Category Archives: Entertainment

The “night mayor” looks to improve the urban overnight experience

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The head of an advisory NGO in Amsterdam is looking to make the overnight experience better both for city residents and night owls:

“I think that to really build a 24/7 economic system in Amsterdam, we should focus on creating one 24-hour area in the city,” Milan tells CityLab. “You could have working spaces there, and a library open 24 hours a day for students. It would also be a place for food. In Holland you can’t have a proper meal after 9.30 p.m., and when friends arrive late from out of town, all you can really offer them is fries.”

The idea might sound ambitious, but then forward-thinking about Amsterdam after dark is actually Milan’s job: he’s the Dutch capital’s “night mayor.” This innovative office, unique to Amsterdam when created in 2014 (as the development of a project itself begun in 2003), has helped to clear up a blind spot that many cities face. Too often, public officials view their city’s nighttime existence with suspicion—as a sinister doppelgänger of its daytime form but with added sex and crime, sleep-spoiling noise, and sidewalks slicked with vomit. Even liberal politicians can have little experience with this twilight zone, given that they’re often tucked up in bed by 10 p.m.

It’s the role of the night mayor to bridge this gap. The incumbent’s job is to manage and improve relations between night businesses, residents, and City Hall. Milan and his team have proved so successful in Amsterdam that the concept has taken off internationally. Paris, Toulouse, and Zurich now all have night mayors, while London and Berlin are considering creating their own. Within the Netherlands two other cities, Groningen and Nijmegen, also have their own professional nocturnal managers, part of a total of 15 Dutch municipalities that have some form of night mayor role…

“In the nighttime economy, there’s a lot of talent,” he says. “Think of all the graphic designers, party promoters, DJs—all these people that use the night as a serious playground to develop their skills and in the end, have their daytime job. Definitely the creative industries are really important for Europe and especially for cities like Amsterdam or Berlin, but actually for everywhere in the world.”

The big city is supposed to be the place where you can find all sorts of activities at all times of day. One of the biggest surprises for visitors to the city is the amount of activity in some places all night long. Imagine Times Square or The Strip with all the lights and people. (I’ve been to both late and it is remarkable just how many people are wandering around.) But, those places are not necessarily where a lot of people live and they are filled with tourists. What is the average urban night owl supposed to do, particularly if they are a resident and not a tourist?

It would be interesting to see every major city develop a night district. Presumably, such a district would need good public transit, a variety of uses to serve different interests (from restaurants to arts spaces to music venues to gyms to coffee shops), temperate weather (I assume this would be very helpful), and probably should be composed of smaller buildings in more of a neighborhood feel rather than within a set of tall, modern structures. Would enough people flock to such a place if it was located far from primary residential areas?

Housing prices drive punk music to the suburbs

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Punk music is associated with gritty urban life – until that urban life becomes too expensive:

Shows like that are increasingly common in Santa Rosa, and it has a lot to do with the prohibitive cost-of-living in nearby San Francisco. “I had every intention of moving down to the city,” said Ian O’Connor, 23, who organized the gig. “But when the time came, it was too expensive.” Instead, in the last three years, he has booked dozens of all-ages gigs in Santa Rosa, mostly at unofficial venues: detached garages, living rooms, lobbies of sympathetic businesses. The scene thrives on the participation of people like him, area natives in their early 20s who, not so many years ago, would’ve likely moved an hour south to Oakland or San Francisco…

One hallmark of punk’s inception in the Bay Area and throughout the Pacific north-west was the notion of cities as places of possibility, so hollowed out by eroding tax bases and selective civic neglect that they seemed “deserted and forgotten”, as music journalist Jon Savage wrote of his 1978 trip to report on San Francisco punk bands such as Crime and the Dead Kennedys. “It was there to be remapped.”

