps-style recording booth. Or send the kids out with video cameras. (There might have to be someone who could help with the media.) The community would be able to tell its story to the world. The world could react and interact. (These containers could contain magic mirrors.)

Another idea: Facilitate local people coming together virtually to share solutions to common problems, building on the multiple and admirable efforts to do this already.

Another idea: One group pointed out that museums typically face backwards in time. So suppose the UN museum instead constructed itself in real time as significant events occurred. E.g., as an earthquake disaster unrolls, the UN Museum would track it live, presenting its consequences intimately to the world, recording it for posterity, and facilitating relief efforts.

There was general agreement, I believe, that all of the UN Museum’s content should be openly available through APIs.

There were many, many more ideas, many of which I find exciting. I don’t know if any of the ideas discussed are going to make it past the cool-way-to-spend-an-afternoon phase, but I am thrilled by the general prospect of a UN Museum that takes as its mission not just the curation of artifacts that tell a story but advancing the UN’s mission by connecting people globally around common concerns, shared interests, and a desire to help and delight one another.

Now go ahead and be cynical and snarky.

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April 26, 2015

My losing bingo card

At our daughter’s baby shower — which was awesome — we played Baby Shower Bingo. You fill in a bingo card with items, and if during the opening of the gifts any of those items have been given, you mark it on your card. First with five in a row wins (In this case they won a Toblerone bar.)

Here’s my losing card:

baby shower bingo card

5 Comments »

April 25, 2015

Our new plummy acting

I have to say that I’m enjoying our new hammy acting style. But hammy isn’t the right word for it, since it implies a lack of craft. So I’ll call it plummy. (The fact that I’m a kosher vegetarian has nothing to do with this.) Our new plummy actors are fully in control of what they’re doing. They’re on purpose pushing it a little further than realness, knowing that we know that they’re doing so.

Leo Dicaprio in What’s Eating Gilbert Grape? is not hammy or plummy.

Leo in Wolf of Wall Street is plummy.

Had he gone for a Brando-like realism, Wolf would have been as depressing as businesspeople-are-shallow movies like 1959’s What Makes Sammy Run?

Every character in American Horror Story is plummy. Most of the actors on Justified are plummy. Well, the male actors. They get to have way more fun than almost all the women. (The exception: Margo Martindale who played Megs, the Big Bad in 2011. And guess what? She won an Emmy for it.)

Everyone on Fargo, both the TV show and the movie.

Everyone on Veep. which has has gotten ferociously funny this season.

Tony and the Henchmen on The Sopranos. Not so much Carmela or Dr. Melfi, although Nancy Marchand‘s Mom the Destroyer certainly counts.

I’m not sure that Breaking Bad is a great example of this, but Better Call Saul is…again, for the men more than the women, with the exception of Julie Ann Emery‘s Betsy Kettleman.

I’m not saying this is an unprecedented style of acting. In some ways it’s similar to the old days when stars were visible through the roles they played: You could see Cary Grant behind the lines he suavely delivered, and you could see Marilyn Monroe through her bombshell comedienne roles. Or at least you thought you could.

But the current style of acting is different. These actors are as invisible in their roles as Brando’s generation was. But what they’re making of themselves on screen isn’t intended to be mistaken for real life captured by well-placed hidden cameras. They are clearly playing roles. They’re just playing the hell out of them.

So why the men more than the women? As everyone who has watched TV in the past five years has pointed out, the new great series have been dominated by stories of men struggling with their flaws. The women too often are there to “ground” the characters around them. They are often phenomenal actors — Edie Falcon? Get out of town! — but are just not allowed to push beyond the natural. I’m sure it’s all just a coincidence though.

 


Mad Men isn’t on this list because I think the acting aims for naturalism, perhaps because we already see the distance between the roles people play within their world and who they might be if they were less constrained by the 1950s and 1960s social norms.

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April 22, 2015

HillaryHusseinClinton.com

I registered HillaryHusseinClinton.com to keep it out of the hands of those who do not support her. For $13, why not?

I suppose I should have registered BarackRodhamObama.com just for the sake of symmetry.

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April 19, 2015

When Mom beat Ma

I have a friend who wonders when “mom” turned into a plain old noun instead of a name, as in “My mom drinks coffee” vs. “Hey, Mom, would you like some coffee?” I can’t remember a time in my life when “mom” wasn’t a noun, so I checked at the Google Ngram Viewer which lets you chart the use of words throughout Google Book’s entire corpus of tens of millions of books. Here’s the result:

So, it looks like the two track each other pretty well, at least in books.

