Guest Blog Post: Babies don’t belong in cages

Holly Jacobs

Holly Jacobs

Thanks to romance writer and family friend Holly Jacobs for this powerful guest blog post.  I try to stay away from non-media politics here, but the recent events on the US-Mexican border are not about politics, they are about basic human dignity.

I have built a career on family and love. On glee. I have no glee today.

Before I started writing, I worked with breastfeeding moms.

One incident stands out to me. A mother who was going in for open heart surgery and wanted to continue breastfeeding her baby. I worked with her and her doctor and she managed it. This was a mother who would do anything for her child. She was in the middle of a health crisis and her first thought was for her child.

I totally understood, because I would do anything for my kids and family. I would take bullet for them. I would do anything. Anything. I would do anything to see that they were safe and had a better life than I had. I want to give them the world.

So I understand parents who are leaving countries where murder and mayhem reign. They bring their children and make the hundred/thousand mile trek to our country hoping for asylum. Hoping to keep their children safe. Hoping to give their children a better life. And when they get here, we take their children. We put them in cages. We put them in detention centers. We put them in tent cities. We take babies and put them in cages.

Babies in cages.

I haven’t slept for the last couple days. Every time I close my eyes I can see these children. I can hear their cries. And my mother’s heart breaks because a baby is a baby. A child is a child. My human heart breaks. And yet, I know that nothing I feel can begin to approach what these parents feel. What these children feel.

Babies in cages.

I have built a career on family, love and glee.

I do not post political things here. I don’t want to bring politics to my sites. I want to bring glee, optimism and hope.

But I can’t find the glee today.

This isn’t about politics. This is about children. About babies.

This is about our government taking children away from their parents and turning them into political pawns. Using them as hostages. This about them putting babies in cages. This is about them setting up a system with no procedure to reunite these children with their parents.

We have had black stains on our country’s history. Slaves. Taking Native American children from their families to “educate” them. Japanese internment. I was aware of our past, but I thought we as a country had moved beyond those horrific stains. And yet, here we are in 2018 putting babies in cages.

So this post isn’t political. It’s about the kind of country we are. This is about the soul of our country. And I say, we are better than this.

Today, please make calls to your representatives. Not only on a federal level, but on a state level. Tell them that babies don’t belong in cages. Tell them to do their jobs and put a stop to this atrocious policy.

Because babies don’t belong in cages.

Those are words I never thought I’d say.

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Guest Blog Post: Digging in the (White) Trash

Please welcome Dr. Tasha Dunn, one of my colleagues in the UNK Department of Communication with her guest blog post about her upcoming book, Taking Out the “Trash”: Mediated Representations and Lived Experiences of White Working-Class People, coming soon from Routledge Books.

By Tasha R. Dunn

Dr. Tasha Dunn

Dr. Tasha Dunn

I grew up in a trailer park, recently earned a Ph.D., and make my living digging in the trash. Many people find this hard to believe, especially given the oppressive ways residents of trailer parks—a vast majority of which are white and working-class—are depicted in popular media.

I don’t know about you but I have yet to find a poor or working-class white person portrayed in a positive and empowering manner. Additionally, the fact that I dig in the trash sounds a bit unusual for someone with a Ph.D. but the trash I dig in isn’t literal, it’s symbolic. I dig in “white trash,” which is the most common term used to describe the white working-class population—an irony when considering the current U.S. cultural climate where derogatory labels for a vast majority of minority groups are shunned.

The fact that white working-class people are associated with such a negative label is one of the reasons why I dig in “white trash”—I seek to understand and ultimately challenge it, which I do in my forthcoming book, Taking Out the “Trash”: Mediated Representations and Lived Experiences of White Working-Class People.

I wrote this book because, ever since I can remember, I have felt the weight of media on my shoulders. I remember sitting in front of the TV comparing images of white working class people on screen to my experiences growing up in a white working-class family and neighborhood. I would constantly make comparisons, finding people in films and television shows who both were and were not like me. I embraced our similarities (e.g., I was white, poor, and lived in a trailer), but was bothered by our differences.

I was not stupid. I was not a criminal. I was not excessively sexual. I was not dirty. Yet, because most of the white working-class people on screen were, people assumed I was, too. The “white trash” stereotype had a significant impact on the way I felt others saw me, and how I saw myself. This experience is what led me to write the book which, as the above suggests, analyzes the relationship between mediated representations and lived experiences of the white working-class population.

