journalism
Today I Learned
David Weinberger has a thoughtful look at Reddit as journalism. He calls it “community journalism,” a distinct variant of “citizen journalism.”
Two gems to put in your shoe:
- What’s interesting to a community is not enough to make us well informed because our community’s interests tend to be parochial and self-reinforcing. This is not so much a limitation of community as a way that communities constitute themselves.
- One of the mistakes we’ve made in journalism and education is to insist that curiosity is a serious business. Perhaps not. Perhaps curiosity needs a sense of humor.
Via Jay Rosen.
The Cave, The Corps, The League
I CAN’T BELIEVE I’M DOING THIS
I’m going to jump in the middle of Robin and Gavin’s exchange on the DC Comics reboot, even though I explicitly told both of them that I didn’t want to read about it and had nothing to say about any of it, because some things Robin just wrote sparked some ideas that I want to follow here.
Today, you don’t go work at Marvel and DC because of what they are; you go because of what they have. It’s almost like a natural resource. Superman and Batman are potent substances. They have this incredible innate energy, this incredible mythic density, built up over decades. They really are like petroleum—a bright eon of individual organic contributions all compressed into this powerful stuff that we can now burn for light, for entertainment, for money…
How do you weigh the opportunity to work on an old titan like Superman against the opportunity to create something wholly new, and to potentially profit from that creation? Is it only sentimental or emotional value that draws an artist to the former—or is there more?…
Maybe what we’re talking about here is the difference between being an entrepreneur and being a custodian. We tend to think of artists as entrepreneurs, right?—inventors, trailblazers, risk-takers. To make meaningful art is often simply to try something new.
Now before I start, I want to stipulate a few things. First, I want to take seriously Robin’s two primary arguments in his post:
- “I want to talk not about Superman’s universe, but our own—because I think this strategy says something interesting about creative economics today.” Let’s call this the explicit argument.
- Comic books themselves, as content, not just the strategies of their publishers and artists, have something to say about this. Let’s call this the implicit argument.
And I want to add a third point, that I’ll call the unconscious argument. It’s something I don’t think Robin necessarily intended, but which is entailed in the way he formulates the problem:
Everywhere in Robin’s post where he writes “artists,” you can substitute “journalists”—and probably many other nodes in creative economies, broadly construed.
This is how we change / Horizontal loyalty
From Robert Krulwich’s 2011 commencement speech at UC-Berkeley’s Journalism School:
Some people when they look for a job in journalism ask themselves, What do I like to do and Who can take me there? Who can get me to a war zone? To a ballpark? To Wall Street? To politicians, to movie stars? Who’s got the vehicle? And you send them your resume and you say, “I want a seat in your car.” … And you wait.
But there are some people, who don’t wait.
I don’t know exactly what going on inside them; but they have this… hunger. It’s almost like an ache.
Something inside you says I can’t wait to be asked I just have to jump in and do it.
So for this age, for your time, I want you to just think about this: Think about NOT waiting your turn.
Instead, think about getting together with friends that you admire, or envy. Think about entrepeneuring. Think about NOT waiting for a company to call you up. Think about not giving your heart to a bunch of adults you don’t know. Think about horizontal loyalty. Think about turning to people you already know, who are your friends, or friends of their friends and making something that makes sense to you together, that is as beautiful or as true as you can make it.
And when it comes to security, to protection, your friends may take better care of you than CBS took care of Charles Kuralt in the end. In every career, your job is to make and tell stories, of course. You will build a body of work, but you will also build a body of affection, with the people you’ve helped who’ve helped you back.
And maybe that’s your way into Troy.
This speech makes me want to run around the entire internet, giving a million high-fives.
(via @edyong209, who gets high-five #001)
Snark by Snarkwest: Bloggers v. Journalists
I’m flying my journalism colors for a little bit, liveblogging Jay Rosen’s solo presentation: “Bloggers vs. Journalists: It’s a Psychological Thing.” If you haven’t yet, read Jay’s introductory post: “Why Bloggers v. Journalists Is Still With Us.”
Here’s the session description: “I wrote my essay, Bloggers vs. Journalists is Over, in 2005. And it should be over. After all, lots of journalists happily blog, lots of bloggers journalize and everyone is trying to figure out what’s sustainable online. But there’s something else going on: these two Internet types, amateur bloggers and pro journalists, are actually each other’s ideal “other.” A big reason they keep struggling with each other lies at the level of psychology, not in the particulars of the disputes and flare-ups that we continue to see online. The relationship is essentially neurotic, on both sides. Bloggers can’t let go of Big Daddy media— the towering figure of the MSM — and still be bloggers. Pro journalists, meanwhile, project fears about the Internet and loss of authority onto the figure of the pajama-wearing blogger. This is a construction of their own and a key part of a whole architecture of denial that has weakened in recent years, but far too slowly.”