The Ngram does show a serious uptick for both in the early 1940s. But before you go hypothesizing that during WWII we started writing about our mothers more, here’s the Ngram for Mother and mother:

The Mom/mom upturn was really just a blip when compared to the mammoth of Mother/mother. So, I dunno. (But we can conclude that Mother is the mother of all moms.)

I tried the same search, but for “Ma” and “ma”:

Ma and ma again seem to be in sync. But for some reason in 1986, for the first time Mom beat Ma.

Fascinating? You tell me.

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April 16, 2015

Hillary in the uncanny valley

As a strategist for nine successful presidential campaigns and a selectman’s race in an Indianapolis (not the Indianapolis), I’d like to offer Hillary Clinton some free advice:

Get yourself out of the uncanny valley. When you try to be sincere and folksy you get just close enough that it’s a bit uncomfortable to watch.

Say what you will about Clinton’s campaign announcement, you have to admit that the tiny vignettes were effective.

Did you doubt that they were real people? Nope. Were they charming? Yup. Would you like to see more of them, including giving the fish kid his own sitcom where he teaches life lessons to the gay engaged couple and to the woman who’s about to retire? I’m already setting my Tivo!

What was the one moment of ickiness? Clinton bringing the whole scene to a screeching halt with her announcement “I’m getting ready to do something too.” The delivery was poor and the idea itself clanged against the first minute and a half of the video: ordinary folks talk about what they’re doing, and Hillary Clinton equates that with running for president. “We’re not so different, you and I: we both do things.”

Unfortunately, these issues of personality and performance count far more than they should. So, if we want Hillary Clinton to be president (and I do), then she needs to not be “warm and approachable.” When she tries, it just doesn’t work for her.

Ms. Clinton, I have no doubt that you are a delightful person when out of the public eye. But after more than twenty years of experience, we ought to conclude that in the public eye you’re socially awkward. Fine! Lots of us are. (You know someone who’s not? Your husband. Try to avoid standing next to him.)

So, how about if you embrace that awkwardness? Let it work for you. Be a bit shy. Bumble visibly. Get angry at heartless questions, like ones that act as if you were somehow personally responsible for the murder of your friend, Ambassador Chris Stevens. When not giving a speech, stop giving the internalized version of that speech; talking points are for See ‘n’ Say toys.

But recognize that when you do speak from the heart in public, it’s still always going to sound stilted and a bit uncomfortable. Acknowledge that. Make a joke. If you can’t be comfortable with yourself, at least be comfortable with that lack of comfort. You’re super-competent and will be the best-prepared president in decades, so it’s ok for you to have a personality flaw.

Because that’s what you really have in common with the rest of us.

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April 14, 2015

[shorenstein] Managing digital disruption in the newsroom

David Skok [twitter:dskok] is giving a Shorenstein Center lunchtime talk on managing digital disruption in the newsroom. He was the digital advisor to the editor of the Boston Globe. Today he was announced as the new managing editor of digital at the Globe. [Congrats!]

NOTE: Live-blogging. Getting things wrong. Missing points. Omitting key information. Introducing artificial choppiness. Over-emphasizing small matters. Paraphrasing badly. Not running a spellpchecker. Mangling other people’s ideas and words. You are warned, people.

As a Nieman fellow David audited a class at the Harvard Business School taught by Clay Christensen, of “creative destruction” fame. This gave him the sense that whether or not newspapers will survive, journalism will. Companies can be disrupted, but for journalism it means that for every legacy publisher that’s disrupted, there are new entrants that enter at the low end and move up market. E.g., Toyota started off at the low end and ended up making Lexuses. David wrote an article with Christensen [this one?] that said that you may start with aggregation and cute kittens, but as you move up market you need higher quality journalism that brings in higher-value advertising. “So I came out of the project doubly motivated as a journalist,” but also wanting to hold off the narrative that there is an inevitability to the demise of newspapers.


He helped started GlobalNews.ca and got recruited for the Globe. There he held to the RPP model: the Resources, Process, and Priorities you put in place to help frame an organizational culture. It’s important for legacy publishers to see that it isn’t just tech that’s bringing down newspapers; the culture and foundational structure of those organizations are also to blame.