But with the same cities stricken by intensifying affordability crises – premiums on space that make somewhere to live, let alone rehearse and perform, available to a dwindling few – they don’t beckon young punks like they used to. And though reports of music scenes’ deaths tend to overstate, news of shuttering venues (see eulogies for The Smell, The Know, and LoBot) deters some of the intrepid transplants needed for invigoration. Dissipating metropolitan allure, however, helps account for the strength of scenes in outlying towns…

According to Samantha Gladu – bassist in the feminist, wrestling-themed hardcore band Macho Boys and chief advisor to state senator Chip Shields – recent revelations about what a state investigation found to be cripplingly over-burdensome nightclub regulations have done little to calm the Portland punk scene’s nerves: “Rising rents and recent reporting on the city government’s apparent selective regulation for venues leave punks with the impression that not only can they not afford Portland, they aren’t part of some officials’ vision for Portland.”

Given that more urban features – including denser housing, more non-white and less wealthy residents, and urban issues – have moved to the suburbs, it isn’t too surprising that artistic ventures could move there as well. Yet, I imagine this is not easy for many artists or others who dislike the suburbs and celebrate cities. Can places that are still criticized for conformity, whiteness, and materialism nourish new artistic ventures? Can suburban communities tolerate people who go against convention or who seek space to spread out and explore? If given the resources, I imagine that most bands would want to be in the big city where there is more energy, similar artists, and venues.

However, this represents an opportunity for suburbs to pursue a more creative vision. Many suburbs hold and promote festivals and fairs committed to the arts, both as a way to generate revenue as well as a way to signal openness and engagement. It is something different to have permanent venues devoted to some ventures; could a middle to upper-class suburb give its blessing to a punk music music site? Or a collaborative of experimental artists? In other words, if cities and/or certain neighborhoods are too expensive, numerous suburbs could join the competition to attract musicians and artists and possibly transform their own communities.

LA suburbs welcome raves for their economic benefits

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Suburbs aren’t usually known for wanting to host raucous music events but the economic benefits are hard to resist for some Los Angeles suburbs:

All of the region’s biggest electronic dance music festivals are now held deep in the suburbs and exurbs of Southern California, centered in San Bernardino County. There, the rave scene has been largely welcomed by government officials and local businesses hoping for an economic boost from the large crowds.

But many of the problems that dogged the concert in L.A. — rampant drug use, overdose deaths and overwhelmed emergency rooms — have persisted…

In the Inland Empire, rave organizers have tapped large venues that can hold more concertgoers…

The debate over rave safety has largely focused on whether government agencies should allow the concerts to be held in publicly owned spaces. Some emergency room doctors have called for such a ban, saying hospitals are overwhelmed by drug overdose patients after raves.

Many suburbs are looking for ways to bring in more revenue through the arts events, whether that be art, theater, music, or some other form of creative expression. The primary advantage of such events is that they are temporary: vendors and people descend for a limited amount of time and money is generated. However, suburbs usually don’t take too kindly to noise, damage from a lot of concertgoers, and drug use and drug-related deaths. Suburbs tend to want to promote themselves as safe and family friendly.

Thus, we get a set of trade-offs: communities that need money versus typical suburban propriety. I would imagine the drug-related deaths will scare off more suburbs even as many communities look to bring in more money through similar events.

The suburbs as a “Great Wrong Place”

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In a review of mysteries written by women, one critic explains why suburbs are a common setting:

In the books I’ve been reading, the Great Wrong Place is sometimes suburbia, sometimes social media, sometimes high school, sometimes the marriage bed—everywhere something feels missing in contemporary life.

There is not much explanation here. However, this taps into a familiar suburban critique: the suburbs are a darker place than they appear. Even though they might be the image of the American Dream, many disturbing situations are underneath the surface. The key is the contrast between the displayed success of the single-family home and happy family and the tension that threatens to bubble to the surface.