I begin by analyzing how white working-class people are depicted in media, with a particular focus on reality television because this is the genre where they are featured most often as evidenced by the slew of recent shows such as Here Comes Honey Boo Boo (2011-2014), Swamp People (2010-present), Duck Dynasty (2012-2017), Welcome to Myrtle Manor (2013-2015), Hillbilly Handfishin’ (2011-2012), Appalachian Outlaws (2014-2015), Moonshiners (2011-present), Redneck Island (2012-2016), and more.

Next, I interview and spend time with members of the white working-class to understand how they respond to and deal with the stereotypes and oppressive ideas about this population that are communicated in reality television and other media outlets.

A focus on white working-class people is important, not only because of their increasing presence in media, but also because of their role in fueling the unprecedented rise of Donald Trump—a phenomenon that has made this population a central subject of U.S. cultural discourse.

While the “white trash” stereotype may make it easy to dismiss members of the white working-class population as buffoons—a situation I know all too well—their role in fostering Trump’s success indicates it is time to think in more complex ways about white working-class people than we have in the past, which is exactly what my book intends to do. Rather than relying solely on analyses of mediated portrayals to contribute to understandings of a highly influential population, my book digs deeper in the “white trash” to provide alternative stories that are rarely, if ever, found in popular media; stories that illuminate the multidimensionality of a population that is often portrayed in one-dimensional ways to better understand their role within, and influence upon, U.S. culture.

Come dig in the trash with me by reading my book. While I don’t have the space to fully explain what you will find, what I can say is that you will undoubtedly discover pieces of this population’s story that have been buried and unaccounted for, but are powerful, complex, and important to engage.

 

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Chapter 11 – Burger King’s award-winning Google Home of the Whopper

Burger King – Google Home of the Whopper (Case Study) from Casal + Peña on Vimeo.

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Ch. 7 – Brian Ibbott’s Podcasting Empire

Colorado podcaster (and friend of the book) Brian Ibbott has been posting audio shows online since 2004.  He now has a whole host of programs he jokingly refers to as his “podcasting empire.” Here are links to all of them:

Coverville
Once a week show highlighting independent artists and the songs they transform to make their own.
Wednesdays, at 1 p.m. Mountain (watch live at coverville.com/live)

The Morning Stream
Daily news, comedy and variety show, with co-hosts Scott Johnson and Brian ibbott. Taking a look at the daily news, and also featuring weekly guests that discuss tech, movies, and more. Thursdays feature an actual therapist that helps a write-in listener with something they’re struggling with.
Monday through Thursday at 9am Mountain (watch live at twitch.tv/frogpants)

Film Sack
A weekly look at a streaming movie, usually from the bottom of the barrel. Sci-fi, fantasy, horror and thrillers – we pick it apart! Co-hosted by Scott Johnson, Brian Ibbott, Randy Jordan and Brian Dunaway. Podcast uploaded every Monday.

Soundography
Co-hosts Brian Ibbott and Hammond Chamberlain pick an artist or band every week, and then spend the week listening to their entire library of music. The show features highlights for the band/artist’s music, their biography and interesting trivia, and each week, Brian and Hammond create an additional playlist or deeper cuts to complement the band’s greatest hits. Uploaded every Monday at Soundography.com.

The Pokemon GO Podcast
A podcast to complement the popular IOS game. Uploaded every week at pokemongopodcast.com.

And coming this summer:

So You Think You’ve Got The Talent to be America’s Next Top Podcasting Idol!
The world’s first reality podcast competition to find the next great podcast host. Watch for news at http://americasnexttoppodcaster.com

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Ch. 6 – Categorizing news sources

Patent attorney Vanessa Otero has created a chart that categorizes news outlets by political bias and overall quality.

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Chapter 5 Link – Short Story ‘Cat Person’ from The New Yorker

The short story ‘Cat Person’ by Kristen Roupenian became the second most read article of the year in The New Yorker for 2017. You can read or listen to it here:

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Guest Blog Post: Another group of Afghan journalists killed; another note of condolences

My friend Dr. Chris Allen, a journalism professor at University of Nebraska at Omaha, has been working on global journalism issues from Russia, to Afghanistan, to Oman, and beyond. He writes occasional guest blog posts on international issues. He wrote this post right before leaving to take a group of communication students on a trip to London.

Tolo journalists killed in bombing.