Priorities:
If you take away the Internet, a traditional news organization is a print factory line. The Internet tasks were typically taken up by the equivalent groups with in the org. Ultimately, the publisher’s job is how to generate profit, so s/he picks the paths that lead most directly to short-term returns. But that means user experience gets shuffled down, as does the ability of the creators to do “frictionless journalism.” On the Internet, I can write the best lead but if you can’t read it on your phone in 0.1 seconds, it doesn’t exist. The human experience has to be the most important thing. The consumer is the most important person in this whole transaction. How are we making sure that person is pleased?


In the past 18 months David has done a restructuring of the Globe online. He’s been the general mgr of Boston.com. Every Monday he meets with all the group leads, including the sales team (which he does not manage for ethical journalism reasons). This lets them set priorities not at the publisher level where they are driven by profit, but by user and producer experience. The conceit is that if they produce good user and producer experiences, the journalism will be better, and that will ultimately drive more revenue in advertising and subscriptions.


The Globe had a free site (Boston.com) and a paywall site (bostonglobe.com). This was set up before his time. Boston.com relative to its size as a website business has a remarkable amount of revenue via advertising. BostonGlobe.com is a really healthy digital subscription business. It has more subscriptions in North America outside of the NYT and WSJ. These are separate businesses that had been smushed together. So David split them up.

Processes:

They’ve done a lot to change their newsroom processors. Engineers are now in the newsroom. They use agile processes. The newsroom is moving toward an 18-24 hour cycle as opposed to the print cycle.


We do three types of journalism on our sites:


1. Digital first — the “bloggy stuff.” How do we add something new to those conversations that provides the Globe’s unique perspective? We don’t want to be writing about things simply because everyone else is. We want to bring something new to it. We have three digital first writers.


2. The news of the day. We do a good job with this, as demonstrated during the Marathon bombing.


3. Enterprise stuff — long investigations, etc. Those stories get incredible engagement. “It’s heartening.” They’re experimenting with release schedules: how do you maximize the exposure of a piece?

Resources:
In terms of resources: We’re looking at our content management system (CMS). Ezra Klein went to Vox in part because of their CMS. You need a CMS that gives reporters what they need and want. We also need better realtime analytics.


Priorities, Processes + Resources = organizational culture.

Q&A
Q: You’re optimistic…?


A: We’re now entering the third generation of journalism on line. First: [missed it]. Second: SEO. Third: the social phase, the network effect. How are we engaging our readers so that they feel responsible to help us succeed? We’re not in the business of selling impressions [=page views, etc.] but experiences. E.g., we have a bracket competition (“Munch Madness“) for restaurant reviews. We tell advertisers that you’re getting not just views but experiences.


Q: [alex jones] And these revenues are enough to enable the Globe to continue…?


A: It would be foolish of me to say yes, but …


Q: [alex jones] How does the Globe attract an audience that’s excited but civil?


A: Part of it is thinking about new ways of doing journalism. E.g., for the Tsarnaev trial, we created cards that appear on every page that give you a synopsis of the day’s news and all the witnesses and evidence online. We made those cards available to any publisher who wanted them. They’re embeddable. We reached out to every publisher in New England that can’t cover it in the depth that the Globe can” and offered it to them for free. “We didn’t get as much uptake as we’d like,” perhaps because the competitive juices are still flowing.


Then there are the comments. When news orgs first put comments on their site, they thought about them as digital letters to the editor. Comments serve another purpose: they are a product and platform in and of themselves where your community can talk about your product. They’re not really tied to the article. Some comments “make me weep because they’re so beautiful.”


Q: As journalists are being asked to do much more, what do you think about the pay scale declining?


A: I can’t speak for the industry. The Globe pays competitively. We’re creating jobs now. And there are so many more outlets out there that didn’t exist five years ago. Journalists today aren’t just writers. They’re sw engineers, designers, etc.


I’m increasingly concerned about the lack of women engineers entering the field. Newspapers have as much responsibility as any other industry to address this issue.


Q: How to monetize aggregators?


A: If we were to try to go to every org that aggregates us, it’d be a fulltime job. We released a story online on a Feb. afternoon about Jeb Bush at Andover. [This one?] By Friday night, it was all over. I don’t view it as a threat. We have a meter. My job is to make sure that our reporting is good enough that you’ll use your credit card and sign up. I’m in awe in the number of people who sign up every day. We have churn issues as does everyone, but the meter business has been a success.


Q: [me] As you redo your CMS, have you thought about putting in an API? If so, would you consider opening it to the public?


