Great work from my commentary and blogging students

It’s been a rough time during the second part of this semester for my blogging and commentary students, with all of their classes going online/remote.  Some of them are graduating into an uncertain world; all of them are dealing with complicated times.  

The Association for Education in Journalism and Mass Communication had a Twitter checkin this morning, And I took some time to share my students’ work – some of it intensely personal, all of it thoughtful and full of heart.

Here are the stories I shared.  Take some time to read – There’s some great work here.

 

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“If we break quarantine, we could all die.” Alien, 1979

My favorite bit of social distancing art is this tattoo design done by artist Genevieve Kent-Bethley out of Kitchener, Ontario. It’s been circulated heavily on Twitter without credit to the artist.

Listen to me. If we break quarantine, we could all die.

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Remembering John Prine – “Plant a little garden, eat a lot of peaches”

And I always will remember these words my daddy said
He said, “Buddy, when you’re dead, you’re a dead pecker-head”
I hope to prove him wrong… that is, when I get to heaven
–John Prine, When I Get to Heaven

John Prine, from a 1997 performance on West Virginia Public Radio’s Mountain Stage.

I don’t really have time to write anything right now that isn’t moving the eighth edition of my textbook forward (Yes, my editors, I’m just taking a few minutes for this…) But I can’t let the death of singer/songwriter John Prine from COVID-19 pass without some sort of remembrance.

I saw John in concert once back when I was an undergraduate – likely in 1982.  He played the show with his great friend Steve Goodman. Both performed wonderfully funny songs along with songs that can make me weep even after listening to them for decades. (We lost Steve to a long battle with cancer back in 1984 – gone way too soon.)

(A couple of years ago I wrote a blog post about their songs about growing old – Steve Goodman singing “The Dutchman” and John Prine singing his song “Hello in There.” These are two songs I don’t think I can bear to right now, but go check them out if you don’t know them.  I’ll wait.)

Anyway, I’m not going to even try to sum up my feelings right now.  But here are several tributes to Prine, many of which include some great playlists. And then I’ll include a few of my own favorites.

There’s a lot of sentimentality going around right now, and I’m as guilty of it as anyone. But I put up the least sentimental quote from “When I Get to Heaven” from Prine’s final album because the thing that I always think about when it comes to John Prine is that there was always humor and joy to be found in just about everything.


Memories from the Mountain Stage live music radio show:

NPR’s Annie Zaleski has a great tribute and playlist for you:


And a fantastic playlist from Rolling Stone:



And here are just a few of my favorite John Prine songs.  Wouldn’t presume to put together a list of best ones, just a few that I know of a lot of the words to:

Your Flag Decal Won’t Get You Into Heaven Anymore

A great anti-war song that brings together Prine’s trademark combination of humor and seriousness


Dear Abby

Most of my readers here are likely too young to remember the newspaper advice columnist Dear Abby. This wonderfully silly song imagines what advice Dear Abby might have for a whole range of letter writers.


In Spite of Ourselves – With Iris DeMent

Probably my favorite John Prine song, and likely the best song about marriage ever written. (And I love Iris DeMent, who sings this great duet with John.)


John Prine and Steve Goodman singing “Souvenirs” together


And finally, a recent NPR Music Tiny Desk Concert from John:


As you go about your day, trying to stay away from the COVID-19 that claimed John Prine, you might think about the only-somewhat tongue-in-cheek advice he gave to find happiness in his song Spanish Pipedream:

Blow up your t.v. throw away your paper
Go to the country, build you a home
Plant a little garden, eat a lot of peaches
Try and find Jesus on your own
–John Prine – Spanish Pipedream

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COVID19 Patrol: How the world changed in 2020

COVID-19

An image of the COVID-19 virus from the World Health Organization

It’s difficult now to think back to a time when most of us had not heard of words like coronavirus, COVID-19, pandemic, community spread, social distancing and self-quarantining. A time before all classes were abruptly moved online. A time before people started dying by the thousands from a newly emergent respiratory virus that forced people to stay isolated at home for weeks at a time and essentially shut down the world’s economy. A time where we could go where we wanted, when we wanted without worry. A time when the story of the virus didn’t dominate our media for months at a time.