The sole speaker is Jay Rosen; the esteemed Lisa Williams is helping with the setup and backchannel. And without further ado:
The Two Writers
American Journalism Review has a new story about how The Atlantic’s Alexis Madrigal convinced Dan Sinker to out himself as @MayorEmanuel:
A month earlier, for example, a reporter for the NBC-owned television station in Chicago requested an interview. @MayorEmanuel told him to “just call the office: (312) FUC-KOFF.”
When Madrigal received no response, he tried a different tack: “I think it is incumbent on you to at least tell me to fuck off,” he wrote, also providing his e-mail address. “It’s the only time I’ve ever used the F-word in my Twitter feed,” Madrigal adds.
@MayorEmanuel brushed him off. But a short while later, Madrigal received an e-mail from an anonymous e-mail account. The subject line read, “OK, asshole.”
“There were two points in it,” Madrigal says. “One, if you tweet about this, it’s over before it even started. And two, you’re the journalist — you pitch me.”
Snarkmarket’s part of the story, too. There’s a link to The Two Mayors, and I got to talk to AJR’s Greg Masters about why I think Madrigal got the scoop. I’m particularly delighted I got quoted talking about one of my favorite movies, comparing Alexis’s appoach to @MayorEmanuel to “W.W. Beauchamp sidling up to William Munny at the end of Unforgiven.”
[Warning: violent. Munny = Eastwood. Beauchamp = Saul Rubinek, in the glasses.]
Also, if you missed it, definitely check out Dan Sinker’s appearance on Colbert, where he is way more William Munny gentle father than William Munny/@MayorEmanuel murderous sonofabitch:
| The Colbert Report | Mon — Thurs 11:30pm / 10:30c | |||
| Dan Sinker | ||||
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A hypothetical path to the Speakularity
Yesterday NiemanLab published some of my musings on the coming “Speakularity” — the moment when automatic speech transcription becomes fast, free and decent.
I probably should have underscored the fact that I don’t see this moment happening in 2011, given the fact that these musings were solicited as part of a NiemanLab series called “Predictions for Journalism 2011.” Instead, I think several things possibly could converge next year that would bring the Speakularity a lot closer. This is pure hypothesis and conjecture, but I’m putting this out there because I think there’s a small chance that talking about these possibilities publicly might actually make them more likely.
First, let’s take a clear-eyed look at where we are, in the most optimistic scenario. Watch the first minute-and-a-half or so of this video interview with Clay Shirky. Make sure you turn closed-captioning on, and set it to transcribe the audio. Here’s my best rendering of some of Shirky’s comments alongside my best rendering of the auto-caption:
| Manual transcript: | Auto transcript: |
| Well, they offered this penalty-free checking account to college students for the obvious reason students could run up an overdraft and not suffer. And so they got thousands of customers. And then when the students were spread around during the summer, they reneged on the deal. And so HSBC assumed they could change this policy and have the students not react because the students were just hopelessly disperse. So a guy named Wes Streeting (sp?) puts up a page on Facebook, which HSBC had not been counting on. And the Facebook site became the source of such a large and prolonged protest among thousands and thousands of people that within a few weeks, HSBC had to back down again. So that was one of the early examples of a managed organization like a bank running into the fact that its users and its customers are not just atomized, disconnected people. They can actually come together and act as a group now, because we’ve got these platforms that allow us to coordinate with one another. | will they offer the penalty-free technique at the college students pretty obvious resistance could could %uh run a program not suffer as they got thousands of customers and then when the students were spread around during the summer they were spread over the summer the reneged on the day and to hsbc assumed that they could change this policy and have the students not react because the students were just hopeless experts so again in western parts of the page on face book which hsbc had not been counting on the face book site became the source of such a large and prolonged protest among thousands and thousands of people that within a few weeks hsbc had to back down again so that was one of the early examples are female issue organization like a bank running into the fact that it’s users are not just after its customers are not just adam eyes turned disconnected people they get actually come together and act as a group mail because we’ve got these platforms to laos to coordinate |
Cringe-inducing, right? What little punctuation exists is in error (“it’s users”), there’s no capitalization, “atomized” has become “adam eyes,” “platforms that allow us” are now “platforms to laos,” and HSBC is suddenly an example of a “female issue organization,” whatever that means.
Now imagine, for a moment, that you’re a journalist. You click a button to send this video to Google Transcribe, where it appears in an interface somewhat resembling the New York Times’ DebateViewer. Highlight a passage in the text, and it will instantly loop the corresponding section of video, while you type in a more accurate transcription of the passage.
