The trope of the cold-blooded critic was strongly challenged this week when some New York reviewers, on Broadway no less, went out of their way not to inflict unnecessary harm on a pair of young artists who were out of their depth. Not wanting to inflict harm on theatergoers, either, however, they did their job and unanimously proclaimed the pair's musical, "Glory Days," the fiasco it evidently was -- "was" being the operative word for a show whose opening night proved also to be its closing night.

I don't know Joanna Connors, but she is a fellow arts journalist -- former theater and film critic for the Cleveland Plain Dealer -- who has just published a deeply wrenching five-part series about the violent event that changed her life. In 1984, she was raped on the stage of a theater while on assignment. Her series explores the paths that brought both her and her assailant to that stage, and it's a tale of tragic loss and ultimate redemption. This is important work by one of our own. If you haven't already read it, please do. One word: mercy. Another word: grace.

 

You heard it here folks, if you haven't heard it already.

USC Annenberg School for Communication is taking the audacious leap (because what other kind is ever worth taking?) and launching a nine-month Master's Program in ARTS JOURNALISM, as part of the new Specialized Journalism series.

The faculty is led by Tim Page, who until recently was the chief  music critic at the Washington Post and who earned a Pulitzer Prize in 1997 for his "lucid and illuminating" music criticism. He's also written widely on film and literature for the Post and other publications. He's a fabulous teacher, if I dare say, and I have totally loved working with him to put this program together.

I'm also on the faculty. So, full disclosure: everything I write about this program is loaded with enthusiasm for it. We are working in dynamic partnership with USC's five arts schools (Cinematic Arts, Theatre, Architecture, Fine Arts and Music). The curriculum straddles the Journalism School and these five schools. What we're hoping is that students will exit the program pumped up with maximum integrity on digital media skills, entrepreneurial savvy and business tools, solid arts backgrounds and good -- really good -- journalism.

The deadline for applications is July 1, 2008. The program begins on August 11 and is open to mid-career arts journalists, recent graduates holding bachelors in journalism or the arts, and to artists. The mix of people and experiential nature of the program's thrust  -- getting out into Los Angeles and behind-the-scene at artists' studios, into places known and unknown, mainstream and grassroots, for one-on-one encounters with arts and artists -- distinguishes this Master's program

Students will also participate in workshops, seminars and performances offered through USC Annenberg's established fellowship programs, the Getty Arts Journalism Fellowship in November and the NEA Institute in Theater and Musical Theater in April '09.

If you want more info, send me a comment or write to the Assistant Dean of Admissions, Allyson Hill allysonh@usc.edu

Your newspaper's print circulation is declining. The staff is smaller. Your newsroom managers are so obsessed with boosting Internet traffic that they're waking up in the middle of the night screaming about hit counts and RSS feeds. So what do they want the arts staff to do?

Blog.

It's happening at papers all over. Managers are discovering that blogs about entertainment and the arts can drive traffic. Ours, at The Fresno Bee, is doing well. Not only that, but well written blogs can draw in regional and national audiences, which hit-count-loving corporate types love.

At a Newspaper Guild gathering at a Fresno pizza place last week, we got together to talk about the B word. Blogs are all the rage, of course, and editors who a couple of years ago wouldn't have known a browser from a button hole are now fretting over Top 10 read-stories lists and figuring out how to work "Facebook" into every lifestyle section headline.

Here's an interesting, yet flawed connection between art and politics:

Roger Waters performed at the Coachella Music Festival over the weekend.  Against the wishes of local officials and without the consent of the presidential candidate himself, Waters commissioned a plane to drop tiny fliers on the crowd in support of Barack Obama.  Unfortunately, most of the confetti ended up on neighboring lawns in Indio and La Quinta, which drew the ire of residents who were forced to clean it up. 

"They're all over the place. It's littering. I've got all my homeowners calling me and complaining," said Bill Hays of the Desert Shores RV Resort to the Desert Sun.  "If I was going to vote for Obama, I wouldn't this morning if this is how he runs his campaign."

Well, that doesn't help anyone...except for maybe John McCain.

Former NAJP fellow Joshua Seftel, who's made a career as a documentarian, has brought a timely new comedy to the Tribeca Film Festival. "War, Inc.," co-written by and starring John Cusack, is screening all week, and S. James Snyder, a film critic for The New York Sun (where I work), is calling it one of the festival's not-to-be-missed events. Josh (NAJP 2002-03) is part of a Tribeca Talks panel discussion by directors and cinematographers tomorrow at 2 p.m. at the New School.

Rather than some illusory narrative, let's see if I can bullet-point the final two days of this year's EMP Pop Conference in Seattle. It would help if I knew how to make a bullet-point in this program (or any other). You'll have to settle for asterisks.

