The upcoming closings of two Blockbuster video stores in Alaska will leave one store in central Oregon as the last one in the United States.
For almost 25 years, Shane Smith’s plan was that, by the time the suckers caught on, he’d never be stuck owning the company he co-founded.
A fantastic article.
This reminds me a lot of the recent Theranos stories and book. It’s sad how companies don’t do enough due diligence on potential investments like this. When I think about how much basic work and discussion Marcus Lemonis does for $100,000 investments, I’m appalled to hear what people are doing for multi-millions. It’s stunning that a company can get to this size and be worth nearly nothing. Using the relative size (ie number of employees) of business units like human resources and legal within a particular industry could be a reasonable guide for the internal management of a company.
This is also a good example that while investments may give a company a particular valuation, it can rarely be the actual potential present value of the company. As a result, workers who are working for near free plus stock should be paying closer attention to company internals to know that their stock portion is going to be completely worthless.
Worse, I’m always pained to hear that young people (rich or otherwise) are essentially giving away their work and sweat equity away for free to big companies that could easily pay them. Eventually the pendulum is going to swing back the other way and companies are going to need to pay more.
“Shane would always say that young people are the No. 1 bullshit detector, which was annoying once you realized that the thing he mastered is getting young people to buy shit,” says a recently departed senior employee.
Restrictions and no longer selling its one-movie-per-day plan, are bad signs
Sad to hear this is happening. Hopefully they can hang along to get the expected economies of scale they were aiming to get before they go under. Of course, somehow the market is going to equilibrate on them.
If you’re familiar with much of my IndieWeb work, you probably know I’m drawn to building translators, proxies, and bridges to connect different protocols and services that do similar things. There’s been a lot of activity recently around Microsub, a standard API for feed reader clients to talk to feed reader servers. Many existing readers have APIs, so I’ve been thinking about a bridge that would translate those APIs to Microsub, so that reader clients like Together and Indigenous could use traditional reader services like Feedly and NewsBlur as their backend.
This article brings such warmth to my heart. It’s even beyond what I had originally envisioned in Feed Reader Revolution.
I’m salivating what this portends for the web and my ability to read it better in the future!
I don’t post “notes” to Facebook often, but I’d noticed a few weeks ago that several pieces I’d published like this a while back were apparently unpublished by the platform. I hadn’t seen or heard anything from Facebook about them being unpublished or having issues, so I didn’t realize the problem until I randomly stumbled back across my notes page.
They did have a piece of UI to indicate that I wanted to contest and republish them, so I clicked on it. Apparently this puts these notes into some type of limbo “review” process, but it’s been a few weeks now and there’s no response about either of them. They’re still both sitting unseen in my dashboard with sad notes above them saying:
We’re reviewing this post against our Community Standards.
There is no real indication if they’ll ever come back online. Currently my only option is to delete them. There’s also no indication, clear or otherwise, of which community standard they may have violated.
I can’t imagine how either of the posts may have run afoul of their community standards, or why “notes” in particular seem to be more prone to this sort of censorship in comparison with typical status updates. I’m curious if others have had this same experience?
This is just another excellent example of why one shouldn’t trust third parties over which you have no control to publish your content on the web. Fortunately I’ve got my own website with the original versions of these posts  that are freely readable. If you’ve experienced this or other pernicious problems in social media, I recommend you take a look at the helpful IndieWeb community which has some excellent ideas and lots of help for re-exerting control over your online presence.
Notes on Facebook were an early 2009 era attempt for Facebook to have more blog-like content and included a rather clean posting interface, not un-reminiscent of Medium’s interface, that also allowed one to include images and even hyperlinks into pages.
The note post type has long since fallen by the wayside and I rarely, if ever, come across people using it anymore in the wild despite the fact that it’s a richer experience than traditional status updates. I suspect the Facebook black box algorithm doesn’t encourage its use. I might posit that it’s not encouraged as unlike most Facebook functionality, hyperlinks in notes on desktop browsers physically take one out of the Facebook experience and into new windows!