That advancement alone — quite achievable with existing technology — would speed our ability to transcribe a clip like this quite a bit. And it wouldn’t be much more of an encroachment than Google has already made into the field of automatic transcription. All of this, I suspect, could happen in 2011.
Now allow me a brief tangent. One of the predictions I considered submitting for NiemanLab’s series was that Facebook would unveil a dramatically enhanced Facebook Videos in 2011, integrating video into the core functionality of the site the way Photos have been, instead of making it an application. I suspect this would increase adoption, and we’d see more people getting tagged in videos. And Google might counter by adding social tagging capabilities to YouTube, the way they have with Picasa. This would mean that in some cases, Google would know who appeared in a video, and possibly know who was speaking.
Back to Google. This week, the Google Mobile team announced that they’ve built personalized voice recognition into Android. If you turn it on for your Android device, it’ll learn your voice, improving the accuracy of the software the way dictation programs such as Dragon do now.
Pair these ideas and fast-forward a bit. Google asks YouTube users whether they want to enable personalized voice recognition on videos they’re tagged in. If Google knows you’re speaking in a video, it uses what it knows about your voice to make your part of the transcription more accurate. (And hey, let’s throw in that they’ve enabled social tagging at the transcript level, so it can make educated guesses about who’s saying what in a video.)
A bit further on: Footage for most national news shows is regularly uploaded to YouTube, and this footage tends to feature a familiar blend of voices. If they were somewhat reliably tagged, and Google could begin learning their voices, automatic transcriptions for these shows could become decently accurate out of the box. That gets us to the democratized Daily Show scenario.
This is a bucketload of hypotheticals, and I’m highly pessimistic Google could make its various software layers work together this seamlessly anytime soon, but are you starting to see the path I’m drawing here?
And at this point, I’m talking about fairly mainstream applications. The launch of Google Transcribe alone would be a big step forward for journalists, driving down the costs of transcription for news applications a good amount.
Commenter Patrick at NiemanLab mentioned that the speech recognition industry will do everything in its power to prevent Google from releasing anything like Transcribe anytime soon. I agree, but I think speech transcription might be a smaller industry economically than GPS navigation,* and that didn’t prevent Google from solidly disrupting that universe with Google Navigate.
I’m stepping way out on a limb in all of this, it should be emphasized. I know very little about the technological or market realities of speech recognition. I think I know the news world well enough to know how valuable these things would be, and I think I have a sense of what might be feasible soon. But as Tim said on Twitter, “the Speakularity is a lot like the Singularity in that it’s a kind of ever-retreating target.”
The thing I’m surprised not many people have made hay with is the dystopian part of this vision. The Singularity has its gray goo, and the Speakularity has some pretty sinister implications as well. Does the vision I paint above up the creep factor for anyone?
* To make that guess, I’m extrapolating from the size of the call center recording systems market, which is projected to hit $1.24 billion by 2015. It’s only one segment of the industry, but I suspect it’s a hefty piece (15%? 20%?) of that pie. GPS, on the other hand, is slated to be a $70 billion market by 2013.
Was Marc Ambinder actually a blogger?
Today Last week, Marc Ambinder reached the end of his tenure as a politics blogger for the Atlantic, and toasted the event with a thoughtful post on the nature of blogging. The central nugget:
Really good print journalism is ego-free. By that I do not mean that the writer has no skin in the game, or that the writer lacks a perspective, or even that the writer does not write from a perspective. What I mean is that the writer is able to let the story and the reporting process, to the highest possible extent, unfold without a reporter’s insecurities or parochial concerns intervening. Blogging is an ego-intensive process. Even in straight news stories, the format always requires you to put yourself into narrative. You are expected to not only have a point of view and reveal it, but be confident that it is the correct point of view. There is nothing wrong with this. As much as a writer can fabricate a detachment, or a “view from nowhere,” as Jay Rosen has put it, the writer can also also fabricate a view from somewhere. You can’t really be a reporter without it. I don’t care whether people know how I feel about particular political issues; it’s no secret where I stand on gay marriage, or on the science of climate change, and I wouldn’t have it any other way. What I hope I will find refreshing about the change of formats is that I will no longer be compelled to turn every piece of prose into a personal, conclusive argument, to try and fit it into a coherent framework that belongs to a web-based personality called “Marc Ambinder” that people read because it’s “Marc Ambinder,” rather than because it’s good or interesting.
My esteemed coblogger tweeted some terrific observations about Ambinder’s post:
@mthomps @robinsloan Now you can blog and be a reporter in a different way from how Ambinder & The Atlantic think of those two things.
