366 Songs 234: Otis

The one thing that always grabs my attention about “Otis,” beyond the audacity of the sample – which, let’s be honest, is just great, isn’t it? To use so much of “Try A Little Tenderness” by Otis Redding at the start, and then so little when the track actually gets going? I love that, it’s so ridiculously, hilariously bold – is Kanye West’s upstaging of Jay-Z when they swap verses. “Got five passports/So I’m never going to jail,” Jay-Z says at one point, and Kayne immediately follows with “I made ‘Jesus Walks’/So I’m never going to Hell.” Later, after Jay has gone on about Benzes and “can’t you see we gettin’ money up under you,” Kanye counters with “Can’t you see the private jets flyin’ over you?” Because, of course, private jets and over is more impressive than Mercedes Benzes and being under you.

It’s a weird, hilarious thing inside a song that’s already so over-the-top with the dick-measuring and one-upmanship that it makes me convinced that everything in the song is as parodic and self-aware. It’s the only way the track makes sense to me; otherwise, I think too much about the bravado and boasting and wonder what it says to me about my life and can’t find an answer.

“This Is No Longer An Industry That Rewards Working-Class Values, In Other Words”

To be a writer in this market requires not only money, but a concept of “work” that is most easily gained from privilege. It requires a sense of entitlement, the ability to network and self-promote without seeing yourself as an arrogant, schmoozing blowhard. And it requires you to think of working for free—at an internship, say, or on one of those gratis assignments that seem to be everywhere now—as an opportunity rather than an insult or a scam.

This is no longer an industry that rewards working-class values, in other words, and I underestimated how hard it would be to shuck them. It still seems strange to me that people work, unpaid, without a guaranteed job at the end. And I haven’t reconciled myself with the central irony here: that journalism, ostensibly a populist endeavour, is becoming a rarefied practice best suited, both financially and psychologically, to the well-off.

From here. Well worth reading, and lots of food for thought that I am still chewing, to extend metaphors past their original comfort zone.

366 Songs 233: I Figured You Out

Dismissed by Elliott Smith as a “silly pop song” that he wrote in five minutes and discarded, “I Figured You Out” becomes something different in the hands of Mary Lou Lord; it’s both lighter in tone – Lord’s vocals lack the flatness and melancholy of Smith’s, after all – and somehow more sad as a result. There’s a wistfulness and vulnerability in her voice that makes the whole thing seem more harsher, as if she’s less prepared to sing lines like “So go on and pick up/You don’t care what poison you choose/What person you use/Should’ve been me, yeah/Shouldn’t it be?”

Sadness always sounds worse coming from an unexpected source.

Authorship Denial and The Collection Box

In reality, organizations still had some enormous advantages. Organizations are sustainable; they outlive the vagaries of human attention. Some individuals flourished in the newly democratic blogosphere. But over time, people got bored, got new jobs, found new interests, or otherwise reached the limits of what people-driven, individual-driven publishing could accomplish for them. The political blogosphere — the cacophony of individual voices on both left and right circa, say, 2004 — evolved toward institutions, toward Politico and TPM and The Blaze and HuffPo and the like.

Personal publishing is like voting. In theory, it’s the very definition of empowerment. In reality, it’s an excellent way for your personal shout to be cancelled out by someone else’s shout.

From here.

This is actually from a piece about Medium, a new blogging/social site/tool that’s interesting me, even if I’m not sure what I’ll end up doing with it should I get an invite to the beta. Here’s how Medium describes itself:

Medium is designed to allow people to choose the level of contribution they prefer. We know that most people, most of the time, will simply read and view content, which is fine. If they choose, they can click to indicate whether they think something is good, giving feedback to the creator and increasing the likelihood others will see it.

Posting on Medium (not yet open to everyone) is elegant and easy, and you can do so without the burden of becoming a blogger or worrying about developing an audience. All posts are organized into “collections,” which are defined by a theme and a template. (For example, this post is in the About Medium collection with a simple article template.)

As Joshua Benton, author of the quote at the top, says, there’s something weird/fascinating about this idea of curated posting:

What’s most radical about Medium is that it denies authorship.

