David Simon, formerly of The Wire and The Baltimore Sun, noticed an underreported Baltimore shooting involving a police officer and decided to investigate it himself. What he found is not good news for the citizenry.
Well, sorry, but I didn’t trip over any blogger trying to find out McKissick’s identity and performance history. Nor were any citizen journalists at the City Council hearing in January when police officials inflated the nature and severity of the threats against officers. And there wasn’t anyone working sources in the police department to counterbalance all of the spin or omission.
I didn’t trip over a herd of hungry Sun reporters either, but that’s the point. In an American city, a police officer with the authority to take human life can now do so in the shadows, while his higher-ups can claim that this is necessary not to avoid public accountability, but to mitigate against a nonexistent wave of threats. And the last remaining daily newspaper in town no longer has the manpower, the expertise or the institutional memory to challenge any of it.
In other Simon news, apparently he’s doing a pilot for HBO for a show called Treme, “post-Katrina-themed drama that chronicles the rebuilding of the city through the eyes of local musicians”. The cast will include Clarke Peters and Wendell Pierce, who played Lester and Bunk on The Wire.
And speaking of The Wire, the latest issue of Film Quarterly has several articles devoted to the show. Only one article is online so you best send Lamar out to the newsstand for a paper copy. (thx, david & walter)
We have been asked to point out that Stuart Kennedy, of Flat E, 38 Don Street, Aberdeen, who appeared at Peterhead Sheriff Court on Monday, had 316 pink, frilly garters confiscated not 316 pink, frilly knickers.
And this:
A film review on Sept. 5 about “Save Me” confused some characters and actors. It is Mark, not Chad, who is sent to the Genesis House retreat for converting gay men to heterosexuality. (Mark is played by Chad Allen; there is no character named Chad). The hunky fellow resident is Scott (played by Robert Gant), not Ted (Stephen Lang). And it is Mark and Scott — not “Chad and Ted” — who partake of cigarettes and “furtive man-on-man action.”
They also highlighted a Guardian typo: “Gabriel Garcia Marquez’s novel is One Hundred Years of Solitude, not One Hundred Years of Solicitude”. I don’t know though…2006 and 2005 were pretty great.
Hopefully I’ll have some time this afternoon to update the 2008 Election Maps page; I’ve got lots of good submissions waiting in my inbox. Thanks to everyone who sent in links and screenshots.
Idea for the Obama administration: fireside chats. On the radio, on satellite radio, as a podcast, transcripts available online soon after airing. Done live if possible, a genuine lightly scripted chat. Maybe Obama could have special guests on to talk about different aspects of policy and government. Bush does weekly radio addresses but they’re short, boring, and scripted.
And I gotta tell you, if change.gov is indicative of how the Obama administration is going to use the web to engage with Americans, this is going to be an interesting four years.
Ok, that’s probably the last Obama post for a bit. Back to your irregularly unscheduled programming.
Update: The Times used 96 pt. type for the front page headline on at least one other occasion: January 1, 2000. I wonder if there are others. (thx, jeff)
I selected a front page from every other decade, starting with the very first edition of the paper in 1881. Note the shifting hierarchy of images (yellow), advertising (orange) and editorial content (blue). The small black arrows are links to related content elsewhere within the paper.
They also look at the front pages of the web site from 1996 - 2006.
Philip Kromer took the newspaper endorsement data from the Editor and Publisher page I linked to this morning and mapped the results. The states are colored according to FiveThirtyEight’s current projections and those newspapers with larger circulations have larger circles. From Kromer’s blog post:
This seems to speak of why so many on the right feel there’s a MSM bias - 50% of the country is urban, 50% rural, but newspapers are located exclusively in urban areas. So, surprisingly, the major right-leaning papers are all located in parts of the country we consider highly leftish. The urban areas that are the largest are thus both the most liberal and the most likely to have a sizeable conservative target audience.
The culture of newspaper management is a dysfunctional relic of a low-bandwidth, monopoly era. It still hasn’t adapted to the lessons of Web 2.0, it’s generally beholden to a short-term stock price instead of a long-term re-investment strategy and it simply refuses to accept that you can’t expect 20 profit margins in a competitive market. Instead of leading, it is a legacy anchor.