In January of 2016 I sent off an email to an acquaintance of mine, Saah Mohseni, one of three brothers who own Tolo-TV in Kabul, Afghanistan. Tolo is the most-watched television station in the country. It creates its own information and entertainment programs and has a vast dubbing operation to give Dari sound tracks to Western programs.

It also has a large and aggressive newsroom. And in 2016 seven Tolo journalists were riding in a van when it was broadsided by a suicide driver in a car bomb. All seven were killed.

At the time I sent Saad, who manages the station for his brothers, a note expressing my deep condolences. I’ve done it twice since then.

The latest was April 30th, when journalists were again the target of terrorist bombers. The killers deliberately attacked the journalists and rescue workers by setting off a device during morning rush, and then as rescue workers and journalists congregated on the scene, detonated another. Eight journalists were killed immediately, and one died later of his injuries. In an unrelated attack, a reporter was shot to death in Kandahar the same day.

One of the reporters killed in Kabul was a Tolo reporter. Another was Shah Marai, chief photographer in Afghanistan for Agence France Presse.

Afghanistan has a free press clause in its constitution, and the journalists and journalism teachers I know there say the government abides by it. There are multiple threats to the media in Afghanistan, but the government is not one of them. There is very little persecution or even harassment of journalists by the government. However, greater threats come from beyond the government.

And no matter how legitimate the government is, it is none-the-less weak; Afghanistan is dominated more by warlords than by any orderly federal or local system of governance.

In addition, the Taliban still control huge swatches of the country. Reuters reports about 43 percent of the country’s districts are either controlled by the Taliban or are being contested. The Taliban presence and the warlords as well as other terrorist groups operating there are where the threats to journalists come from. Physical threats, actual assaults and even assassinations have resulted from media stories about people who would prefer their names and their work be kept out of the media.

In fact two of the watchdog groups that track press freedom around the world rate Afghanistan poorly. Reporters sans Frontier rates Afghanistan as 118thout of 180 countries and says the press is not free. Freedom House rates Afghanistan as partly-free, but right on the cusp of not free.

If the threat is not from the government, then where?

A look at last month’s attack is revealing. A branch of the Islamic State claimed responsibility. The Taliban have been known to exact revenge, as it did in the Tolo attack back in January of 2016. Tolo had recently done a story critical of the Taliban’s techniques, and it paid with seven lives.

There was a vice-president under Hamid Karzai who journalists there knew  to be quite hostile if his name ever appeared in the news. He had been known to send thugs to break the kneecaps of any reporter foolish enough to use his name in any context – good or bad.

The other sad fact of Afghan media is the matter of money. There is simply not enough of it to support an independent press. Many media are owned by religious groups, political parties, and even warlords. Afghanistan’s literacy rate is less than 40 percent overall, making newspapers generally useless except among the more elite. Television is expensive to make, transmit and receive. That leaves radio, cheap and ubiquitous, to deliver the news, especially in rural areas.

So although Afghanistan’s constitution guarantees a free press, the real challenge is putting that into practice.

There is so much more that stands in the way of press freedom than a simple phrase. Censorship is not only a threat from government; it  often comes in the form of outside threats, economic hardship, and the influence of ownership and money.

Afghanistan is a petri dish of that statement. Anyone who places his or her own self -interests above those of the country hate and fear the light a free press shines on them.

That includes oligarchs, dictators, monarchs, terrorists and warlords. Cockroaches hate light. The tendency among almost all political leaders is toward less information. Resisting encroachment on freedom of expression is a constant battle just about everywhere. Some countries are more successful than others. Afghan media are fighting that good fight even though the fight has been costly.

But this one truth remains – a country cannot be truly free, cannot truly provide opportunities for all its people, and cannot guarantee free, open and informed elections – if the press is not free.

And I fear that in six, or twelve or eighteen months, I will be sending yet another note to Saad Mohseni once again expressing my condolences.

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Ch. 3 Visual Media Literacy: Google Doodles

Here are several of the Google doodles I discuss in the Ch. 3 Test Your Visual Media Literacy exercise:

The original Burning Man Google doodle

Lotte Reiniger’s 117th Birthday Google doodle

The 44th Anniversary of the Birth of Hip Hop

 

 

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Guest Blog Post – Streaming and Mainstreaming: Spotlight on LGBT Media

A couple of months ago I saw the following Tweet from my online friend Candice Roberts:

Given that Dr. Roberts knows much more on this subject than I do, I invited her to do a guest blog post, which she so kindly sent!