The majority of notes about me are spammy chain mail posts like “25 Random Things About Me”, which also helpfully included written instructions for how to actually use notes.
25 Random Things About Me
Rules: Once you’ve been tagged, you are supposed to write a note with 25 random things, facts, habits, or goals about you. At the end, choose 25 people to be tagged. You have to tag the person who tagged you. If I tagged you, it’s because I want to know more about you.
(To do this, go to “notes” under tabs on your profile page, paste these instructions in the body of the note, type your 25 random things, tag 25 people (in the right hand corner of the app) then click publish.)
Most of my published notes were experiments in syndicating my content from my own blog to Facebook (via POSSE). At the time, the engagement didn’t seem much different than posting raw text as status updates, so I abandoned it. Perhaps I’ll try again with this post to see what happens? I did rather like the ability to actually have links to content and other resources in my posts there.
I almost look at this podcast as a far better version of some of the “Sunday shows” where the guest isn’t always so heavily guarded because it would be impolitic or that they’re lost in a sea of voices amongst a larger panel where they just can’t develop some longer coherent thoughts or theses.
To some extent, this podcast is starting to fill a hole in my daily schedule that was created by the disappearance of The Charlie Rose show late last year. The sad part is that, at only once a week, I’m going to wish I had a lot more when I’m done binge-listening to the short backlog I’ve got. On The Atlantic Interview I appreciate that the “thing guests may be selling” (book, article, show, film, etc.) takes a pointed back seat to the broader topic(s) at hand.
Much of the strength of what I’ve heard thus far stems from interviews with people that are slightly off the beaten path, but with serious messages and interesting viewpoints. They’ve all been journalisticly solid and almost always provide me with news, viewpoints, and subtle information that I didn’t have before. Another strength is that the show can give guests additional time and depth than they might receive on other traditional shows. The guests so far have been very smart, cogent, and interesting. Their selection has been well balanced for gender, topic, and general variety within the space the show occupies. The show has generally impeccable audio and production values.
While initial guests seem to have an air of familiarity with the host as the result of closer (disclosed) interpersonal connections, I suspect that even when the list of immediate friends in his Rolodex runs dry, the show will easily have enough value and gravitas to successfully run on long beyond this.
One of my favorite parts of these podcasts are the somewhat snarky bumpers that Goldberg puts onto the the end encouraging people to give reviews and subscribe. I kind of wish he’d let loose a bit more and inject some of this kind of snark into the interviews too. If nothing else, he’s at least having fun with a part of the show that would otherwise be typically painful to trudge through.
I’d love to hear more about education policy, health care, public heath, internet, and foreign policy. A few guest ideas I’d love to hear in this format: Tressie McMillan Cottom, Mike Morrell, Susan J. Fowler, César A. Hidalgo, Tantek Çelik, Ellen J. MacKenzie, and Ezekiel Emanuel. Continuing in the vein of interviewing the interviewers, which I find terrifically fascinating, I’d love to see Judy Woodruff, Fareed Zakaria, W. Kamau Bell, Trevor Noah, and John Dickerson in the future. These aside, I suspect that anyone that Mssr. Goldberg finds intriguing, I’m sure I will as well.
Additional Technical Commentary
I really wish their podcast had individual web pages for each episode so I could more easily email, share, or target individual episodes for people. It would also be nice if the main page actually had .mp3 versions of the audio embedded in them to make it easier to bookmark and share through services like Huffduffer.com. I really don’t know why podcasters insist on using third party podcasting services to hide their .mp3 files from the outside world–it’s literally their most important product! Stop it! I find the practice to be as irksome as newspapers that use Facebook as their primary means of distribution, and just like that case, they’ll regret it in the long run.
While Megaphone.fm is a nice hosting platform for the show, I’m not sure why a publication the size and scope of The Atlantic isn’t simply self-hosing their own content using their own URLs.