Vanity Fair has a list of the 25 best news photographs. Many are familar but I had never seen the photo of Roman Polanski sitting outside his house after his wife’s murder. (Quite a few of these photos are disturbing. Viewer beware.)
As part of the latest initiative, Google will foot the bill to copy the archives of any newspaper publisher willing to permit the stories to be shown for free on Google’s Web site. The participating publishers will receive an unspecified portion of the revenue generated from the ads displayed next to the stories.
Wired is keeping a blog that details the process of writing an upcoming story on, appropriately, writer/director Charlie Kaufman.
An almost-real-time, behind-the-scenes look at the assigning, writing, editing, and designing of a Wired feature. You can see more about the design process on Wired creative director Scott Dadich’s SPD blog, The Process. This is a one-time experiment, tied solely to the Charlie Kaufman profile scheduled to run in our November 08 issue.
We will post internal e-mails, audio, video, drafts, memos, and layouts. We reserve the right to edit our posts, out of sympathy for the reader or to protect our relationships with our sources. We will not post emails with sources or reproduce communications that take place outside of Wired.
Reading through, I’m not sure I want to know how the sausage is made. With the well-established processes and tropes that magazines follow in publishing each and ever month, stuff like this has a tendency to come off as cynical and overly mechanical (e.g. the piece is already mostly written…they just need Kaufman to fill in the details). I also keep thinking…what if Kaufman reads this before his interviews take place? Is it better or worse for the finished piece that he knows their whole angle going in? (via snarkmarket)
Update: Clarification from Jason Tanz (the author of the Kaufman piece) at Wired…most of the interviews with Kaufman have already been conducted and a rough draft of the story has been completed. They wanted to be at least this far along before they posted any of these materials so as to avoid complications with the interview process. Tanz says that they hope to be “pretty close to real time [on the storyboard blog] by the end of next week”.
The Digital Journalist has launched a photo blog modeled after The Big Picture. Well done. I’ve followed this site on and off for years but always found it too difficult to navigate through to find the photography, which is shot by top-notch photojournalists and is amazing. Nice to see the photography put front and center. Case in point: this wonderful selection of sports photos by Walter Iooss Jr., punctuated by stories of the athletes he was photographing (Tiger Woods, Muhammad Ali, Michael Jordan, etc.). Here’s Iooss’ account of photographing Jordan at the 1988 dunk contest:
The problem with shooting the NBA slam-dunk contest was that you never knew how the players were going to dunk, especially Jordan. In 1997 [sic, it was actually 1987] he had twirled and dunked with his back to me. But by this time I knew him a little better. As he sat in the stands three hours before the contest, I said, “Michael, can you tell me which way you’re going to go, so I can move and get your face in the picture?” He looked at me as if I were crazy but then said, “Sure. Before I go out to dunk I’ll put my index finger on my knee and point which way I’m going.” I said, “You’re going to remember that?” And he said, “Sure.” So later, when they announced his name, I looked over to him on the bench and there was his finger pointing left. I got up and moved to the right side of the basket so I could see his face. He went left every time he dunked. On his last two dunks he ran the length of the court, took off from the foul line and slammed the ball through. On the next-to-last one he landed in my lap. On the last one I set up in the same spot. He looked at me as if to say, “Go left a little, give me some room this time.” And that was it, the picture was made: 1000th of a second frozen in time.
BTW, I’ve heard that The Big Picture has spawned a number of copycats around the web, including this one from the WSJ.
The New York Times is known for its hard news coverage, but he observes that from a business perspective it’s primarily a fashion and food publication that runs a small political news operation on the side. One issue of T Magazine, he says, pays for an entire NYT European bureau.
A map of the world as reported by the New York Times. Countries are color coded by the amount of times they are mentioned in the Times, per capita. Greenland, Iraq, New Zealand, Iceland, and Panama are disproportionally represented.
But at a press conference today, Gloucester Mayor Carolyn Kirk emerged from a closed-door meeting with city, school and health officials to say that there had been no independent confirmation of any teen pregnancy pact. She also said that the principal, who was not present at the meeting, is now “foggy in his memory” of how he heard about the pact.
“It is pretty scary,” said Charles Truxal, 64, a retired corporate manager in Rochester, Minn. “People are thinking things are going to get better, and they haven’t been. And then you go hide in your basement because tornadoes are coming through. If you think about things, you have very little power to make it change.”
