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Without the benefit of a gallery how does one distinguish Fine Art photography from an advanced Flickr user? The easiest way is to recognize and understand its conventions. Staged pictures of unsmiling people, arranged still lifes, and frozen landscapes all suggest an artist is behind the camera as opposed to an enthusiast. Ideally, artists find ways to transcend these stereotypes, but even the best can fall prey.
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Another Ikea laptop stand hack (though much more involved than the €4 spicerack one).
In this week’s Bill Moyers Journal, Moyers talks with prominent bloggers Jay Rosen and Glenn Greenwald on the role of the establishment media in the dysfunctional political system.
He asks the question, “Why will Amy Goodman of Democracy Now! never show up on ‘Meet The Press’?”
BILL MOYERS: I think you wrote on your blog that Dave Brody from the Christian Broadcasting Network, Pat Robertson’s outfit, will one Sunday show up on “Meet the Press.” But an Amy Goodman of “Democracy Now” will never show up on “Meet the Press.” What’s behind that phenomenon?
JAY ROSEN: I think part of the reason is that if Amy Goodman came on “Meet the Press,” she would say all sorts of things that not only challenge the people on the program, but challenge what they have been saying over the years. Would go back, in a sense, discredit the narrative that’s been building up for a long time. And even though it’s maybe not wholly conscious, the idea that there’s a kind of building narrative that is more or less accurate, that we kind of tell you what’s going on in Washington, is a common assumption in the press. And people who would completely shatter that, don’t.
GLENN GREENWALD: I think that’s exactly right. It’s all about the content of views. Rush Limbaugh can depict himself as being this insurgent outsider. But he supported the wars of the last eight years. He supported the tax policies that Ronald Reagan essentially instituted as conventional wisdom, that we need to lower taxes, reduce government spending. All of the conventional clichés that the media airs frequently, and doesn’t need much time in order to explain, are ones that Rush Limbaugh and the furthest fringes of the right essentially embrace.
And so, to include them into our discussion is not very disruptive at all, whereas if you had people on from the left who were advocating things like the United States’ responsibility for its unpopularity in the world, the fact that we wage wars and bomb other countries and invade and occupy other countries far more than any nation on the planet.
To include somebody like that would not only threaten the vested interests of everybody who’s participating in these conversations, it would disrupt the entire narrative, as Jay said it would. Almost sound foreign, as though these views are un-serious views, don’t belong in mainstream, serious shows. Because these views are never heard. They’re stigmatized, they’re demonized as being things that don’t really deserve a platform. And so, you can’t include advocates of these views in these shows.
JAY ROSEN: You know what’s really striking to me about this, is Lawrence Wilkerson, who worked for Colin Powell, when he retired from the government, he said that the people in power: Cheney, Bush and Rumsfeld especially, were, in his view, radicals. That the radicals were the people actually running the government.
And this idea that the people in power were kind of outside the sphere of normal government, never made its way into the establishment press at all. The idea that Wilkerson could have been right, that the real radicals were running the federal government, never really penetrated their narrative at all.
BILL MOYERS: How do you explain the fact that so many in the press, pundits and others as well, were saying Obama has to be bipartisan?
JAY ROSEN: I think that the ideology of the press is not so much liberal or conservative. They think themselves the keepers of realism, of savviness. I think the real religion of the American press is savviness. And in their view, it isn’t savvy to say you’re going to mobilize the anger and frustration of the American people and bring that power to Washington to change it.
That’s not how politics works. The way politics works is you say things like that to get elected, and then, once you’re in, you make your accommodations, you show that you want to hew to the center. You demonstrate that you’re bipartisan. You pick people who are familiar.
And it’s those eternal laws of politics that journalists feel they know better than us. And they expect politics to kind of run down these rails that they’ve laid down, because then we have to turn to them for the inside story. And this is what they want to continue.

Commonly held notion: “The longer I work on this, the better it will be.” Maybe up to a point. But after a while — and it might be just a short while — you’re being overly fussy.
There’s an optimal release point for anything you make. That’s when you should get it out there. After that, you’re just fiddling for the sake of fiddling. And you might even make it worse. Sometimes what you make will be just fine if it’s released after three months — but add another six months (or longer) and it turns into a jumbled, complex mess.
Case in point: “Chinese Democracy,” the Guns N’ Roses album that Axl Rose worked on for over a decade, going through at least three recording studios and four producers. Everyone knew that it wasn’t getting better with more time. In fact, it became a running joke in the music industry. It was just a sandbox for a control freak who couldn’t let go.
Frank Sinatra, on the other hand, was known as “one take Frank.” He’d walk into the studio, sing a song live with a full band, turn around, and walk out. Quincy Jones produced Sinatra and described recording an album with him:
He came in at 2 p.m., and in less than two hours we had rehearsed, had keys and routines on ten songs…Frank is one take, that’s it. If the band’s not in shape, he leaves them behind…he came in at 7, and at 8:20, baby, we went home. None of that three month stuff.
U2 singer Bono always respected Sinatra for that approach too:
It’s all about the moment, a fresh canvas and never overworking the paint. I wonder what [Sinatra] would have thought of the time it’s taken me and my bandmates to finish albums, he with his famous impatience for directors, producers — anyone, really — fussing about. I’m sure he’s right. Fully inhabiting the moment during that tiny dot of time after you’ve pressed “record” is what makes it eternal.
Sinatra’s one take style produced classics. Axl’s dithering produced a pile of mush. We can all learn something from that. It’s easy to fall into a trap of nitpicking over things that don’t really matter. Instead, focus on the essence of what you’re doing. Press record, get it done, and get it out there. (And that’s even more true if what you’re creating is something you’ll get to improve upon after it’s released.)