What then exactly is missing from suburbs? Authentic displays of human difficulty and anguish (residents don’t talk about this stuff, perhaps because being vulnerable in the suburbs leads to social problems)? A lack of diversity in who lives there (the typical suburb is white and middle-class and shuts out other experiences)? Public spaces where residents can regularly mingle without having to have strong interpersonal relationships (everyone is cooped up inside their private spaces)? Whatever the reason, the suburbs provide rich spaces for today’s mystery (such as Gone Girl) and horror stories.

Comparing aliens, asteroids, and ghosts destroying cities

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Mass destruction of cities is a common feature of action films but what creatures bring about the most destruction?

Anyway, this all got us wondering why aliens hate Earth architecture so much, and then we realized that it’s not just aliens—Earth architecture is also hated by asteroids and ghosts. Let us review the evidence…

Verdict: Asteroids

It’s got to be asteroids. Asteroids are such jerks.

Not exactly a scientific review of the available evidence (how hard would it be to analyze all the movies with such urban destruction) but still an interesting question to ponder. Nature, in the form of asteroids, does not care about what exactly is destroyed. Asteroids of large size rarely hit earth and what are the odds that they would regularly hit major cities as opposed to falling in the ocean. At the same time, asteroids are faceless villains whereas you can fight or negotiate with aliens and ghosts.

We could also ask whether it is best for other worldly villains to take out key architectural landmarks versus other strategic targets. The first has symbolic value but key infrastructure would be much more crippling. Perhaps this is the equivalent of the bad guys always having bad aim as they try to shoot; these villains always go for visible targets, giving responders time to come up with a plan.

Mr. Selfridge got his start in Chicago’s department stores

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Henry Gordon Selfridge hit it big in London (and on PBS) but got his start in Chicago’s burgeoning department store scene:

“Within a short time after he entered the employ of the Field store he met the first Marshall Field and made a favorable impression by asking for a job as manager of his department,” the Tribune recalled upon Selfridge’s death in 1947. “He won the job and from then on his rise was rapid.”He proved to have a knack for advertising, then a rare business skill. He was the first to promote holiday sales with the reminder: “Only ___ shopping days until Christmas.” Some credit Selfridge with the department store’s celebrated motto: “The customer is always right.”

In 1890, he became a partner in Marshall Field’s and married Rose Buckingham, a member of a prominent Chicago family. One of Rose’s bridesmaids, Kate Buckingham, donated Buckingham Fountain in Grant Park. An entrepreneur in her own right, Rose bought property on Harper Avenue between 57th and 59th streets, where she built and sold 42 homes. She also was an accomplished horticulturist. The Tribune reported she had a collection of 2,000 orchids…

The girls got a shot at marrying into the nobility because their father transferred the family’s fortunes to England, almost on a whim. In 1904, Harry Selfridge sold his interest in Marshall Field’s for $1.5 million and bought another Chicago department store, a few blocks south on State Street…

Yes, there was a Selfridge’s in Chicago before there was one in London. But not for long. Having bought it in May, he sold it in June — and the new owners renamed it Carson Pirie Scott & Co. Selfridge then went for a visit to London, where he discovered two differences between doing business there and in Chicago.

Chicago contributed much to the development of department stores which helped transform American retailing. Perhaps London makes for a more attractive place to tell the department store story but Chicago would be a pretty interesting setting in itself with department stores around the turn of the century. Why continue the Dick Wolf Chicago Fire/Med/PD/Justice system when you could go back into an even quicker changing era. Additionally, it would be interesting to see someone tie together several strands of American stores: from general stores and department stores to the big box companies and ubiquitous chain pharmacies of today.

One TV show had a higher rating – so change the ratings

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Nielsen will change how they measure TV viewing as ratings continue to drop:

Despite the May axing of 19 first-year series and such surprise dumpings as ABC’s Castle and Nashville, cancellations are proving rarer, even as linear ratings shrink. That’s because, of the 60 returning scripted series to air on the five main broadcast networks this season, only one finished with improved ratings from the previous year. And that show premiered in the ’90s. Law & Order: SVU‘s modest gain, up an incremental 4 percent during its 17th cycle, is a case study in how the industry standard week of DVR and on-demand views doesn’t provide the most complete narrative any longer — or at least not one that the networks are eager to tell.