The New York Times ran its first story on mentioning the coronavirus on January 8, 2020, announcing that researchers in China had identified a new virus that had infected “dozens of people across Asia.”  (There actually was a mention of a “a pneumonia-like illness, the cause of which is unclear” in the Times on January 6, but it was not yet labeled as a coronavirus.) On January 11, 2020, Chinese state media made the first reports about the new illness, “including seven severe cases and one dead case.” (Note that the English translation here is from Google Translate.) Less than two weeks after the Times story, the United States had its first documented case of the virus that would turn out to be one of the most contagious and deadly viruses since the massive flu epidemic of 1918.

As the disease moved from something to be concerned about to being considered a likely pandemic, events that we would normally consume through our media started to get canceled.

On Wednesday, March 11th, 2020, Italian NBA star Danilo Gallinari was getting ready to start the evening’s game between the Oklahoma Thunder and the Utah Jazz. But the game never started, given that Utah All-Star Rudy Robert had just disclosed that he had tested positive for the novel coronavirus that causes COVID-19. The cancellation wasn’t a huge surprise to Gallinari, given the enormous toll that the disease had taken on his home country of Italy.  This cancellation would be the harbinger of the cancelation of most of the rest of the season. (And as of this writing, it appears likely that the whole season will be canceled.)

This was followed in fairly short order with the cancellation of the NCAA basketball tournament, popularly known as March Madness, for the first time since it started in 1939. The College World Series also had to cancel, in large part because none of the teams that might be in contention were able to play their regular season games.

Not long after this, essentially all competitive sports in the United States, from professional basketball to youth league soccer have been shut down for the foreseeable future.  And all of these sports cancelations have had an enormous effect on the television industry. The NCAA basketball tournament alone is worth an estimated $800 million a year to the television networks. ESPN was making plans to have a H-O-R-S-E free throw contest for NBA players competing individually from their home gyms, given that globally there were no sports to broadcast.

The pandemic has also had a massive effect on Hollywood. Summer blockbusters like the James Bond flick No Time to Die or the Marvel Cinematic Universe movie Black Widow have had their summer 2020 releases delayed, while Pixar’s Onward went from being released in theaters on March 6th to having a digital release on March 20th and made it onto Disney’s new streaming service on April 3rd. That’s less than a month from initial release to showing up on a streaming service. Of course, most of the movie theater industry had shut down by March 17.

New York’s Broadway theaters went dark starting March 12, closing down performances of hits like Hamilton, Oklahoma, and Frozen. But the stars of these shows have turned to streaming and social media to keep the buzz going on. For example, the Broadway Cares charity put together a crowd-sourced version of the song “Non-Stop” from Hamilton. The show’s official Twitter account sent out a request in late March of 2020 after Broadway had been closed for several weeks requesting fans to submit videos of themselves performing all or part of the song. An editor then assembled the clips into a video featuring dozens of separate performances from singers of all ages as a charity fundraiser.

As this is being written in April of 2020, almost all college classes in the United States are being taught using distance-education technology as students were sent home from their schools.  Many students were actually home for spring break when they were told not to come back. This created a bit of a crisis for those students who had left their books back on campus, not having planned on studying during vacation. In response, Sage and other textbook publishers made ebook copies of their materials available for free for the rest of the semester.

The COVID-19 epidemic that started in the winter of 2020 will have a long lasting impact with many thousands of deaths, people forced to stay home and away from public places, and massive changes to our media industry.

 

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COVID19 Patrol: A look at social and legacy media

Memes and social media have been going nuts in the age of work-remotely/study-online/shelter-in-place. Here are a couple that have stood out to me, along with a couple of excellent Washington Post stories.


You all know that I am a sucker for the Distracted Boyfriend meme; here’s a great one for COVID19 economics. No idea where it originated

Distracted Boyfriend, left-to-right - Free $1200 check; Stock market; Record unemployment

Looking for a fun current events exercise as all your students are studying remotely? Have them write their own Distracted Boyfriend meme based on what’s happening in the news.


