Scott Adams: “Super-local news”

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“It’s not just news about your community, but also about your homeowner’s association, your apartment building, your kids’ classrooms, and the sports teams they belong to. Every family would have their own online local newspaper, assembled electronically every day based on that family’s log-in information. Your personal and super-local news would include everything from world events to school lunch menus for that day. Eventually it might even include your child’s report card. Obviously the schools have to be partners in this, and I think that could happen. Most school information is online already or heading in that direction. It just needs to feed to the newspaper’s site for aggregation.

The key is for the super-local information to come to the newspapers from volunteers. For example, every youth sport team would have a parent with a digital camera and the willingness to upload some pictures and write a few lines about the game. A simple user interface would make it easy to integrate the news about little Becky’s soccer game with news of the Lakers. They would have equal billing.”

“To follow or not to follow? How do you decide?”

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Here's how Phil Johnson, writing in Advertising Age, decides:

"When somebody new crosses my path, I take a look at their last 10 tweets and ask myself three sets of questions:

  1. Can I learn something from this person? Does he connect me with information that I would never find on my own?
  2. Is she original? Does she have a distinct voice and make interesting observations about the world and business?
  3. If I'm not getting a clear answer, I ask the ultimate question, "Would I drink with him?"

If I know the person, there's a good chance I'll follow them. If I don't, I'll look at their profile and check out a website if they provide a link. If they're "following" hundreds of people, I figure they're just trying to pump up their numbers and I block them.

When I hear someone sneer, "I don't care about what someone had for breakfast," as a way of dismissing something about which they are clearly ignorant… I immediately think: I don't remember the last time I saw a tweet like that. Why would I follow someone with so little to say? No, this is just an easy rationale for learning something new.

Treme: New series from creator of The Wire

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David Simon –creator of The Wire and Generation Kill– is currently shooting a pilot for Treme, his proposed new series about musicians in post-Katrina New Orleans.

“It will feature at least two veterans of his earlier work: Clarke Peters, who played Lester Freamon in The Wire, and Wendell Pierce, who played Bunk Moreland. If commissioned by HBO, Simon promises, Treme will remain true to the philosophy he pungently encapsulates in the phrase “Fuck the average viewer”. His shows, he explains, reject the conventional TV wisdom that everything must be explained upfront, instead demanding intense concentration from viewers, who must grapple with an unfamiliar world. Rather than writing for a general audience, he says: “I want to write for the guy living the event.”

So, are there people who watched and enjoyed The Wire… and were also regular viewers of Extreme Home Makeover?

Newspaper endorsements

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This is the story of a friend who works in municipal government– we’ll say he’s the city administrator– in a medium size city in… let’s say Vermont. The need for obfuscation will become clear.

The city administrator is unhappy with one of the editorial policies of the local newspaper publisher. (It’s a one paper town) In order to be published, letters to the editor must be signed. But comments on the newspaper website can be anonymous.

Recent comments on one story had gotten kind of personal (toward the administrator). When he complained to the publisher, pointing out the inconsistency of the print and online policy, the publisher explained it was a matter of cross-promoting the two, and readers online expected to be able to share their views anonymously.

I suggested my friend tell his side of the story on his blog. “I really can’t do that,” he explained. “I need the paper’s support in the upcoming annexation vote.”

I’ve never given much thought to the tradition of newspapers endorsing candidates and issues. And I struggle to understand how it’s a good idea. Once the paper takes a position, let’s say “Yes On Annexation,” how can the readers have any confidence in their reporting of the issue going forward?

It seems to me they can wield this kind of power for only as long as they are one of limited sources of news and information in that community.

And if their editorial support for a candidate or issue is pure, how can it be used to intimidate those who call them out in public, on a blog, for example. Seems like you’d have to keep your position secret until the last minute in order to keep folks in line.

If this is the way the game works, I don’t think the public is well served. It’s all about power. Power of those who govern. Power of the media who help them get elected. Where’s the power for the little guy?

I have no idea what will replace the dying newspaper business. But I bet it won’t have this kind of don’t-piss-us-off-or-you’ll-regret-it power. And we’ll see soon enough.

Oh my. It appears we need ANOTHER ending

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Young woman (college age) scours flea markets looking for digital cameras and the occasional memory card. She uses the more interesting photos in her art projects. She finds a little point and shoot and buys it, even though she can’t seem to call up any photos.

Later that afternoon she gets the camera to turn on and finds just two photos. One is an amazingly realistic image of the World Trade Center Towers in mid-collapse. The date and time (the following morning) appear in the lower right-hand corner.

Gruesome, but damned good Photo Shop work. She emails it to an art school friend who is equally impressed. Can’t see how it’s done and he can ALWAYS see how it’s done. Really bugs him.

The next morning the world changes forever. She goes back to her apartment and calls up the image on her laptop. The same image she see from her apartment window. Whoa.

The phone rings and it’s her friend from art school.

“What the fuck!? Where did you get that picture? Where did you get a fucking picture of something before it happened.

[later at friends apartment]

Young Woman wants to take the photo to the police. Hold on, says Friend. How can you explain having that photo. No way, have to think this through. Was that the only photo on the camera, asks Friend?

Young Woman pulls up the other image. It’s a store front with a selection of cameras displayed. One is circled in red. But nothing to indicate where the shop might be.

[We’ll fast-forward a bit and assume they see a street sign or address in the reflection or something like that]

They buy the camera and jump back in the car to take a look. Again, two photos. One a disaster (make it as big and as bad as you like) with date and time stamp for a week from that day.

They have to figure out where the disaster is going to take place and how to stop it. I’ll bet real screenwriters have a name for this kind keep-the-plot-moving writing. This sequence repeats a few times with the girls preventing some and not others.

The final camera only has one photo. Of the Friend shooting Young Woman in the head with a large handgun.

Regular readers know that this is where I stall out. No ending. No way to wrap things up. That, class is your assignment. To the comments!

PS: This is only a little like a story idea I posted a couple of years ago.