In a recent New Yorker essay, staff writer Masha Gessen argued that the press should not boycott the White House in the wake of the Jim Acosta debacle (“After the White House Banned Jim Acosta, Should Other Journalists Boycott Its Press Briefings?,” Nov. 9). As a reporter who covers government, and by extension politics, I feel compelled to respond.
Gessen may in fact be right, but I don’t think her arguments make her case. And the main reason why I think that can be summed up by a quote in the article by NYU professor Jay Rosen, who argued on his blog that the press should “send the interns” to cover the White House because it’s essentially become a backwater for factual, verifiable information.
“Recognize that the real story is elsewhere, and most likely hidden,” Rosen wrote.
Gessen’s counterargument is that “[t]he White House is a lousy source of information about itself, but it’s also the best available source.” Not covering it, she argues, “would give this White House exactly what it wants: less contact with the media, less visibility, ever less transparency and accountability.”
The problem with that, as Rosen notes, is that there already is no transparency or accountability to be found there, so why waste the talents of your best reporters trying to find it there?
The real story is to be found at the agencies that have to enact the random, whim-based policies, that have to deal daily with the fallout on millions of Americans as well as people around the world who suffer the consequences.
And the people who cover those agencies on a daily basis have the contacts and the trust of people who can get them that information. Probably not the trust of the appointed puppets in the head offices, but we don’t need to hear them parrot their dictated talking points anyway.
Gessen writes, “Refusing to engage with [Trump’s] words would mean refusing to engage with Trump voters and with the Trump Administration itself. It would mean walking away from politics altogether, which, for journalists, would be an abdication of responsibility.”
I disagree with that because I think it’s an artificial conflation. The words, the voters, and the administration are all incredibly different things. The words are from one person. The voters have many different voices, and to lump them together is to deny the voters their say, to treat them as a simple faceless collective. Sure, many of them are ditto-heads, but the best reporters will find out why they are.
And with regard to the administration, as I said the story is really to be found at the coalface, where every day someone who is being paid by our tax dollars is making a decision to deny an immigrant a visa or to incarcerate a person of color or try to fight an injustice without the resources to do their job.
And as for “walking away from politics altogether,” I’d remind her of the phrase often attributed to former House Speaker Tip O’Neill that “all politics is local.” The real story of this White House is not to be found at this White House. The story is to be found in the consequences, from the agency headquarters in DC (yes, White House press corps, you don’t have to leave DC and its swank hotels and hip neighborhoods to still write about the administration) all the way down to the state highway administrations and county health agencies and city police departments.
Gessen’s view of the situation, perhaps informed by her years covering the autocratic politics of Putin (she wrote a chilling and authoritative biography of the man), assumes a far more centralized national government than I’ve seen from my years working with and around federal science agencies. Just because the president imagines that he can be a dictator doesn’t mean that the entire federal bureaucracy has decided to reinvent itself overnight to accomodate his delusional fantasy.
Thank god sometimes for the slow wheels of the bureaucracy.
I would argue that Gessen’s vision of a top-down, monolithic national politics — a narrative no doubt embraced by the trivial reality-show personality who fancies himself to be a classic Russian-style strongman — can be most effectively refuted by a press corps that is dedicated to telling the story of national politics from the ground up.
Late last week, Pulitzer Prize-winning Washington Post columnist Charles Krauthammer announced that he will soon succumb to cancer. The Post respected his wishes to keep the news low-key, and in the editorial board’s tribute to him noted that “[h]is unsparing judgments were cheered by some readers while angering others,” yet “few could disagree that he wrote a column of breathtaking range and intelligence and integrity.”
Urbane, witty, incisive, and intellectually uncompromising, Krauthammer assumed William F. Buckley, Jr.’s place as the preeminent voice of American conservatism in an era when the term “public intellectual” has all but lost its meaning. Whether one agreed or disagreed with him (and on issues like Israel and the Middle East, there was plenty with which to disagree), the debate usually circled around objective things — facts and data and history.
There will be much to mourn with Krauthammer’s passing, but high on the list is his emphasis on a discourse of agreement and disagreement, rather than on pointless debate over “right” and “wrong.”
Here’s why that’s especially important these days:
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Playing with color saturation and black settings in post-processing.
taken with a Canon EOS 400D with 18-55mm EF-S at 31mm f/7.1, 1/80s exposure
taken with a Canon EOS 400D with 18-55mm EF-S at 18mm f/3.5
I was reading an article on the subject of the “right to repair” movement a little while ago and it got me thinking about why this apparently commonsense concept comes across as almost quixotic in a country that prides — or used to pride — itself on its self-reliance.
First of all, while I understand and appreciate the points being made, but I take issue with the slogan “right to repair.” This isn’t a rights issue. We use this term so loosely here, almost as a formal way of saying “I wanna.”