Hamilton writer/star Lin-Manuel Miranda has been tweeting out lots of fun content over the last week or two to help raise money for Broadway Cares at a time when all the theaters are dark. One of my favorites has been his sharing of the #HamAtHome crowdsourced production of the song Non-stop from Hamilton, which I believe was assembled by the folks at Broadway Cares – but regardless, take a look. And the money from the fundraising goes to help Equity actors affected by the COVID19 pandemic.


The Washington Post has had great coverage of the COVID19 pandemic, much or it free of the usual paywall.  Here are a couple that have stood out to me:

 

 

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Teaching Mass Communication in the Time of COVID-19

A doctor's plague mask.

A doctor’s plague mask from the time of the plague during Luther’s youth. Unfortunately for doctors, this mask was ineffective as plague was spread by fleas and not through the air.

It’s been  a difficult time for all of us the last few weeks with the COVID-19 pandemic, the need for social distancing, self-isolation, self-quarantine, working remotely, dealing with shortages of medical equipment and hospital beds…

For faculty and students, it likely means that classes that weren’t planned on being taught online are being rapidly moved online.

One of my first responses two weeks ago was to put together an online curriculum package for the class, based on my Sage text Mass Communication: Living in a Media World. (This package has now been available to faculty who need it for about a week.)

While the materials are keyed to the organization and material from my book, I’ll share the packet with anyone teaching at the college-level whether you use my book or not. I’ve been teaching online for at least 20 years and understand how daunting making a sudden shift like this can be.

You can DM me on Twitter (@ralphehanson) if you are interested. Include an e-mail, where you teach, and which book you currently use. Or you can e-mail me at rhanson40 at gmail dot com.


And here are some interesting current issues for discussion in class:

Should broadcast/streaming media carry the president’s press conferences live when he makes multiple false statements in them? (I’m not talking about whether you like/dislike the president or his policies, just the fact that he often states things as fact that are not.) Jay Rosen is one of the leading American press critics.

Why do we watch horror movies? And what do we gain from watching them? Do they open us up to talking about tabu topics?

And finally – What if you had been isolated from the news for the last few weeks and suddenly re-emerged into our world.  How would you make sense of this news? And how have entertainment programs handled it?

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Harvey Weinstein sentenced to 23 years in prison for sexual assault

Earlier today, movie producer Harvey Weinstein was sentenced in New York to 23 years in prison for sexual assault and rape. Here’s an updated account of his victims’ search for justice and how this story played out in the news media.

Harvey Weinstein

Harvey Weinstein

During 2017, attention to the issue of sexual harassment and abuse, both sensational and serious, became the major cultural story for our media. As Secret 3 points out, the stories moved this issue from the margins of society to the center. While there are many points on the timeline we could highlight as the start of the media’s focus on sexual harassment and abuse, there is no doubt that it exploded when multitudes of women started coming forward and telling their stories of mistreatment at the hands of Hollywood producer Harvey Weinstein.

On October 8, 2017, following the news that he had paid financial settlements to eight women to drop their claims, The Weinstein Company fired Weinstein from the movie production company he helped found. And while this may have been the point where most people started paying attention to the story, it certainly wasn’t the beginning. According to the New York Times, the accusations and rumors about Weinstein dated back for three decades. It wasn’t as though these stories weren’t known about by reporters; they simply weren’t reported.

In November 2017, the New York Times started keeping track of the number of men who have been fired or forced to resign over accusations of sexual misconduct since Weinstein was fired.  As of February 8, 2018, the Times count had reached seventy-one. The paper also had a second list of twenty-eight men who had faced charges of sexual misconduct but who had only been suspended or received similar lesser punishment. The list was a who’s who of the powerful behind and in front of the scenes in the entertainment business, industry, and politics. Among them were former Today Show host Matt Lauer and CBS CEO Les Moonves.

So, this leaves us with a question:

Why, after years of neglect, did the press, in all its varied forms, suddenly start paying attention to these accusations and the women making them?

While the story of women being sexually harassed and abused by powerful men had been slowly breaking further and further into the media for several years, the real explosion came when actress Ashley Judd went public with her story from two decades earlier.