My guess is that the writers’ editor was out of town and they decided to see if they could slip this Onion-esque article on to the wire. (thx, scott)
Internally, externally, everywhere, people are being really thankful to me. I need to make sure (with some link-love in my upcoming blogroll) that the response gets directed to the photographers as well. I’m just a web developer with access to their photos and a blog - they’re the ones out there working hard to get these amazing images. “Photographers” here is a loose term, encompassing photojournalists, stringers, amateurs, scientific imaging teams and more.
New Yorker profile of Keith Olbermann, with lots about the changing face of journalism from the desire for objective neutrality to the more sensational opinion that saturates cable, newspapers, and the blogosphere.
But Olbermann contends that the labored pretense of neutrality in the news business is a fruitless exercise. “There are people who, with absolute conviction, believe that Brian Williams is a Communist,” he said. “There are people who, with absolute conviction, believe that Katie Couric is in the pay of the Pentagon. There are people who are absolutely certain that Charlie Gibson sleeps with Hillary Clinton, based on the last debate. This is an old schoolyard thing I learned from being repeatedly beat up in the fourth grade. It finally dawned on me one day — they are going to keep beating me up whether I respond to them or not.” Olbermann continued, “Brian sometimes looks like his collar button is going to burst from the restraint that he has. I know the pain that he goes through; he measures each word like an apothecary — and they beat him up, too. The point is, why not? Why not add something to the discourse?”
As much as I agree with some of what Olbermann says, I put him in the same bucket as Lou Dobbs and Bill O’Reilly…entertaining but intellectually untrustworthy.
Is Deborah Solomon, the NY Times Magazine’s notoriously irritating Q&A interviewer, turning over a new leaf? After complaints about her columns surfaced last fall, the NY Times public editor agreed that Solomon had not complied with the Times’ policy of fairly representing the answers of her interviewees. Ben Wheeler noted that her most recent piece is an excellent straightforward interview with zero snarky asides or abusive questions.
If you point out when they suck, you gotta point out when they do well. On Sunday, Deborah Solomon’s weekly NY Times Magazine interview was an excellent talk with Enrique Penalosa, former mayor of Bogota known for his Susan Jacobs/Scandinavian vision of urban planning. Solomon’s old method, of inserting snide remarks and different questions after the fact, is gone; we can thank Ira Glass and Amy Dickinson (Ann Landers’s successor) for that, since they complained when she did it to them. But beyond that change, Solomon here just asks good, sensible questions of an interesting subject.
It is written on a completely clear slate, by someone who had not already been taught how to regard the cinema by a thousand other writers, and the newness of it all leaps from the page. What is remarkable is Gorky’s prescience in the last two paragraphs, as he leaps ahead from his description of the first films to speculation on what directions the cinema might eventually take, toward sex and violence. How did he know?
The bulk of Gorky’s short review concerns the absence of color and sound from the films, as if he’s viewing shadows of reality.
Their smiles are lifeless, even though their movements are full of living energy and are so swift as to be almost imperceptible. Their laughter is soundless although you see the muscles contracting in their grey faces. Before you a life is surging, a life deprived of words and shorn of the living spectrum of colours — the grey, the soundless, the bleak and dismal life.
Photography has ceased to record immobility. It perpetuates the image of movement. When these gadgets are in the hands of the public, when anyone can photograph the ones who are dear to them, not just in their immobile form, but with movement, action, familiar gestures and the words out of their mouths, then death will no longer be absolute, final.
And this one from the projectionist of the first Lumiere in NYC:
You had to have lived these moments of collective exaltation, have attended these thrilling screenings in order to understand just how far the excitement of the crowd could go. With the flick of a switch, I plunge several thousand spectators into darkness. Each scene passes, accompanied by tempestuous applause; after the sixth scene, I return the hall to light. The audience is shaking. Cries ring out.
The vitascope projects upon a large area of canvas groups that appear to stand forth from the canvas, and move with great facility and agility, as though actuated by separate impulses. In this way the bare canvas before the audience becomes instantly a stage upon which living beings move about.
So enthusiastic was the appreciation of the crowd long before this exhibition was finished that vociferous cheering was heard. There were loud calls for Mr. Edison, but he made no response.