Dr. Candice Roberts is a media studies researcher and Assistant Professor of Communication who is interested in popular and consumer culture, narratives of identity, and queer theory. Feel free to @ her (@popmediaprof on Twitter).

An April 2018 headline from Autostraddle, an arts and culture website run by and featuring content for lesbian and queer women, highlights “53 Queer TV Shows to Stream on Netflix.” A few years ago 53 different queer-themed television shows on any single, media platform would have seemed implausible if not impossible. Now this list not only exists but is populated with widely recognizable hits such Orange is the New Black and Glee as well as lesser-known shows like The Shannara Chronicles and CW’s Legends of Tomorrow; it also includes several of Netflix’s own original programs like Everything Sucks!, One Day at a Time, Gypsy, and Sense8— the latter of which spurred a major fan campaign when it was cancelled after two seasons. (Netflix ultimately recognized fan dismay and promised Sense8 viewers a two-hour series finale as a consolation.)

Netflix and streaming-competitor Hulu introduced LGBT sections and genre tags in 2012. Despite Hulu’s blog post concerning the category launch, the rollouts on both sites happened relatively quietly, with consumers discovering the new additions on their own and most of the publicity coming via word of mouth.

An algorithmic snafu in 2016, however, drew more attention to Netflix’s LGBT movies genre. When Tumblr user Taco-bell-ray posted a screenshot of his Netflix interface showing horror film The Babadook represented within the LGBT Movies category, the Internet did what it does best: meme’d this mistake for all it’s worth.

By the summer of 2017, the Gay Babadook had spread. While Netflix did not comment directly on the incident, the official Twitter account hinted at the company’s social media savvy and corporate awareness. The erroneous sorting of The Babadookis not simply amusing (and some of these memes are highly amusing), but it also produced more evidence that there is an ever-growing audience for LGBT content and that consumers pay attention.

Be the Babadook

Click to see Netflix’s original GIF tweet.

While the needle has certainly moved since Ellen’s television coming out over 20 years ago, major broadcast networks and cable channels are not quite as gay as their streaming parts. The revival of NBC’s Will & Grace, one of the first major network shows to feature gay main characters, has been met with mixed reviews.

Jane the Virgin on the CW and SyFy’s The Magicianshave garnered some discussion about LGBT narratives and relationships.  The bulk of queer content, however, is still streaming and through digital platforms. For her work on Master of None, including a much-heralded coming out episode, Lena Waithe became the first black woman to win an Emmy for writing earlier this year. Also on Netflix is Queer Eye, areboot of the formerly-named makeover show Queer Eye for Straight Guy, which has the web abuzz with conversation.The original version of the Fab Five, a group of gay men who help straight men solve their fashion woes, was set in New York City, but the current edition features a “Trump-era Atlanta”, arguably further proof of the mainstreaming of gay culture. Fans and critics alike have lauded the show as “a cure for our masculinity crisis” and as “topical and unpatronizing in its approach to contemporary politics.”

Despite the positive reviews and diversity-affirming stories like those above, naysayers and detractors still exist. That a web search for “Netflix LGBT genre” yields front-page results with users asking how to remove this genre and subsequently tagged films from their view proves that LGBT media is still considered controversial by some, though perhaps a vocal minority.

Furthermore, not everyone sees the mainstreaming of queer content as unconditionally positive. Eve Ng, a media researcher at Ohio University, often discusses what she calls media gaystreaming, the process by which queer narratives are appropriated in mainstream media. Ru Paul’s Drag Race, which recently moved from its original home on LOGO Network to VH1, exemplifies this transition.

Ng explains that the LOGO network was created to house content that would be appealing to LGBT viewers but its sister network VH1 is more indicative of queer-themed content packaged for straight people, particularly heterosexual women. There are also larger questions of more equitable representations of lesbians, and particularly queer women of color, within the larger LGBT media landscape.

Chris Anderson’s The Long Tail has essentially held true as an explanation of what happens in the new media marketplace, as more products become more easily available to a diversified consumer base. As the LGBT-consumer is certainly not a monolith, some queer content does represent a more niche product, while some content tagged as such is finding a much wider appeal, illustrative of Secret 3: Everything from the margin moves to the center.

While issues of identity and representation will continue to be focal points for content creators and media consumers, there is undeniably more queer content to question, which is certainly the first step toward social equilibrium.

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Guest Blog Post: Ninja Reshapes Streaming Video Games in 2018

Aaron Blackman and his Switch

Aaron Blackman

The following is a guest blog post by my colleague Aaron Blackman, who in addition to being a forensics coach and comm lecturer is also a big fan of video and tabletop games. He also streams video games and writes about video games and e-sports.