Judd told the New York Times in early October 2017 that she went to what she thought was a breakfast meeting at a hotel. She was instead sent up to Weinstein’s room where he greeted her wearing a bathrobe and suggested either he give her a massage or she “watch him shower.”

It is at this point that we see the basic elements of the narrative coming through. Judd had to figure out how to get out of the room without alienating one of the most powerful producers in Hollywood.

The Times goes on to report that Weinstein reached “at least eight settlements with women,” paying them to drop their claims and keep their silence. When all of these stories started surfacing, Weinstein said in a statement to the Times:

I appreciate the way I’ve behaved with colleagues in the past has caused a lot of pain, and I sincerely apologize for it. Though I’m trying to do better, I know I have a long way to go.

Judd had previously talked about what had happened with Weinstein back in 2015 with Variety magazine, but she didn’t name him.

Judd told Variety she felt bad because she didn’t do anything about it at the time:

I beat myself up for a while. This is another part of the process. We internalize the shame. It really belongs to the person who is the aggressor. And so later, when I was able to see what happened, I thought: Oh god, that’s wrong. That’s sexual harassment. That’s illegal. I was really hard on myself because I didn’t get out of it by saying, “OK motherf—er, I’m calling the police.”

The common theme between Judd and the other women who say Weinstein abused or harassed them was that women didn’t speak out because they didn’t know each other; they didn’t live in the same cities. But while they didn’t talk about it publicly, they did talk about it among themselves.

So what kept these women’s stories from getting published?

  • Many of the women were embarrassed that this had happened to them and sometimes wondered whether they were responsible for it.
  • They still wanted to work where they worked. They wanted the access the abuser gave them.
  • They were afraid they would get blacklisted in some form if they spoke out (something that happened with several of Weinstein’s victims).
  • They were afraid they wouldn’t be believed.

On Monday, Feb. 24, 2020, Harvey Weinstein was found guilty in New York City of  two felony sex crimes: that he had forced oral sex on a a production assistant in 2006 and that he had raped a former actress in a hotel in 2013. He was acquitted of charges that he is a sexual predator.

On March 11, 2020, Judge James Burke sentenced Weinstein to 23 years in prison sexually assaulting the two women. His sentence could have ranged from a minimum of five years up to 29 years. Weinstein is 67 years old and is reportedly in poor health.  His attorney used the argument that anything more than five years would be essentially a life sentence for the former movie producer.

Weinstein is still facing charges in Los Angeles for alleged assaults on an unnamed Italian actress and a model. Numerous other women have given their accounts of assaults from Weinstein, but in many cases the statute of limitations has expired on their charges.

He is also facing charges in Los Angeles for rape and assault.

You can read a more complete account of how sexual harassment and assault became the story of 2017-2018 here.

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Taking a look at the current textbook marketplace

Textbooks are different from other books in one major respect—the people who select the books aren’t the same as the end users, the people who must buy and pay for them. Students charge that, because of this disconnect, faculty members don’t take price sufficiently into account when picking books for their courses.

Estimates on how much students spend per year on textbooks vary widely. The United States Bureau of Labor Statistics suggests that students spend an average of $1,250 a year on books and supplies.  On the other hand, figures from the National Association of College Stores reports that student spending on course materials has dropped on average from $701 per year in 2007-08 to $415 in 2018-19.  Among the reasons for these possible price drops are the growth of book rentals, inclusive access plans, and electronic books.

The textbook industry is currently going through a big period of change, says John Fallon, CEO of education publishing giant Pearson. In an interview with tech journalist Kara Swisher, Fallon said that the era of the “$300 textbook” is over. Instead, students will be buying access to a host of electronic resources ranging from ebooks, to study sites, to mobile phone apps.Fallon told tech journalist Kara Swisher that revenues for the big publishers have been falling steadily, with Pearson’s dropping from $2 billion in 2013 to $1.3 billion for 2019. This change is being driven in large part by the fact that students can rent books from companies like Amazon or Chegg,

Under a rental plan, students pay a fee that is between two-thirds and one-half the cost of either a new or used book, then they turn the book back in to the bookstore at the end of the semester. In essence, it’s a guaranteed buyback plan.  A report from Orbis Research suggests that students are also saving money by renting e-textbooks rather than paper books at substantially lower costs.  The disadvantage of rentals, of course, is that after the semester is over, students no longer have the books to use as a reference.