The content for the show is still a bit scatter-brained. The main page on The Atlantic has the best and most comprehensive meta-descriptions of episodes, while the Megaphone page has some nice individual episode artwork that The Atlantic doesn’t have or present. This is sure to cause uneven experiences for people depending on how they choose to subscribe.
I appreciate that some of the early episodes went to the trouble to have full transcripts and some additional snippet content and images. I miss these transcripts. I do know that doing this can be painful and expensive, though perhaps services like Gretta.com might have some technology to help. If they want to go crazy, it would be cool to see Audiogram functionality, which they could use instead of relying on Megaphone or some other platform.
MoviePass, the almost all-you-can-watch buffet of movies on the big screen, is a pretty sweet deal at $9.95 a month. But what if I told you that deal could be even sweeter? We’re talking scoring free popcorn, guaranteeing tickets to brand new releases, and easily avoiding the most common problems. All you need is the right tricks.
Last month, in its second round of layoffs in as many years, comedy hub Funny or Die reportedly eliminated its entire editorial team following a trend of comedy websites scaling back, shutting down, or restructuring their business model away from original online content. Hours after CEO Mike Farah delivered the news via an internal memo, Matt Klinman took to Twitter, writing, “Mark Zuckerberg just walked into Funny or Die and laid off all my friends.” It was a strong sentiment for the longtime comedy creator, who started out at UCB and The Onion before launching Pitch, the Funny or Die-incubated joke-writing app, in 2017.
This article really has so much. It also contains a microcosm of what’s been happening in journalism recently as well. I have a feeling that if outlets like Funny or Die were to go back and own their original content, there would still be a way for them to exist, we just need to evolve the internet away from the centralized direction we’ve been moving for the past decade and change.
Highlights, Quotes, & Marginalia
eliminated its entire editorial team following a trend of comedy websites scaling back, shutting down, or restructuring their business model away from original online content. Hours after CEO Mike Farah delivered the news via an internal memo, Matt Klinman took to Twitter, writing, “Mark Zuckerberg just walked into Funny or Die and laid off all my friends.” It was a strong sentiment for the longtime comedy creator, who started out at UCB and The Onion before launching Pitch, the Funny or Die-incubated joke-writing app, in 2017.
“Mark Zuckerberg just walked into Funny or Die and laid off all my friends.”
The whole story is basically that Facebook gets so much traffic that they started convincing publishers to post things on Facebook. For a long time, that was fine. People posted things on Facebook, then you would click those links and go to their websites. But then, gradually, Facebook started exerting more and more control of what was being seen, to the point that they, not our website, essentially became the main publishers of everyone’s content. Today, there’s no reason to go to a comedy website that has a video if that video is just right on Facebook. And that would be fine if Facebook compensated those companies for the ad revenue that was generated from those videos, but because Facebook does not pay publishers, there quickly became no money in making high-quality content for the internet.
Facebook has created a centrally designed internet. It’s a lamer, shittier looking internet.
The EU has a bunch of laws kicking in to keep this in check — one is algorithmic transparency, where these places need to tell me why they are showing me something.
If someone at Facebook sees this, I want them to know, if they care at all about the idea that was the internet, they need to start thinking through what they are doing. Otherwise, then you’re just like Lennie from Of Mice and Men — a big dumb oaf crushing the little mouse of the internet over and over and not realizing it.
And I want it to feel that way to other people so that when they go to a cool website, they are inspired: They see human beings putting love and care into something.
Facebook is essentially running a payola scam where you have to pay them if you want your own fans to see your content.
It’s like if The New York Times had their own subscriber base, but you had to pay the paperboy for every article you wanted to see.
And then it becomes impossible to know what a good thing to make is anymore.
This is where webmentions on sites can become valuable. People posting “read” posts or “watch” posts (or even comments) indicating that they saw something could be the indicator to the originating site that something is interesting/valuable and could be displayed by that site. (This is kind of like follower counts, but for individual pieces of content, so naturally one would need to be careful about gaming.)