*Worst presentation: the first one I saw Saturday, by an academic who will remain nameless, though not genderless. His topic: "What Is the Sound of Revolution? The Auditory Imagination of the American Radical Left." His problem: indicated no knowledge of any difference in historical importance or political acuity between the Weathermen (dead wrong but smart and momentous), Timothy Leary (never a political figure even when he claimed to be), and the Manhattan pseudo-anarchists who briefly gathered under the rubric Up Against the Wall, Motherfuckers (marginal publicity seekers without even minimal follow-through).

*Best New Orleans presentation I saw (I was moderating during Ned Sublette's, which my boss at Microsoft thought peachy): Alex Rawls, editor of NO music mag Offbeat, on Katrina protest songs, though he did forget BG's "Move Around."

*NAJP baton pass: Larry Blumenfeld on the struggle of New Orleans marching and Indian bands against Bush's malign neglect and Nagin's police (Larry has a Soros grant to study this stuff) to--quick, run upstairs to Level 3--Douglas Wolk on "The Ballad of the Green Berets" (Douglas specializes at EMP in obscure historical resuscitations).

*What I learned at the panel I moderated. 'Tis better for a young academic to deliver her postgraduatese as if it's a punk song than to humanize her language and be mild about it. Also: Tom Smucker hasn't altogether mastered PowerPoint. Saved by the tech.

*Journos under 30--established Nate Chinen and newbie Tal Rosenberg--made me care about Hawaiian balladry and an Israeli peace song that join hands in the transcendent schlock category. Special award to Rosenberg for best use of the first person at this conference. Supposed to be a no-no, young fella. Shouldn't be. No no-nos.

*Sometimes my old friend Greil Marcus describes music he regards as transcendent that I come away regarding as no such thing. His description of the incredibly bland Tift Merritt's careful rendition of Dylan's "Hard Rain" convinced me completely. He then trumped it with an equally convincing description of the Roots' furious "Masters of War," which he nailed to the wall by playing the music. We were spellbound.
*I hope somebody taped as-told-to king David Ritz's plenum disquisition on the spiritual satisfactions of an amanuensis. Completely off-the-cuff, or so it seemed, and I wasn't the only one who feared it would go on forever because start so anecdotally and indirectly. Finished right on time, with a flourish. Clearly the man has developed an instinct for long patterns of speech.

*The seminal cultural sociologist Richard A. Peterson, who got his Ph.D the same year I got my B.A. and whose 1997 Creating Country Music: Fabricating Authenticity I'd just taught that Wednesday, did an intro for the panel he moderated on "Making Roots Music Pop Heroes" that cut even Barry Mazor's excellent Jimmie Rodgers talk.

I thought maybe this would be the year the academics took EMP over, quality-wise. But Peterson and John Vallier and a few others notwithstanding, the best stuff continued to come from journalists, many of the standouts professionally marginal. I became a journalist because I had concluded there was no better place for someone like me, having quickly learned after college that my talent for fiction was nonexistent, to do lasting work as a writer. Little did I suspect  that four decades later a semi-academic conference would be one of the best places to prove it.

Here's a link from my Rockwell Matters blog about how the Internet, especially, perpetuates errors once made, all drawing in a perhaps excessively self-referential way from my own experience as observer, or victim, of such errors.

This eyeopening, mindblowing info-loaded video, Did You Know 2.0,  is a good and vital tool that's making the rounds of professional journalism seminars on digital media. 

 

Have you ever heard the term "unmediated media"?

I hadn't until the Re/Covering Islam seminar at USC Annenberg on Friday, which really had nothing to do with the arts, but plenty to do with how Muslim culture and news is covered by the press. In his astute closing remarks, Professor Philip Seib -- who wrote The Global Journalist: News and Conscience in a World of Conflict -- used it to characterize the globalized discourse that's happening on the Web and giving us an unprecedented possibility for greater cultural cohesion.

I took him to mean by "unmediated media" the unedited posts by journalists and ordinary people contributing to the digital media explosion without mediation or editing. This started a scribbling, musing word-stacking game in my mind that went something like this:

If unmediated media is unedited media, then editors are mediators.

un-MEDIA-ted

to MEDIA-te

to MEDIA te

2 MEDIA te

2 MEDI 8

m EDItor = editor = mediator

Editors are very much needed for the practice of good journalism on the Internet. But they are a rarity. Perhaps we can create a new title for them that references digital media by calling them mediators. I don't know. What do you think? We'll design the business model later to pay them...the floor is open for discussion.

(The image is of a globe called WORK TOGETHER by artist Rion Stassi; www.coolglobes.com)