While students like e-textbooks in principle, when forced to choose between a printed book and an e-book, most choose a printed textbook.  An informal survey of your author’s students showed that while students liked e-books for recreational reading, they much preferred paper editions for the textbooks. They do, however, like the lower prices of ebooks.

One of the major complaints students have had about textbook costs involve one-time purchase access codes. These codes sold by publishers can be for review and other study materials, but they can also be for homework systems required to complete the class. In addition to objecting the costs, students complain that unlike paper and electronic textbooks, homework accounts cannot be shared.

A radically different approach a few universities are taking are so-called inclusive access programs where schools license all of the assigned books electronically from a major publisher and make them available to students at either a discounted rate or no additional charge. In some cases, the e-books are integrated into the school’s course management system that delivers other class materials. Students are typically signed up for the rental automatically and then have a short period of time when they can opt out from using the book. The advantage for faculty is that all students will have access to their books on the first day of class rather than waiting till sometimes weeks into the semester to get their books..  McGraw-Hill, Cengage and Pearson have all found success with these programs.

There are also downsides to these inclusive access programs. In many cases, students only have access when they are online. If they want a downloadable version, there is often an extra fee. Another issue is that these contracts strongly push faculty to order their texts from a preferred company rather than from the publisher that has what they consider to be the best book. Nicole Allen, an advocate for research libraries and open access materials, told Inside Higher Ed these programs are “the opposite of inclusive, because it is premised on publishers controlling when, where and for how long students have access to their materials.”

As this period of transition in the textbook publishing progresses, it is possible that the already concentrated ownership of textbook publishers will get even more concentrated.  Currently four publishers control more than 80 percent of the higher-education marketplace: Pearson, Cengage Wiley and McGraw-Hill.(8e0102) As of this writing in the spring of 2020, McGraw-Hill Education and Cengage had announced plans to merge but were facing strong opposition from consumer groups, students, and college bookstores.  Critics worry that combining two of the top four educational publishers into an even larger company would continue to reduce competition in the marketplace and give the new company more control over prices.  The two companies claim the merger will let them be more efficient and lower costs.

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Bob Iger, who grew Disney into world’s most powerful entertainment company, is stepping down

Disney has immensely transformed over the last 20 years. In the late twentieth century, the company was best known for children’s programming, theme parks, and cruise ships as well as owning the ABC television broadcast network and ESPN family of cable networks. But in the twenty-first century, it has been working hard at becoming the dominant force in the movie industry, buying up the Pixar animation studio from Apple founder Steve Jobs, Marvel Entertainment with the massive Marvel Cinematic Universe, LucasFilm and its family of Star Wars properties from George Lucas, and, most recently, the 21st Century Fox family of entertainment properties.

Just as Michael Eisner handled Disney transition into the 1980s and 90s media world with its revitalized animation studio, former ABC producer Bob Iger has been the CEO of “The Mouse” through its transition into a company for the new century. Iger has been the driving force behind the acquisitions of Pixar, Marvel, LucasFilm, and Fox, as well as having continued Disney’s tradition of being a pioneer in new media. Walt Disney himself brought the company into the television industry; Iger has led the company into the online era.

But yesterday Iger announced abruptly that he was stepping down as CEO of Disney while remaining the company’s executive chairman (whatever that means) and director of creative endeavors. Bob Chapek, who has been the chair of Disney’s parks and experience programs, is the new CEO. While Disney watchers expected Iger to retire at some point in the next couple of years, no one saw this sudden retirement coming.  Iger said in an investor call shortly after the announcement that his step-down had been in the planning stage for some time and that the Disney board of directors knew about his plans.

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Questions Worth Asking (Maybe)

Why do we still care about radio in the age of online media?


Why is Facebook afraid of conservatives?


How many people have watched the 80s video of a-ha’s Take On Me on YouTube? 


Historically, how have we talked about sexual and gender identity? The OED knows.

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