Here’s another analogy, and I learned this in an ecology class: In the 1800s (or something), there were big lords, or kings or something, who had giant estates with these large forests. And there were these foresters who had this whole notion of how to make a perfectly designed forest, where the trees would be pristinely manicured and in these perfect rows, and they would get rid of all the gross stuff and dirt. It was just trees in a perfect, human-devised formation that you could walk through. Within a generation, these trees were emaciated and dying. Because that’s how a forest works — it needs to be chaotic. It needs bugs and leaves, it makes the whole thriving ecosystem possible. That’s what this new internet should be. It won’t survive as this human-designed, top-down thing that is optimized for programmatic ads. It feels like a desert. There’s no nutrition, there’s no opportunity to do anything cool.
Recommending things for people is a personal act, and there are people who are good at it. There are critics. There are blogs. It’s not beneficial to us to turn content recommendations over to an algorithm, especially one that’s been optimized for garbage.
the internet was a better place 3-4 years ago. It used to be fruitful, but it’s like a desert now.
Facebook is the great de-contextualizer.
The state-of-the-art in feed readers was frozen in place sometime around 2010, if not before. By that time most of the format wars between RSS and Atom had long since died down and were all generally supported. The only new features to be added were simple functionalities like sharing out links from readers to social services like Facebook and Twitter. For fancier readers they also added the ability to share out to services like Evernote, OneNote, Pocket, Instapaper and other social silos or silo related services.
So the real question facing companies with stand alone traditional feed reader products–like Feedly, Digg Reader, The Old Reader, Inoreader, Reeder, NewsBlur, Netvibes, Tiny Tiny RSS, WordPress reader–and the cadre of others is:
- What features could/should we add?
- How can we improve?
- How can we gain new users?
- How can we increase our market share?
In short the primary question is:
What should a modern RSS feed reader be capable of doing?Syndicated copies to:
Some interesting analysis of what we’re loosing with the death of video stores. In particular, we’re losing some of the same type of recommendations and serendipity we’re loosing with the rise of e-books and less use of libraries/librarians. In particular, loosing well-curated collections is a big issue as we replace them with streaming services which don’t seem to have the same curatorial business models.
I particularly enjoyed this quote:
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A great video store’s library of films is like a little bubble outside the march of technology or economics, preserving the fringes, the forgotten, the noncommercial, or the straight-up weird. Championed by a store’s small army of film geeks, such movies get more traffic than they did in their first life in the theater, or any time since. Not everything that was on VHS made the transition to DVD, and not every movie on DVD is available to stream. The decision to leave a movie behind on the next technological leap is market-driven, which makes video stores the last safety net for things our corporate overlords discard.
I’ve been invited to participate in a panel discussion as part of an Intersession course by the Johns Hopkins Film and Media Studies Program. I hope fellow alumni in the entertainment and media sectors will come out and join us in Culver City on Thursday.
Join the Hopkins in Hollywood Affinity Group (AEME LA) as they welcome Linda DeLibero, Director of the JHU Film and Media Studies Program, and current students of the program for a dynamic evening of networking which features an alumni panel of industry experts.
Open to alumni, students, and friends of Hopkins, this event is sponsored by Donald Kurz (A&S ’77), Johns Hopkins University Emeritus Trustee and School of Arts and Sciences Advisory Board Member, and the Hopkins in Hollywood (AEME LA) Affinity Group.
Event Date: Thursday, January 12, 2017
Start Time: 6:30pm
End Time: 8:30pm
Donald Kurz, A&S ’77
Jason Altman, A&S ’99
Jason Altman is an Executive Producer at Activision working on the Skylanders franchise and new development projects. Prior to Activision, he spent the past 5 years at Ubisoft Paris in different leadership roles, most recently as the Executive Producer of Just Dance, the #1 music video game franchise. He is a veteran game producer who loves the industry, and is a proud graduate of the media studies program at Johns Hopkins.