By 1898, the language of cinema was beginning to sort itself out, more or less, as this Times editorial notes.
All the resources of the word-builders see to have been exhausted in finding names for the simple but ingenious machine that throws moving pictures on a screen. The essential features in every device of this sort are the same — a brilliant light before which a long band of minute photographs is rapidly drawn, and a lens to focus and distribute the rays properly. The arrangements for the manipulation of the light, the band, and the lens are numerous, but they vary only in the inconsequential details, and for all practical purposes the machines are identical. Some mysterious impulse, however, has impelled almost every purchaser of the apparatus to buy with it, or to invent for it, a distinctive name. Vitascope and biograph are most familiar here, with cinematograph coming next at a considerable distance. These hardly begin the list that might be formed from a careful study of the amusement advertisements in the papers of this and other countries. From such sources might be taken phantoscope, criterioscope, kinematograph, wondorscope, animatoscope, vitagraph, panoramograph, cosmoscope, anarithmoscope, katoptikum, magniscope, zoeoptrotrope, phantasmagoria projectoscope, variscope, cinograph, cinnomonograph, hypnoscope, centograph, and xograph. This is far from exhausting the supply. Electroscope exists, and so do cinagraphoscope, animaloscope, theatrograph, chronophotographoscope, motograph, rayoscope, motorscope, kinotiphone, thromotrope, phenakistoscope, venetrope, vitrescope, zinematograph, vitropticon, stinnetiscope, vivrescope, diaramiscope, corminograph, kineoptoscope, craboscope, vitaletiscope, cinematoscope, mutoscope, cinoscope, kinetograph, lobsterscope, and nobody knows how many more. Here, surely, is a curious development of the managerial mind.
It’s difficult to read these accounts and not think about how we’ll all sound in 100 years as we now attempt to explain the internet, mobile phones, the web, blogs, and the like.
The sizes of the photographs are deliberately large - taking advantage of the majority of web users who have screens capable of displaying 1024x768 or larger. The long-held tradition of keeping images online tiny and lightweight is commendable still - when designing a general purpose site. But one dedicated to quality imagery should take full advantage of the medium, and I hope I’ve struck a good balance with The Big Picture.
When I see quality photography consigned to the archives, or when I see bandwidth readily given up to video streams of dubious quality, or when I see photo galleries that act as ad farms, punishing viewers into a click-click-click experience just to drive page views - those times are the times I’m glad I was able to get this project off the ground (many thanks to my friends within boston.com)
TimesMachine is a collection of full-page image scans of the newspaper from 1851-1922 (i.e., the public domain archives). Organized chronologically and navigated by a simple calendar interface, TimesMachine provides a unique way to traverse the historical archives of The New York Times. Topics ranging from the Civil War to the sinking of the Titanic to the first cross-country auto race to women’s fashions in the 20s are just a few electronic flips away. And of course, there’s the advertisements.
Unfortunately, full access to the archives through TimesMachine is only available to subscribers. (via fimoculous)
A list of the top one articles by Neal Pollack about how sportswriters should stop writing about the NBA MVP race and, oh yeah, lists of stuff are dumb:
Sportswriters and pundits, on the other hand, are treating the MVP race with the gravitas of a presidential election. That’s because they make up the Electoral College. When they’re debating who’s going to win the award, they’re not really talking about who they think the best player is; they’re talking about whom they should pick as the best player. It’s the ultimate circle-jerk of sports-guy self-regard.
I read a lot of news by surfing the Internet, as do many of my colleagues and friends, and I’ve always dreamed of a way to browse news based on geography. What’s happening in Paris today? What are the top headlines in Japan?
In past few years, several prominent US magazines and newspapers have begun to offer their extensive archives online and on DVD. In some cases, this includes material dating back to the 1850s. Collectively it is an incredible record of recent human history, the ideas, people, and events that have shaped our country and world as recorded by writers, photographers, editors, illustrators, advertisers, and designers who lived through those times. Here are some of most notable of those archives:
The NY Times provides their entire archive online, most of it for free. Most of the stories from 1923 to 1986 are available for a small fee. The Times briefly launched an interface for browsing their archive called TimesMachine but withdrew it soon after launch.
Stay Connected