A: When I’ve opened up API sets, there has been minimal takeup.


Q: What other newspapers are doing a good job addressing digital issues? And does the ownership structure matter?


A: The Washington Post, and they have a very similar ownership structure as the Globe.


Q: [alex] What’s Bezo’s effect on the WaPo?


A: Having the Post appear on every Kindle is something we’d all like for ourselves.


Q: Release schedule?


A: Our newsroom’s phenomenal editors are recognizing and believing that we are not a platform-specific business. We find only one in four of our print subscribers logged on to the web site with any frequency. We have two different audiences.We’ve had no evidence that releasing stories earlier on digital cannibalizes our print business. I love print. But when I get the Sunday edition, I feel guilty if I recycle it before I’ve read it all. So why not give people the opportunity to read it when they want? If it’s ready on a Wed., let them read it on Wed. Different platforms have different reader habits.

Q: What’s native to the print version?

A: Some of the enterprise reporting perhaps. But it’s more obvious in format issues. E.g., the print showed the 30 charges Tsarnaev was charged with. It had an emotional impact that digital did not.


Q: Is your print audience entirely over the age of 50?


A: No. It’s a little older than our overall numbers, but not that much.


Q: What are you doing to reduce the churn rate? What’s worked on getting print and digital folks to understand each other?


A: I’m a firm believer in data. We’re not pushing for digital change because we want to but because data backs up our claims. About frictionlessness: It’s so easy to buy goods. Uber. Even buying a necklace. We’re working with a backend database that is complex. We have to tie that into our digital product. The front end complexities on how users can pay come from the complexity of the back end.


Q: [nick sinai] I appreciate your comments about bringing designers, developers, UX into the newsroom. That’s what we’re trying to do in the govt. for digital services. How about data journalism.


A: Data journalism lets you tell stories you didn’t know where there. My one issue: We’ve reached a barrier: we’re reliant on what datasets are available.


Q: How many reporters work for print, Boston.com, and BostonGlobe.com


A: 250 journalists or so work for the Globe and they all work for all platforms.


Q: Are different devices attracting different stories? E.g., a long enterprise story may do better on particular devices. Where is contradiction, nuance, subtlety in this environment? How much is constrained by the device?


A: Yes, there are form-specific things. But there are also social-specific things. If you’re coming from Reddit, your behavior is different from your behavior coming from Facebook, etc. Each provides its own unique expectation of the reader. We’re trying to figure out how to be smarter in detecting where you’re coming from and what assets we should serve up to you. E.g., if you’re coming from Reddit and are going back to talk about the article, maybe you’re never going to subscribe, but could we provide a FB Like button, etc.?


Q: Analytics?


A: The most important metric for me is journalistic impact. That’s hard to measure. Sheer number? The three legislators who can change a law? More broadly: At the top of the funnel, it’s how to grow our audience: page views, shares, unique visitors, etc. As you get deeper into the funnel it’s about how much you engage with the site: bounce rate, path, page views per visit,time spent, etc. Third metric: return frequency. If you had a really good experience, did you come back: return visits, subscribers, etc.


[Really informative talk.]

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April 7, 2015

[shorenstein][liveblog] Phillip Martin on reporting poverty, and Boston’s racist image

Phillip Martin of WGBH is giving a Shorenstein Center lunch. He is a Boston-based investigative reporter who (says Alex Jones) “tries to explain the city to itself.”

NOTE: Live-blogging. Getting things wrong. Missing points. Omitting key information. Introducing artificial choppiness. Over-emphasizing small matters. Paraphrasing badly. Not running a spellpchecker. Mangling other people’s ideas and words. You are warned, people.

Phillip starts “at the intersection of memory, history and symbolism.” The first image that comes to his mind is the instersection where he came of age in Detroit. It’s now considered to be one of the most dangerous in the area, which masks the complexity of the place. Coverage of poor people oversimplifies matters all too often. His neighborhood was composed of “full-bodied individuals.” His mom and step-dad had third grad educations but were very smart and pushed the children into watching thew news every night. And to the library, where they found The Detroit Free Press.

Later in 1967 the Detroit Riots occurred, which is political neighbors called “The Detroit Uprising.” An image that always sticks in his mind is of a kid nicknamed Bobo. He was a bully, but Phillip remembers his parents’ anguish as Bobo was pushed up against a tree and was beaten by the National Guard and police for violating the curfew. “There’s no excuse for this,” said Phillip’s father, even though he didn’t much like Bobo either.

