For an extra challenge we launched our weather balloon wifi rig at one of the most canine-dense areas of Central Park.
Last January Doug Henwood, one of my favorite lefty blogger-radio people, wrote a nasty response to Adam Davidson’s New York Times Magazine article on Wall Street:
For a while, I’ve been thinking about writing a piece on how NPR is more toxic than Fox News. Fox preaches to the choir. NPR, though, confuses and misinforms people who might otherwise know better. Its “liberal” reputation makes palatable a deeply orthodox message for a demographic that could be open to a more critical message.
The full critique will take some time. But a nice warm-up opportunity has just presented itself: a truly wretched piece of apologetic hackery by Adam Davidson, co-founder of NPR’s Planet Money economics reporting team, that appears in today’s New York Times magazine.
So I was excited to see that Davidson recently appeared on Henwood’s radio show, Behind the News:
Adam Davidson, host of NPR’s Planet Money and columnist for the New York Times Magazine, on finance, innovation, bourgeois ideology, journalism, and being mean on the Internet.
The discussion starts out with a lot of Henwood talking uninterrupted, and coming off a bit defensive, but then they get into an interesting big picture discussion about the nature of ideology in popular media. The blog post Henwood mentions in the introduction on Scott Walker’s victory in Wisconsin (and its follow-up) is also worthwhile.
The terms ‘hoax’ and ‘fake’ don’t seem quite right to me. This is theater, plain and simple. The audience—both online and in person (?)—isn’t in on the joke for the first act, but this is all part of the larger theater experience. This video is act 2, and the resulting conversation and press coverage is act 3.
There’s a lot of symbolism packed into these short YouTube videos, but age is one of the more potent ones to me. The central character this video opens with is a stand-in for the many generations who’ve squandered the natural world at the expense of our inheritors. We don’t feel so bad laughing at her in the first act because of what she represents. That she’s already a well-known figure within the Occupy narrative makes the big reveal all the sweeter. Bravo, Yes Men!