Okay, maybe not denies authorship — people’s names are right next to their work, after all. But it degrades authorship, renders it secondary, knocks it off its pedestal… Degrading authorship is something the web already does spectacularly well. Work gets chopped and sliced and repurposed. That last animated GIF you saw — do you know who made it? Probably not. That infonugget you saw on Gawker or The Atlantic — did it start there? Probably not. Sites like Buzzfeed are built largely on reshuffling the Internet, rearranging work into streams and slideshows.

It’s been a while since auteur theory made sense as an explanation of the web. And you know what? We’re better for it. In a world of functionally infinite content, relying on authorship doesn’t scale. We need people to mash things up, to point things out, to sample, to remix.

I both agree and disagree with that last part, but that tension is, in large part, what makes Medium so interesting to me. Is this where the idea of group quality as differentiator comes into its own?

“Positive Believability Ratings”

For the second time in a decade, the believability ratings for major news organizations have suffered broad-based declines. In the new survey, positive believability ratings have fallen significantly for nine of 13 news organizations tested. This follows a similar downturn in positive believability ratings that occurred between 2002 and 2004.

The falloff in credibility affects news organizations in most sectors: national newspapers, such as the New York Times and USA Today, all three cable news outlets, as well as the broadcast TV networks and NPR.

From here.

The one comfort I take from this is that Fox News’ ratings are pretty much the worst on the survey.

 

“I Ended Up Having A Minor Nervous Breakdown From The Schedule”

I didn’t have any help for a long time, so I was doing 20-30 posts a day trying to keep up. I was so stressed my body was pretty much perpetually contorted in pain, making it nearly impossible to sleep. I put on about 30 pounds from shoveling in Chinese delivery at my desk. I ended up having a minor nervous breakdown from the schedule and what seemed like a lack of a future.

The series of interviews with Gizmodo writers and editors from the past decade to celebrate the site’s 10th anniversary is interesting – and, with people talking about nervous breakdowns or having “a complicated relationship” with the site –  although I’m not sure if it’s supposed to come from some kind of place of “Look what we used to be like, but we’re not like that anymore!” or not. I wonder if io9 will do one for their tenth anniversary (I’ve just realized io9 is five in January. Holy crap)?

Food For My Thought

An analytics product such as Chartbeat produces reams of data: pageviews, unique users, and more. News organizations reliant on advertising or user subscriptions must pay attention to these numbers because they’re tied to revenue — but it’s less clear how they might be relevant editorially.

Consider pageviews. That single number is a combination of many causes and effects: promotional success, headline clickability, viral spread, audience demand for the information, and finally, the number of people who might be slightly better informed after viewing a story. Each of these components might be used to make better editorial choices — such as increasing promotion of an important story, choosing what to report on next, or evaluating whether a story really changed anything. But it can be hard to disentangle the factors. The number of times a story is viewed is a complex, mixed signal.

It’s also possible to try to get at impact through “engagement” metrics, perhaps derived from social media data such as the number of times a story is shared. Josh Stearns has a good summary of recent reports on measuring engagement. But though it’s certainly related, engagement isn’t the same as impact. Again, the question comes down to: Why would we want to see this number increase? What would it say about the ultimate effects of your journalism on the world?

From here.

Measuring metrics always feels like the enemy to me, personally. By which I mean, I hate that it’s not enough for something to be “good,” but that it has to be “sticky” as well; I really hate that, for so many sites, generating pageviews would be preferable to being of high quality if it came to some kind of DeathBowl-esque showdown. The Game is The Game, etc.

It’s A Bronze! A Bronze, I Tells Ya!

And then there was the point, this weekend, when my Bourne Legacy article for Time’s Entertainment blog went broad, becoming the third-most viewed article on all of Time.com. I am sure this is because it was suddenly linked somewhere – I mean, it was four days old when this happened, and it didn’t seem to have massive purchase immediately? – but, no matter what, this was surprising and another sign that I have no idea how the Internet works.

“Life is Such A Mrrumph!”

Found on the Internet, so I have no idea what comic this is from. It’s by Alex Toth, though, and just look at the design on this page. It’s gorgeous. The dialogue, too, is kind of awesome; I should try and track down the rest of this story one day.