Phillip saw that the images in the news didn’t match the reality in the streets. One radio newsman referred to the people in the streets as “wild animals.” But Phillip didn’t see any “wild animals” at the church fish fry the week before. “They were people and they were sinners, and they were enjoying themselves.”

He was working on the docks of a newspaper. A labor reporter (Steve Orr [?]) liked to talk with him. He was reporting on the UAW and plants closing across Detroit. The coverage by this reporter did jibe with what Phillip saw happening and what his cousin Cyrus said about his experience working in an auto plant. Phillip started talking with this reporter about journalism.

At Wayne State he joined the student newspaper briefly. He “was not enamored with the structure” of journalistic reporting and push back against the edicts of the paper.

From Detroit, Boston seemed exotic. In 1974 he was hearing about: A Haitian man being pulled out of his van and beaten in South Boston. School buses being stoned when they drove through white neighborhoods. A woman being set on fire. That was a different vision of Boston than his next door neighbor Willy had painted. So Phillip decided he’d like to write about Boston.

In 1975 he came out here with other students. “It was much worse” than he imagined when it came to race relations. Boston was almost equated with Birmingham, Mississippi. There was a demonstration in Carson Beach to keep blacks and Latinos off the beach. This was in response to court ordered desegregation and busing. The more he learned, the deeper it got. The people protesting blacks and Latinos were in the same economic class as they people they were objecting to. Phillip wrote a few pieces that “did not land me a job in journalism.” But it did increase his curiosity bout Boston. “And it scared me. I didn’t know if I could live in a place like this.”

When he went back to Detroit he realized that the city had become much worse in the course of a single summer. So he went to San Francisco, but found it too cold [laughter]. Detroit’s economy was deteriorating further. So he tried Boston again.

In Boston he heard Danny Schechter (“The News Dissector”) on WBCN doing a report on the poor that didn’t rely on stick figures, that let people speak for themselves. Phillip approached him out of the blue and asked to be an intern.

Years later, after trying to broaden his worldview through self-education and the Fletcher School of Law Diplomacy, he started working for Oxfam America. Oxfam’s notion of self-development was very important to him. He was in charge of Oxfam’s “hunger banquets,” but he didn’t think he was doing enough to change journalism’s “framework of assumption” about poverty. He was interested in how race frames so many aspects of our society.

In 1992 he went to South Africa. Apartheid was still in place. He picked up an Afrikaner hitchhiker who said that Americans know nothing about South Africa. Phillip was thinking, “This is amazing! I’d never get this perspective if I were a black South African.” The perspective was complex. Ridding South Africa of apartheid will be difficult because you have individuals who fully believe that a black government would be terrorist and communist. He wrote about this for the Boston Globe, which led to more work for them.

In 1994 he was back in South Africa for the election and was in Johannesburg when a bomb went off on April 24. NPR asked him to come on broad as a commentator. In 1995 he wrote a commentary after the Oklahoma City bombing that compared the two bombings and about what the proliferation of guns means to him as a black man.

He was conflicted about journalism because he wasn’t sure that news media would let him explore beyond the standard framework. But then PRI’s The World came up and he was asked to help put it together. He started to cover the intersection of international relations and race.

He went from there to a Japan fellowship looking at disaffected minorities in Japan. The themes he’d cared about all his life were resonating internationally.

After a Niemann Fellowship, he was hired as NPR’s first race relations correspondent, looking at race in terms of ethnicity and hue and tone. “We all know that race is a false construct,” but hue and tone are nevertheless used worldwide to discriminate.

His interest drifted to Europe at the end of the Cold War. He was talking with a right-wing friend from Romania who, when the wall came down, said that the neo-Nazis are going to come out of the woodwork. He went to Germany on a Marshall fellowship in 2003, and saw some of that happening, as well counter movements…

Q&A

Q: [alex jones] You’ve come across the fundamental truth about American journalism that journalists don’t know poor people and thus don’t do much reporting on poverty. How do we break through that? The reporting on gays has been better because reporters do know gay people.

A: Let people speak for themselves. There have been some great series that do that. When experts interpret information, they often allow their expertise to be the proxy for how people are really feeling. That’s problematic. Journalism has to go deeper.

Q: Whenever I have friends visit me from other cities, they’re always struck by the degree of segregation in Boston — particularly on the T where there will be a car of white people, another of minorities… [Really? I’ve never seen this. I’m mainly on the Green and Red lines,] How does Boston look to you these days?