Four months into 2018 and the world of streaming video games is rapidly evolving.

In February, a Twitch record for concurrent viewers (along with actual downtime of the entire website) after the popular streamer “DrDisRespect” returned from a two month absence. An over-the-top character played by Guy Beahm, DrDisRespect claimed himself to be the “Face of Twitch” due to high viewer counts, dedicated fanbase, and extremely polished production quality. Reaching 389,000 concurrent viewers while streaming PlayerUnknown’s Battlegrounds was a feat only accomplished by Esports tournaments or press conferences for E3. Having a single streamer attain popularity of this kind was groundbreaking for the world of Twitch.

However, as 2018 progressed, the popularity of battle royale games reached a fever pitch and PlayerUnknown’s Battlegrounds (PUBG) was replaced with Fortnite, a free-to-play game found on PC, Playstation 4 and Xbox One. If you are wondering what a battle royale game is, think Hunger Games where 100 players enter an arena in a fight to the death, but there can only be one player (or team of players) standing. Fortnite shares many of the same elements of PUBG, but the free price tag, smaller map, console availability and building mechanics set it apart.

In March, the most popular Fortnite streamer was Tyler Blevins, also known as “Ninja”. A former pro gamer, Ninja had been streaming since 2011 when his channel rapidly rose to the top of Twitch charts alongside an Amazon Prime promotion for in-game Fortnite items. His stellar play was noticed by Canadian rapper and fellow gamer Drake, and the two began to communicate to play Fortnite one night.

Twitch Clip: Ninja’s wife meets Drake:

On March 14, Ninja began streaming Fortnite with a special guest: Drake. Without fanfare or any lead-up promotion, the two met online and started playing the game, while the viewers promoted it all over Twitter. The stream shattered the previous concurrent viewer record by reaching 628,000 viewers, and eventually rapper Travis Scott alongside Pittsburgh Steelers Wide Receiver JuJu Smith-Schuster joined in on the fun. Ninja gained scores of followers and subscribers on Twitch in a monumental night that shifted the bar for a successful Twitch stream.

As of writing this post on Thursday April 26, 2018, Ninja had 202,272 Twitch subscribers. These $5 monthly subscriptions split the money between the streamer and Twitch itself. At the entry end of the spectrum, I make $2.50 off of each subscription as a Twitch Affiliate. Popular streamers like Ninja are considered a Twitch Partner and get a better deal. So with 200,000 subscribers, Ninja is making over $500,000 a month from subscriptions alone for playing games in front of fans. This doesn’t factor in the scores of donations and higher-tiered subscriptions that roll in from viewers as well. He’s earning all of this money from the comfort of his own home.   

While writing this blog post, Ninja was live and streaming Fortnite, his bread and butter game. He was playing host to over 100,000 viewers, an average amount for his streams, which is staggering considering it was a Thursday afternoon. Compare this DrDisRespect’s 22,000 viewers observing his “speed, violence and momentum” in PlayerUnknown’s Battlegrounds at the same time.

On Saturday April 21, Ninja hosted his own style of live event in the form of a Fortnite competition hosted at the new Esports Arena in Las Vegas. Fans were able to pay $75 to enter, giving them a spot in two of the night’s ten games. Ninja played each game and gave $2,500 to the last player standing in each game, as well as a $2,500 bounty for the player who killed Ninja in Fortnite.  

Clearly Ninja struck a chord with viewers as his Las Vegas event broke his own Twitch viewership record by attracting 667,000 viewers at its peak. It also offered fun and compelling storylines like a 14-year old who took home $2,500 by winning one of the night’s games.

One fascinating thought was brought up by Brian Mazique in his Forbes article prior to the event, likening streamers to singers playing the Vegas circuit. Could this be the next step for popular streamers? Ninja fits a unique mold with his rapid rise on Twitch and Fortnite’s popularity skyrocketing to an all-time high. Additionally, Fortnite has no organized Esport competitions as of yet, so it made sense for its most popular streamer to host his own style of live tournament.

Streamers wanting to host their own events would need a large and active fanbase to ensure an event of this magnitude wasn’t a dud. For now, Ninja’s success is an anomaly in the streaming world. Combining universality in his appeal and creating fun connections with celebrities turned fans has elevated him to a new level.

2018 is a new era for streaming video games, and we are just getting started.

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