Paul Harris Boardman, A&S ’89
Paul Boardman wrote The Exorcism of Emily Rose (2005) and Devil’s Knot (2014), both of which he also produced, and Deliver Us From Evil (2014), which he also executive produced. In 2008, Paul produced The Day the Earth Stood Still for Fox, and he did production rewrites on Poltergeist, Scream 4, The Messengers, and Dracula 2000, as well as writing and directing the second unit for Hellraiser: Inferno (2000) and writing Urban Legends: Final Cut (2000). Paul has written screenplays for various studios and production companies, including Trimark, TriStar, Phoenix Pictures, Miramax/Dimension, Disney, Bruckheimer Films, IEG, APG, Sony, Lakeshore, Screen Gems, Universal and MGM.
Devon Chivvis, A&S ’96
Devon Chivvis is a showrunner/director/producer of narrative and non-fiction television and film. Inspired by a life-long passion for visual storytelling combined with a love of adventure and the exploration of other cultures, Devon has made travel a priority through her work in film and television. Devon holds a B.A. from Johns Hopkins University in International Relations and French, with a minor in Italian.
Chris Aldrich, Engr ’96
Chris started his career at Hopkins while running several movie groups on campus and was responsible for over $200,000 of renovations in Shriver Hall including installing a new screen, sound system, and 35mm projection while also running the 29th Annual Milton S. Eisenhower Symposium “Framing Society: A Century of Cinema” on the 100th anniversary of the moving picture.
Following Hopkins he joined Creative Artists Agency where he worked in Motion Picture Talent and also did work in music-crossover. He later joined Davis Entertainment with a deal at 20th Century Fox where he worked on the productions of Heartbreakers, Dr. Dolittle 2, Behind Enemy Lines as well as acquisition and development of Alien v. Predator, Paycheck, Flight of the Phoenix, Garfield, The Man from U.N.C.L.E., I, Robot and countless others.
Missing the faster pace of representation, he later joined Writers & Artists Agency for several years working in their talent, literary, and book departments. Since that time he’s had his own management company focusing on actors, writers, authors, and directors. Last year he started Boffo Socko Books, an independent publishing company and recently put out the book Amerikan Krazy.
Part of the course:
Students will have the opportunity to spend one week in Los Angeles with Film and Media Studies Director Linda DeLibero. Students will meet and network with JHU alums in the entertainment industry, as well as heads of studios and talent agencies, screenwriters, directors, producers, and various other individuals in film and television. Associated fee with this intersession course is $1400 (financial support is available for those who qualify). Permission of Linda DeLibero is required. Film and Media Studies seniors and juniors will be given preference for the eight available slots, followed by senior minors.Students are expected to arrive in Los Angeles on January 8. The actual course runs January 9-13 with lodging check-in on January 8 and check-out on January 14.
|Course Number: AS.061.377.60
Days: Monday 1/9/2017 – Friday 1/13/2017
Times: M – TBA | Tu- TBA | W- TBA | Th- TBA | F- TBA
Instructor: Linda DeLibero
First a major note of thanks to everyone who helped to make the launch of Little Free Library Branch #8424 a fantastic success. Everyone’s support and encouragement is truly appreciated.
When I was setting up, I naturally brought a book to read, but I did it mostly thinking that only two people might actually stop by. (Hey, I’ll be the first to admit that this is a pretty nerdy and a very local pursuit. It’s easy to click “like” on a post; it’s a whole other thing to visit a small neighborhood library even one with free oatmeal cookies.) Fortunately and very pleasantly, there was a steady stream of people from start to finish, so much so that, as the host, I didn’t get to chat with the visitors as much as I would have liked. Apologies to those I couldn’t chat with more, and even moreso to those who heard answers to the same questions multiple times.