I mean I get their point, but turning this into a legislative thing is to my mind just silly. I agree with them in principle that manufacturers should not actually go out of their way to make products unserviceable by third parties. But compelling them to do it through legislation is a dead end. If there was a demand for it, there would be a supply of it.
On the other hand, the article brought up the case of the demise of independent camera repair shops, laying it on Nikon for deciding to stop making repair parts available to third-party vendors. That may be so (it sounds too pat, but I admit I don’t know the story), but at the same time Nikon is not obligated to keep other companies in business.
In an age where business is defined solely as the generation of profit, it makes sense that a company would not want to lose out on a revenue stream just out of being polite to customers. Yes, there are all kinds intangible benefits of such largesse, but they are exactly that: intangible. They don’t service the bottom line, which is all the accountants care about, and all the MBAs running businesses have been told to care about.
The repair culture that we used to have in this country — from farm equipment to radios and TV to cars and everything in between — required two things: a culture of people who saw it as part of their responsibility to maintain and repair the things they owned, and a business philosophy that focused on cultivating customers, not revenue.
Convenience plus growing middle-class affluence took care of the former; the need to repair something meant that you are not able to afford a new one. The rise of profit as the sole measure of corporate success in the immediate post-WWII years took care of the latter.
While writing the last couple of paragraphs, the phrase “the profit bubble” floated through my head. To my mind, the trajectory of an ever-greater focus on a single indicator — in this case, profit — followed by the increasing effort to hitch everything to that single indicator and the obsessive focus on it by people who should be skilled at looking at other things but who slavishly follow the trend instead, has all the earmarks of a classic bubble.
That the profit bubble has lasted as long as it has does not mean that it isn’t in fact a bubble; it’s a matter of scale. After all, the difference between an island and a continent is ultimately just a matter of semantics. It does, however, portend the scale of the impact and consequences when it ultimately does burst.
In any case, if and when companies see that it is in their best interests to once again encourage an support a repairability mindset among customers, then it will happen. It can’t, and it won’t, happen through legislation. And even if such legislation were to pass, it would not last long, for all the right and wrong reasons. The lasting solution requires changing the very underpinnings of modern business philosophy. Infinitely harder to accomplish, but infinitely more enduring.
When it was revealed that Jodie Whittaker would be the thirteenth Doctor, I was thrilled — I’ve been waiting for this ever since 1981, when Tom Baker wished good luck to his successor, “whoever he — or she — may be.”
But of course, being something of an old-school Whovian, I recalled that this is hardly the first time we’ve seen the Doctor become a woman. That happened in the brilliantly funny 1999 charity telethon special Doctor Who: The Curse of Fatal Death. To refresh my memory, I went back to YouTube to watch it again.
As I did, a chill came over me. I suddenly realized: The rebooted series has basically been Curse of Fatal Death unfolding in real time.
See, Steven Moffat, the showrunner who is departing the show with the arrival of the new Doctor, was the writer of Curse of Fatal Death. It was, in fact, the first Who story he ever wrote.
The thing is, Curse of Fatal Death appears to map out his entire involvement with the relaunched series, first as a writer and then as producer — almost twenty years before it had even begun. Consider:
||Curse of Fatal Death
|The Doctor’s Getting Married to:
||Emma (Julie Sawalha)
||River Song (Alex Kingston, et al.)
|Four Male Doctors…
||Rowan Atkinson, Richard E. Grant, Jim Broadbent, Hugh Grant
||Christopher Eccleston, David Tennant, Matt Smith, Peter Capaldi
|…Followed by a Female Doctor
||Gets “Dalek bump” breast implants
||Becomes a woman (Michelle Gomez)
I’m betting that there’s probably a bunch of other little Easter eggs in there that I’m missing just because I’m not a regular watcher of the new show. If anyone can contribute to the list, please leave a comment below and I’ll add it to the table. (If you’re reading this after the comment period has expired, leave me a comment on one of the standing pages, like the “About” page.)
(*Slow clap*) Well played, Mister Moffat. Well played.
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Here’s my homework for Typing Assignment #2, in which Joe asks participants to “write a one-page essay on what you find unique and/or valuable about using typewriters as writing tools.” I wrote mine on my ca. 1937 L.C. Smith & Corona Standard, one of my favorite machines for long-form writing because, like all Smith Coronas, it feels like it’s designed particularly for writers.
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Joe Van Cleave recently launched a new series called Typing Assignments, in which he invites Typospherians to flex their typing muscles on fun short writing assignments. This is my homework for Typing Assignment #1, which is “to anthropomorphize your typewriter and have it describe how it “found” you, and how it feels about its relationship with you, the writer.” Enjoy!