A: I’m a middle class guy. The city has changed in extraordinary, fundamental ways. I once went to the North End and when I came back, my windows were smashed. I went into South Boston in the 1980s and got into a scuffle on a train platform. I remember being afraid to be in Charlestown. Gentrification has made some of these neighborhoods palatable for people of color. They opened up but also closed: you can go to certain neighborhoods but are unable to live in those neighborhoods. True both for whites and for people of color.

He recently asked Julian Bondwhat he thinks of Boston. Bond said that he’s still afraid of the city. He’s afraid to go to a baseball game. Phillip told him that the city has changed. Bond admitted that this is simply how he perceives Boston. Boston just got a milllion dollar grant to change the perception of race in Boston. Many people across the country still think of Boston in terms of the 1970s pro-racism actions. Now Boston is demarcated by economic classes.

Q: Are media orgs doing enough to diversify their staffs?

A: NPR has made a major effort and some of those have seen fruit. NPR works on the use of words that carry racial meaning. Michele Norris [in the audience, which Phillip just discovers; Phillip has a totally delightful reaction] has done extraordinary work on race.

A: Michele Norris: The member stations are the feeder system for reporters. The staffs of the member stations are overwhelmingly white. The pipeline is not sufficiently diverse.

Q: My sister is a documentary film maker who made a film called “Daddy Don’t Go.” You come away understanding that the dads in it have made a lot of mistakes, but they love their children. The reception she’s getting is disturbing: everyone is telling her that it’s too dark, too sad. It really lets these guys speak for themselves.

A: Maybe she should join forces. E.g., Michelle Alexander’s “The New Jim Crow.” Both want to have their voices amplified.

A: Michele Norris: Also try to get it in front of African-American audiences.

A: Jackie Calmes: For the past 35 yrs I’ve seen a regression of the efforts in journalism to hire women and minorities, and it’s worse for minorities in my experience. But, in covering poverty the mistake that’s made too often is equating poverty with black people.

A: Phillip: I agree 100%. A filmmaker at the CBC asked me to work on a series about a black man traveling through poor white America. The idea is to show how structurally problematic poverty is in this country. It engenders a view that this is America. It’s a false picture. White people need to understand the problems in terms not only of race but also of income inequality. We need to bring the contradictions in our understanding to the fore.

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How to hear Bach’s St. John Passion

I find the weird sounds that opera singers make — singing — to be creepy, but even I find Bach’s St. John Passion moving. Of course, it helps not to be able to understand the words since it places the blame for the whole Messiah-killing nastiness on the shoulders of a Jewish mob and Jewish law.

There’s a wonderful episode of Christopher Lydon’s Radio Open Source that explores this question from scholarly and musical points of view, always sympathetically, and with transcendently beautiful passages from the work itself.

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April 6, 2015

Culture is unfair

At Jonathan Zittrain‘s awesome lecture upon the occasion of his ascending to the Bemis Chair at Harvard Law (although shouldn’t you really descend into a chair?), he made the point that through devices like Microsoft Kinect, our TVs are on the verge of knowing how many people are in the room watching. After all, your camera (= phone) already can identify the faces in a photo.

This will inevitably lead to the claim that if five people are watching a for-pay movie on a TV, we ought to be paying 5x what a single person does. After all, it’s delivering five times the value. What are you, a bunch of pirates?

There is some fairness to that claim. We’d pay for five tickets if we saw it in a theater.

But it also feels wrong. Very wrong. And not just because it costs us more.

For example, I’m told that if you buy a subscription to the NY Times it comes with one license for online access. So, if you’re having the old roll o’ stories thrown onto your porch every morning, your spouse is free to read it too, but you’re going to have to buy a separate online subscription if s/he wants to read it online. That doesn’t feel right.

The pay-per-use argument may be fair but it flies in the face of how we all know culture works. Culture only exists if we share what matters to us. There is no culture without this. That’s why it’s so important I can share a physical book with you, or can send you a copy of a magazine article that I think you’ll like. Culture is the sharing of creative works and the conversations we have about them.

That’s why the creators of the US Constitution put a time limit on copyright. Yes, it feels unfair if after fourteen years (the original length of copyright protection) someone publishes my book without my permission and doesn’t give me any of the profits. Sure. But fairness is not the only criterion.

Culture cannot flourish or perhaps even exist when everything has a fair price.

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