“We have found that audiences continue to grow beyond seven days in every instance, some by 58 percent among adults 18-to-49,” says Nielsen audience insights senior vp Glenn Enoch. “Growth after seven days is consistent, but the rate of growth varies by genre. Some programs need to be viewed in the week they air, while consumers use on-demand libraries to view others over time, like animated comedies and episodic dramas.”

To that end, on Aug. 29, Nielsen will up the turnaround on live-plus-7-day reporting (no more 15-day wait time), offering daily rolling on time-shifting, and it will start extending the tail past the long-established extra week of views. The measurement giant announced in March that the window for regularly reported on-demand and DVR data now will extend to 35 days after the original airdate.

The extra draw between weeks two and five is not minor for many scripted series. Grey’s Anatomy, again ABC’s highest-rated drama in its 12th season, saw its live-plus-7 average in the key demographic drop 3 percent from the previous season. But the 35-day trail of VOD (with online streams) adds another 1.5 rating points among 18-to-49, making for a 6 percent improvement from the show’s 11th season. (Of note: 1.5 is the complete live-plus-7-day rating for Thursday neighbor and surprise renewal The Catch.)

Certainly viewing habits have changed in recent years as viewing options proliferate. But, it is hard also not to see this as an attempt to chase numbers to provide advertisers (which leads to more money). If only one show showed an improvement from the past season (and a Law & Order in its 17th season), change the system of measurement. Perhaps this is the true acknowledgment that television will never be the same: the best solution to declining ratings is not to put together better content or to put together a new consolidated model but rather to chase viewers to all ends of the earth.

The unreality of coffee cups on TV

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A communications professor provides a reminder of the physical unreality of television:

There are moments when the “realism” of television breaks down: when framed photographs are poorly photoshopped, when video chats are unrealistically high-quality, and when driving scenes are staged using some very obvious rear projection. But for me the biggest threat to realism on television is something you may never have considered: the way that coffee cups that are supposedly full of coffee are plainly empty.

This video attempts to better understand both why this happens and why it bothers me as much as it does. My hope is it can help solve my problem, whether we define that problem as the emptiness of the cups (please support this cause on social media by using #EmptyCupAwards hashtag) or my own obsession with them.

This is just a small example of how television can warp our sense of reality. Even if we watch with a critical eye, television and film provides a complete universe that looks realistic (unless the presentation is emphasizing the lack of realism) but contains all sorts of weird phenomenon. In addition to the empty coffee cups, let me provide a few other examples from my own life:

  1. For a long time, I had a hard time believing that shootings and murders could happen in broad daylight. On the screen, they tend to happen when it is dark or stormy, situations that might be befitting of violent action.
  2. The full geographic scope of communities on television is often skewed – much sitcom actions takes place in a single house or in just a few locations. A show like The Simpsons set in Springfield tends to add parts to the city to suit its needs; Springfield includes these areas: “The city is divided into a number of districts, including Skid Row, the Lower East Side (a Jewish neighborhood), Springfield Heights, Bum Town, East Springfield, Recluse Ranch Estates, Junkieville, Pressboard Estates, South Street Squidport, Little Newark, Crackton, a Russian District, West Springfield, Tibet Town, Waverly Hills, Sprooklyn, Little Italy, and a gay district.”
  3. I have toured several sets in Hollywood and now I can spot them in various places. For example, the Warner Brothers lot has a city setup that is in all sorts of commercials and television shows. Or, we saw Wisteria Lane which could pop up in an Ace Hardware commercial (with some modifications).

