NPR's On the Media is a terrific weekly distillation of how the world was interpreted (with some snarky, wise-acre attitude) by our various news orgs. Recently, they devoted their hour to the trials of the music industry. In short order I expect a radio doc on the history-repeating-itself (or not) tribulations of the network TV biz. Here's the first 12 minutes of "The Future of the Music Industry." You can hear the whole thing from their site for free or via iTunes, also free.
A few years ago I was employed as a writer working on several Fox Network TV shows. Even then, while the paycheck was nice, I had some qualms about working for an organization whose news division was so... well, idiotic. And dangerous. Now Newsweek's Jacob Weisberg has a few thoughts.
That Rupert Murdoch may tilt the news rightward more for commercial than ideological reasons is beside the point. What matters is the way that Fox's model has invaded the bloodstream of the American media. By showing that ideologically distorted news can drive ratings, Ailes has provoked his rivals at CNN and MSNBC to develop a variety of populist and ideological takes on the news. In this way, Fox hasn't just corrupted its own coverage. Its example has made all of cable news unpleasant and unreliable.
My next job offer from Fox, if there is one, will be met with some serious consideration.
And weepy Glenn Beck has begun to exhibit a Strangelovean concern about government invading our bloodstream by vaccinating people for swine flu. With this misinformation campaign, Fox stands to become the first network to actively try to kill its viewers.
It's going to happen. And with this, subscription-based "print" media will finally be justified. From Wired: Picture a free magazine app that offers one sample issue and the ability to purchase future issues afterward. Or a newspaper app that only displays text articles with pictures, but paying a fee within the app unlocks an entire new digital experience packed with music and video. This is an example of the “freemium” model that Wired magazine’s Chris Anderson explains in his book Free. It’s a model that some publishers, including Wired’s parent company Condé Nast, are already experimenting with on their websites. (Our sister publication Ars Technica, for example, offers its general content for free, as well as a “Premier” subscription option for readers to access exclusive content.)