@mthomps @robinsloan But Ambinder’s (& others’) conception of “reporter” & Atlantic’s (& others’) conception of blogging are incompatible.
I expect when Tim has more than 140 characters, he’ll nod to the fact that The Atlantic’s website actually encompasses many different ideas of what blogging means — from Andrew Sullivan’s flood of commentless links and reader emails to Ta-Nehisi Coates’ rollicking salons to Ambinder’s own sparsely-linked analyses. And beyond the bounds of the Atlantic there are so many other ideas, as many types of blogs as there are types of books, and maybe more — Waiter Rant to Romenesko to Muslims Wearing Things to this dude’s LiveJournal to BLDGBLOG.
That Ambinder’s essay doesn’t really acknowledge this — that it seems so curiously essentialist about a format that’s engendered so much diversity — disappoints me, because he’s such a thoughtful, subtle writer at his best. His sudden swerve into the passive voice — “You are expected to not only have a point of view” — briefly made me worry that he intends to become one of those print journalists who uses the cloak of institutional voice to write weaselly ridiculous phrases such as “Questions are being raised.”
It puzzles me that the same fellow who wrote that “a good story demolishes counterarguments” would casually drop the line, “Really good print journalism is ego-free.” “What I mean,” Ambinder says, “is that the writer is able to let the story and the reporting process, to the highest possible extent, unfold without a reporter’s insecurities or parochial concerns intervening.” I think I know what type of long-form journalism he’s referring to — there’s a wonderful genre of stories that make their case with a simple, sequential presentation of fact after unadorned fact. The Looming Tower. The Problem from Hell. David Grann’s stunning “Trial by Fire” in the New Yorker.
But there’s an equally excellent genre of journalism that foregrounds the author’s curiosities, concerns and assumptions — James Fallows’ immortal foretelling of the Iraq War, Atul Gawande’s investigation of expenditures in health care. This is ego-driven reporting, in the best possible way. For every Problem from Hell, there’s another Omnivore’s Dilemma. Far from demolishing counterarguments, Ambinder’s mention of “ego-free journalism” instantly summons to mind its opposite.
Likewise, his contention that “blogging is an ego-intensive process” has to grapple with the fact that some of the best blogging is just the reverse. It doesn’t square with examples such as Jim Romenesko, whose art is meticulously effacing himself from the world he covers, leaving a digest rich with voice and judgment so veiled you barely even notice someone’s behind it. In fact, contra Ambinder, I’ve found that one of the most difficult types of blogging to teach traditional reporters is this very trick of being a listener and reader first, suppressing the impulse to develop your own take until you’ve surveyed others and brought the best of them to your crowd. Devoid as it is of links, non-Web journalism often fosters a pride of ownership that can become insidious — a constant race to generate information that might not actually help us understand the world any better, but is (1) new and (2) yours. Unchecked, that leads inevitably to this.
In just the way Marc Ambinder’s post wasn’t necessarily an attack on blogging, this isn’t necessarily a defense of it, or an attack on traditional journalism. If Ambinder recast his musings on blogging in a slightly different way, I’d actually agree with him wholeheartedly. If, as I’ve been arguing in this post, the form is flexible enough to encompass so many approaches, that means every choice contributes to a blog’s unique identity. Perhaps more than any other publishing/broadcasting format, a blog is a manifestation of the choices and idiosyncrasies of its authors.
And I think this is what Ambinder’s experience reflects — his choices and his idiosyncrasies. He chose to blog about national politics — an extraordinarily crowded (and particularly solipsistic) field. To distinguish himself from the crowd, he chose to craft a persona known for its canny insider’s pose and behind-the-scenes insights. I think it was a terrific choice; I’ve enjoyed his Atlantic writing a lot. But there’s little essential about the format that compelled him to this choice.
The title of this post is, of course, facetious. (Although I’d kind of love it if the pointless “Who’s a journalist” debates gave way to pointless “Who’s a blogger” ones.) Of course Marc Ambinder was a blogger — he tended to a series of posts displayed on the Web in reverse-chronological order. Beyond that, there are common patterns and proven techniques, but very few rules. Print imposes more constraints, but some folks find a sort of freedom in that. I hope Marc Ambinder does, and I hope to read the product.
“All the pieces matter”: Monopoly and The Wire
The Poke is a UK satirical site, a little bit like Chicago’s The Onion. Thursday, they published a fake news article about a version of Monopoly — complete with a fully-imagined and –illustrated fake gameboard — branded on the beloved HBO series The Wire:
“The Wire is all about corners,” says Hasbro spokesperson Jane McDougall, “and the Monopoly board is all about corners. It was a natural fit.”