In the end, we had over 20 people and a few pets stop by our little event.
A Double Drive-by… booking?!
Under the heading of “Only in LA” I’ll mention that, the highlight of our grand opening was what I can only describe as a double “drive-by booking.” Fortunately no one was hurt.
About 20 minutes into the event a car drove up with two bibliophiles. They each had a book to donate, but apparently didn’t have the time to park and actually stop for a glass of tea or any cookies. So they simply dropped off their books anonymously and then drove immediately off into the sunset. A few minutes later, another car drove up and did the same thing: they donated a book, said hello, and then proceeded on their way without joining the party! Maybe they had an important book signing or a library event to rush off to? Maybe the library police were chasing them for late fines? The mafia probably would have called foul as they didn’t technically put a foot on the curb or call us out, but hopefully this is as dangerous as things get in the Little Free Library world. One of the donated books had its South Pasadena Library serial number filed off, possibly to keep it from being traced, but authorities are working diligently on the case.
As if the double drive-by wasn’t odd enough, we also had a minivan drove by with a brief stop to ask what was going on. The driver mentioned that the car of several people happened to include two librarians, so apparently we’ll have to keep our eyes peeled for possible additional drive-by bookings.
Thanks for the Donations!
Special thanks go to Adam and Darren who dropped off 3 books. And to Delilah from down the street who was responsible for our first children’s book donation. And we can’t forget the massive donation of 8 books of literary fiction from Jeffrey Stewart making the largest, single one time donation. Several other neighbors dropped books off, and many browsed and found something interesting to take with them. I have to admit that I’m glad that I live in a neighborhood with such great taste in books.
The award for the longest distance donation goes to Samantha Marks who donated a signed copy of her new book A Fatal Family Secret which she shipped from Ellicott City, Maryland just in time for the Grand Opening. It counts as the newest book in our collection as it was just published in May. Since it was checked out almost as soon as it entered the collection, it also rates as our quickest check out; those in a rush may want to pick up a copy at Amazon or other fine booksellers.
In all we had a total of 26 donations for our Grand Opening, bringing our grand total to 49, so far.
As a special mention, the award for the furthest distance traveled to make our grand opening goes to Jocelyn, who came from London on her way to Oklahoma!
Again, a big “Thank You!” to everyone who helped to make our Grand Opening such a lovely success! We look forward to seeing everyone come back soon!
Website and Social Media
For those who weren’t able to stop by, we’re now open 24/7 365 days a year. You can visit our branch online at its own website or by means of your favorite social media platform:
- Web: http://lfl8424.boffosocko.com/
- Facebook: https://www.facebook.com/LFL8424
- Twitter: https://twitter.com/LFL8424
- Google+: https://plus.google.com/101597495399600013512/posts
- GoodReads: Books currently on our bookshelf (updated regularly – hey, we live on a pretty big hill and walking up to see what’s on tap can be torture, especially in 80+ degree heat)
- BookCrossing: Little Free Library #8424 Crossing Zone
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Almost the same moment I saw my first Little Free Library, I decided that I wanted to host one of my very own, so I registered with the intent of building one in my free time. The registration arrived and I’d drafted some very serious custom plans, but just never gotten around to purchasing the supplies and building it.
Recently I saw something a bit more quirky and interesting than my original plans that I could up-cycle, so I made the purchase (happy belated birthday to me)! It’s got two spacious shelves with two doors including a glass fronted one, and it’s got the capacity for at least 6 linear feet of books. We’re nearly ready to go.
I’m hoping to get some mounting materials and have the library up and running soon. My plan is to specialize in literary fiction, though I’m sure we’ll also stock a fair amount of popular science and non-fiction as well as thriller, mystery, and suspense as well.
Invitations to the “launch” party should be coming shortly! If you’ve got some books you’d like to donate toward the cause, let me know in the comments below. Be sure to include a Book Crossing ID number on them if you’d like to track where your favorite objects head off to in the future.
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