The real issue here isn’t the missing coffee; it is that most of the time it is clear whether TV is presenting a more real or less real depiction yet almost all the time it is in small ways defying embodied life.

One thing McMansions can do? Play host to Smash Bros. tournaments

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McMansions are often derided for their size but imagine them as a fun site for a weekend of Smash Bros.:

Some tournaments take place in massive convention centers. Some grand finals even go down in giant arenas. While these events can be truly impressive, they don’t have the spark of early tournaments that captured the imagination and hearts of Smash players. Friends crowded around TVs, laughing, jeering, and, while the competition was fierce, they were still having the time of their lives. This is the atmosphere players will find at McMansion 7, a tournament that’s like a vacation with live music and a whole lot of Smash.

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This home in Pensacola Beach, Florida (according to the comments) is a modest home by McMansion standards. I can only imagine the kind of fun and mayhem that might occur in a larger and more opulent McMansion, say 8,000 square feet in a ritzy neighborhood. Still, a massive video game tournament may help fill out those great rooms, bonus rooms, and expansive spaces of the McMansion. But, what would the neighbors think about the kind of people who play video games, the noise, the cars, and the property values related to being near the video game heaven McMansion…

New data on (a lack of) diversity in Hollywood and on TV

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A new report on diversity in Hollywood and television was released yesterday:

The study, titled the Comprehensive Annenberg Report on Diversity, examined the 109 films released by major studios (including art-house divisions) in 2014 and 305 scripted, first-run TV and digital series across 31 networks and streaming services that aired from September 2014 to August 2015. More than 11,000 speaking characters were analyzed for gender, racial and ethnic representation and LGBT status. Some 10,000 directors, writers and show creators were examined, as was the gender of more than 1,500 executives.

The portrait is one of pervasive underrepresentation, no matter the media platform, from CEOs to minor characters. “Overall, the landscape of media content is still largely whitewashed,” the study concludes.

In the 414 studied films and series, only a third of speaking characters were female, and only 28.3 percent were from minority groups — about 10 percent less than the makeup of the U.S. population. Characters 40 years or older skew heavily male across film and TV: 74.3 percent male to 25.7 percent female.

Just 2 percent of speaking characters were LGBT-identified. Among the 11,306 speaking characters studied, only seven were transgendered (and four were from the same series).

These appear to be pretty consistent patterns. Given the racialized and gendered history of the United States, is it more surprising that white men still dominate in certain categories or that little has changed even with the discussions of recent decades?

One other thought: in No Logo, activist Naomi Klein recounts her own efforts to push for more diversity in advertisements. In a chapter titled “Patriarchy Gets Funky,” Klein says:

We thought we would find salvation in the reformation of MTV, CNN, and Calvin Klein. And why not? Since media seemed to be the source of so many of our problems, surely if we could only “subvert” them to better represent us, they could save us instead. With better collective mirrors, self-esteem would rise and prejudices would magically fall away, as society became suddenly inspired to live up to the beautiful and worthy reflection we had retouched in its image. (p.108-109)

And corporations bought into it:

That’s when we found out that our sworn enemies in the “mainstream” – to us a giant monolithic blob outside of our known university-affiliated enclaves – didn’t fear and loathe us but actually thought we were sort of interesting. Once we’d embarked on a search for new wells of cutting-edge imagery, our insistence on extreme sexual and racial identities made for great brand-content and niche-marketing strategies. If diversity is what we wanted, the brands seemed to be saying, then diversity was exactly what we would get. And with that, the marketers and media makers swooped down, airbrushes in hand, to touch up the colors and images in our culture. (p.111)

The real issue lay elsewhere:

But our criticism was focused on the representation of women and minorities within the structures of power, not on the economics behind those power structures…

The prospect of having to change a few pronouns and getting a handful of women and minorities on the board and on television posed no real threat to the guiding profit-making principles of Wall Street.

Maybe the issue is less one of representation on the screen and more about who controls the industry and resources.