Based around the journey a young gangster might take through the fictionalised Baltimore of the show, players move from corner to stoop, past institutions featured in successive series like the school system and the stevedores union, acquiring real estate, money and power before ending up at the waterfront developments and City Hall itself.
There’s a classic scene in the first season of The Wire where D’Angelo (nephew of the drug boss Avon Barksdale and one of the series’s many unlikely protagonists) tries to teach two young dealers who work for him (Bodie and Wallace) how to play chess. Chess quickly turns into an elaborate metaphor to describe the violent realities and unreal ideals of the drug world they all live in:
But of course, it turns out not just to describe the drug world, but any world seen through the lens of The Wire. The two sides of the chess board could be one drug gang warring against another — Avon vs Marlo Stansfield. It could be the police detail trying to catch and trap the leader of one of the gangs. In the world of the police, too, pawns are expendable, and the people at the top fall under a completely different logic. (Every so often, a pawn will be transformed — like Prez, the hapless street cop who becomes first an invaluable decoder and data-miner and eventually, a middle school math teacher.)
But the single-plane, A vs B world of chess is really only an adequate metaphor for the narrow world of The Wire’s first season, the immediate objectives that eventually get unravelled. As Stringer Bell tries to tell his partner Avon, “there are games beyond the game.”
That’s the world Stringer tries to navigate. You begin with drugs, fighting for corners. Then you step back, build institutions — other people work for you. Eventually, you transcend the street level and become a power broker, directing traffic but never touching the street. Then you take your ill-gotten capital — your Monopoly money — and turn it into real capital, by investing in (get this) real estate, political connections, legitimate businesses. Stringer Bell’s dream is Michael Corleone’s dream (which was Joe Kennedy’s dream). Power into wealth and back into power again. But it’s all just business.
That’s where Monopoly comes in. Like chess, Monopoly is about controlling territory. Unlike chess, it’s not neofeudal combat, with handed-down traditions and ideologies of strategy and honor — the illusion that everything is perfectly under the player’s control, that all the pieces in the game are visible.
Monopoly is transparently about money and greed. It lays bare the multiple, adjacent worlds and the interlocking systems that tie them together. (In The Wire, the worlds adjacent to drugs and cops include the ports, politics, the schools, and the media.) You gain territory and choose how you build on it, but you also roll dice and overturn hidden cards that can send you in a completely different direction. It’s actually absurdly easy for players to cheat — especially if you let them control the bank. And every time you pass Go, the game — at least in part — starts over again.
The Wire is about a lot of things — the decline of the American city, the futility of the war on drugs, the corruption of our institutions. It’s also about the gap between our ideologies of how things ought to be as opposed to the way they actually are. “You want it to be one way,” drug kingpin Marlo tells a worn-out security guard who tries to stop him from shoplifting. “But it’s the other way.”
Overwhelmingly, that gap plays out in the field of work. The second season, about the blue-collar port workers, is transparently about work — but really, every season is about workers, bosses, money, promotions, recognition. The innovation of The Wire with respect to its representation of drug gangs and cops is to present them as the mundane, kind of screwed-up workplaces that they are.
And capitalism has always been screwed-up about work. On the one hand, we’ve got Weber: the Protestant idea that work has an ethical value, that everybody has a calling and that we prove ourselves through our success. On the other, we’ve got Marx: the only way the system works is by extracting value from its workers, and the more value it can extract for less investment, the better the people at the top make out. “Do more with less,” as the newspaper editor, mayor, and police bosses say over and over again.
I think this is how I finally came to terms with The Wire’s last season, which added journalism to the mix. It’s about that disillusionment — the idea that the work of journalism has an intrinsic value, and the corruption of that through cost-cutting and self-serving behavior. And maybe that disillusionment is extra bitter for Simon, who couldn’t stand what capitalism did to his newspaper, his city, its employers, its politics. The gall is too thick.
Simon’s collaborator Ed Burns had a more reconciled view of it; he’d worked as a cop, as a teacher, then a screenwriter/producer, and seemed to find satisfaction in different parts of each of them. It’s Burns’s wisdom we get when Lester Freamon tells Jimmy McNulty — who (like Simon) unleashes his anger on anyone who tries to get between him and his work — “the job will not save you.”
A Wire-themed Monopoly board might have begun as a joke, but let me tell you, Hasbro: you definitely think about it. I posted the link on Twitter, and it was picked up by Kottke and then by Slate, who both attributed me. You wouldn’t believe the reaction people had to this. Just like the series itself, it struck a chord. Also, just think of all the quotes from the series you can use to talk trash while you play:


