Tag Archives: cyberculture

History in RealTime: @tedfriedman on 2/11/11 (in chronological order)

 

 

Salma Abdelaziz
In an incredibly tense moment Egyptians use their famous humor to lighten the mood and find out
Liz McLellan
RT @: RT @ If somebody can find a shirtless pic of Mubarak on Cairo Craigslist this thing will end peacefully today
mattyglesias
Mubarak really looks great for his age. He could probably make a bundle selling lifestyle advice books.
Josh Marshall
weird 2 see how prominent leader of national uprising in ME country has active twitter account @
Wyclef Jean
If u on the streets of Egypt tweet me!! Imma retweet the movement on the ground!!!
monasosh
The least the world could do for Egyptians now is allow us free entrance to any country wtout the burden of applying for a visa 😀
Liz McLellan
RT @: Uninstalling dictator COMPLETE – installing now: egypt 2.0: █░░░░░░░░░░░░░░░░░░
monasosh
Unbelievable the metro driver is cheering wt the horn, ppl are dancing & screaming in the metro station
pourmecoffee
Perhaps what people of Egypt did will give courage to Katie Holmes.
Salma Abdelaziz
BREAKING: Switzerland freezes suspected Mubarak Financial Assets
monasosh
For everyone taking the metro home, mark out “mubarak” from metrostations plan & replace it wt “martyrs”
walter kirn
Now Egypt has done for modern civilization what it did for ancient civ. I’m calling this Osiris Friday.
the sad red earth
RT @: Photos: Celebration in After Mubarak Steps Down //Historic images.
Andy Carvin
RT @: this is most euphoric young crowd I have seen sinced overthrow of Ceauşescu during 1989 Romanian Revolution
Roger Ebert
A letter to Egypt from a Filipino: Learn from us, and do better.
Heide Kolb
: People helping in the midst of a crisis- how you can help via @: @
Frank Conniff
What kind of crazy foreign policy allows a dictator to be deposed without a long & costly war? Get it together, Obama!
Ana Marie Cox
Paul applause line: “We need to do a lot less a lot sooner, not only in Egypt but around the world.”
Wyclef Jean
The movement!! Let’s go!!! RT @: @ PROUD TO BE EGYPTIAN!!! The streets are ALIVE with freedom!!!
Heide Kolb
R @: @ protesters under attack! Police use live ammo on demonstrators NOW. Please RT!
I wish I could somehow save all of the tweets I sent and received the past weeks. This is my diary
What can we all do to make help sure they’re archived? RT @ I wish I could somehow save all of the tweets I sent and received..
tedfriedman
Students & scholars: this is history happening right now. Twitter didn’t cause this, but it’s part of a positive feedback loop. Take notes!
tedfriedman
If one was going to pick the medium with the most influence on , wonder if it would be SMS, web or satellite TV?
tedfriedman
My guess would be the most influential medium helping to create #Egypt #Jan25 has been satellite TV – specifically Al Jazeera.
Noel Kirkpatrick
noelrk Noel Kirkpatrick
But it all started with the telegraph.
So if Al Jazeera is the NGO which has done the most to make possible, credit not just the medium of sat TV, but the journalists.
Lakshmi Jagad
lockslocks Lakshmi Jagad
Agree.
Likewise, to the extent Twitter has helped accomplish this (hard to judge in the moment), credit not the medium in itself, but the tweeters.
This is where I part ways with Object Oriented Ontology – I always want to look back to the human roots. Who’s karma’s on the line?
Andy Carvin
I’ve tweeted more than 600 times today. And yet people keep following me. What is wrong with you people?!? 🙂

Poll: is Quora the next killer app?

Ted’s Top 50 TV Shows of the 2000s

Originally posted December 29, 2009

This was the decade in which TV became America’s most exciting creative medium. When the most compelling auteurs were not filmmakers, but showrunners like Joss Wheedon, David Simon, David Chase and Matthew Weiner. When fandom became a matter not just of accepting the limitations of a mass-produced format, but celebrating the novelistic possibilities of serialized storytelling. When hundreds of channels meant, at least some of the time, true diversity. Even as the music industry tanked and the movies got bigger and dumber, TV – at least the best TV – got smarter. How long it’ll last is up for grabs. But this decade has at least demonstrated that there’s an audience out there for great weekly storytelling.

Below is a list of my favorite TV shows of the decade. For shows that started in the 1990s (like Buffy), I only considered the episodes that ran in the 2000s.

1 – The Wire
2 – The Office (US version)
3 – Lost
4 – Chappelle’s Show
5 – Lucky Louie
6 – Breaking Bad
7 – The Colbert Report
8 – Battlestar Galactica
9 – Mad Men
10 – Top Chef
11 – Flight of the Conchords
12 – 30 Rock
13 – Big Love
14 – Deadwood
15 – Buffy the Vampire Slayer
16 – The Gilmore Girls
17 – Insomniac
18 – Generation Kill
19 – Project Greenlight
20 – Sex and the City
21 – Futurama
22 – Curb Your Enthusiasm
23 – The Sopranos
24 – The Daily Show
25 – Undeclared
26 – Dollhouse
27 – True Blood
28 – Hey Monie
29 – The Powerpuff Girls
30 – Parks and Recreation
31 – The Amazing Race
32 – The PJs
33 – Project Runway
34 – Pardon the Interruption
35 – Weeds
36 – CMT Crossroads
37 – No Reservations
38 – Best Week Ever
39 – MXC
40 – Cover Wars
41 – Human Giant
42 – Michael and Michael Have Issues
43 – King of the Hill
44 – Celebrity Poker Showdown
45 – Ultimate Film Fanatic
46 – Beat the Geeks
47 – World Poker Tour
48 – South Park
49 – Yo Gabba Gabba
50 – The Guild

Ted’s Top 50 Movies of the 2000s

Originally posted December 29, 2009.

As I argue here, this has been the decade of fantasy film, led by Pan’s Labrynth, Lord of the Rings, and Spirited Away. It’s also marked the return of ribald comedy, led by the auteur of arrested adolescence, Judd Apatow. And it’s seen the emergence of a cohort of Mexican directors who bring a new global vision to Hollywood. Childen of Men is to our moment what Blade Runner and The Matrix were to theirs: an extrapolation that tells the truth about right now. Most remarkably, it has the courage to be an SF film that doesn’t fetishize technology or violence – a temptation to which both the other films succumb. Instead, we have a hero who holds a baby but never a gun, and that beautiful final scene of a boat at sea, bobbing in the water, attached to no country. (Then, when we’re ready for some tech & violence, we can turn to Clive Owen’s other classic, Shoot ‘Em Up, which demystifies the Hollywood hero by turning him into a live-action Bugs Bunny.)

1 – Children of Men
2 – Eternal Sunshine of the Spotless Mind
3 – Best in Show
4 – Pan’s Labrynth
5 – Brokeback Mountain
6 – City of God
7 – Crouching Tiger, Hidden Dragon
– Finding Nemo
9 – The Lord of the Rings Trilogy
10 – Kill Bill Volumes 1 & 2
11 – Rivers and Tides
12 – Spirited Away
13 – Memento
14 – The Aristocrats
15 – Requiem for a Dream
16 – Mulholland Drive
17 – Grizzly Man
18 – The Bourne Trilogy
19 – Bad Santa
20 – The Girlfriend Experience
21 – The Wrestler
22 – The Wild Parrots of Telegraph Hill
23 – Ratatouille
24 – Knocked Up
25 – Wall-E
26 – Startup.com
27 – About a Boy
28 – Old School
29 – Control Room
30 – Little Miss Sunshine
31 – In the Realms of the Unreal
32 – Down with Love
33 – Bend It Like Beckham
34 – I Heart Huckabee’s
35 – Sideways
36 – Moulin Rouge
37 – Lost in Translation
38 – Shoot ‘Em Up
39 – The 40 Year Old Virgin
40 – Casino Royale
41 – The Barbarian Invasions
42 – Hustle and Flow
43 – Crank
44 – Dodgeball
45 – Harold and Kumar Go to White Castle
46 – School of Rock
47 – Sin City
48 – Borat
49 – Zoolander
50 – American Dreamz

Ted’s Top 50 Comics of the 2000s

Originally posted December 30, 2009

This was a mixed decade for comics. On the one hand, superhero comics rebounded from the “grim and gritty” cliches of the 1990s to newfound creative relevance, thanks largely to the savvy of Marvel Editor-in-Chief Joe Quesada, who recruited writers like Brian Michael Bendis, Mark Millar, Robert Kirkman and Warren Ellis from the indie world and let them run wild on the Marvel universe. Bendis proved to have the best ear for dialogue in the history of the word balloon, and Quesada oversaw a series of crossover events that actually managed to deepen rather than exploit the mythos.

At the same time, the indie bubble of the 1990s popped, as the entire American comics infrastructure shrank in response to overspeculation, insularity, and new competition from manga and the internet. A new generation of personal artists never emerged to follow pioneers like Peter Bagge, Daniel Clowes, the Hernandez Brothers, Chester Brown, Seth, and Joe Matt. Or if they did, they never made it to my comics shop – which these days is a website, since the three stores closest to me all closed down by the middle of the decade.

By the end of the decade, it appears the industry is finally responding to these transformations. Several of my favorite comics, including Freakangels, Bayou, and PVP, are available for free online (although I still prefer to read them in ink). The early attempt to turn Watchmen into a “motion comic” in advance of the movie was a disaster, but the adaptation of Spiderwoman is much more promising. And the widespread recognition for works like Fun House, Epileptic, and Persepolis suggests the space for sequential art outside the comics ghetto may be growing.

Not that there’s anything wrong with the margins. As science fiction began to gain critical respectability in the 1960s and 70s, some SF authors railed, “keep science fiction in the gutter where it belongs!” Similarly, there’s a legitimate danger that the recent superhero boom – capped by Disney’s purchase of Marvel – will dull the critical edge that Quesada, Bendis, and their cohort worked so hard to sharpen. But with great responsibility comes great power. Hopefully, the new creative opportunities opening up for comics artists will give them the room to explore even fresher visions. The recent explosion of work by the astonishing Warren Ellis for indie publisher Avatar demonstrates what can happen when a writer bursting with ideas wins full creative freedom, and finds the collaborators who can bring his visions to life.

Here’s my list of the top 50 comics of the decade. I’ve lumped together spinoffs like New Avengers, Mighty Avengers, and Dark Avengers, as long as they’re from the same writer. I’ve listed the primary artsists who worked with each writer, using front cover credits to decide whether to include inkers and colorists, and skipping fill-in artists. Foreign comics were considered if they were translated into English in this decade.

1 – Epileptic, David B.
2 – The Walking Dead, Robert Kirkman, Charlie Adlard and Cliff Rathburn
3 – Y the Last Man, Brian K. Vaughan and Pia Guerra
4 – Planetary, Warren Ellis and John Cassady
5 – Buddha, Osamu Tezuka
6 – Stray Bullets, David Lapham
7 – Alias/The Pulse, Brian Michael Bendis and Michael Gaydos
8 – Fun Home, Alison Bechdel
9 – Box Office Poison, Alex Robinson
10 – Wolverine: Old Man Logan, Mark Millar and Steve McNiven
11 – Freakangels, Warren Ellis and Paul Duffield
12 – Black Hole, Charles Burns
13 – Desolation Jones, Warren Ellis and JH Williams
14 – Promethea, Alan Moore and JH Williams
15 – Persepolis, Marjane Satrapi
16 – The Book of Genesis Illustrated, R. Crumb
17 – Daredevil, Brian Michael Bendis and Alex Maleev
18 – Dykes to Watch Out For, Alison Bechdel
19 – DC: The New Frontier, Darwyn Cooke
20 – Breakfast After Noon, Andi Watson
21 – Top 10, Alan Moore, Gene Ha, and Zander Cannon
22 – Powers, Brian Michael Bendis and Michael Avon Oeming
23 – New/Mighty/Dark Avengers, Brian Michael Bendis and various artists
24 – Fables, Bill Willingham, Mark Buckingham and Steve Leialoha
25 – Fell, Warren Ellis and Ben Templesmith
26 – Bayou, Jeremy Love and Patrick Morgan
27 – Hate/Hate Annual, Peter Bagge
28 – Pride of Baghdad, Brian K. Vaughan and Niko Henrichon
29 – Kick-Ass, Mark Millar and John Romita Jr.
30 – 50 Days of Night, Steve Niles and Ben Templesmith
31 – DMZ, Brian Wood and Ricardo Burchielli
32 – Northlanders, Brian Wood and various artists
33 – Parker: The Hunter, Darwyn Cooke and Richard Stark
34 – La Perdida, Jessica Abel
35 – Eightball, Daniel Clowes
36 – Even a Monkey Can Draw Manga, Koji Aihara and Kentaro Takekuma
37 – Doktor Sleepless, Warren Ellis and Ivan Rodriguez
38 – Reinventing Comics, Scott McCloud
39 – Pyongyang: A Journey in North Korea, Guy Delisle
40 – Conan, Kurt Busiek, Cary Nord and Robert E. Howard
41 – Marvel Zombies, Robert Kirkman and Sean Phillips
42 – Astonishing X-Men, Joss Wheedon and John Cassady
43 – PvP, Scott Kurz
44 – Local, Brian Wood and Ryan Kelly
45 – Mouse Guard, David Petersen
46 – Courtney Crumrin, Ted Naifeh
47 – 100 Bullets, Brian Azzarello and Eduardo Risso
48 – Bonndocks, Aaron McGruder
49 – Ultimate Marvel Team-Up, Brian Michael Bendis and various artists
50 – Dork Tower, John Kovalic


Ted’s Top 50 Albums of the 2000s

Originally Posted December 31, 2009

Music became less and less important to me over the course of this decade. At the beginning of the 2000s, I was still dabbling in professional rock criticism; by its end, I was having trouble coming up with ten 2009 releases I enjoyed beginning to end.

I know, it’s a cliche for old farts like me to stop listening to new music and just replay their golden oldies. But I didn’t really retreat into nostalgia; rather, I kept discovering older albums I found more compelling than the new stuff. The three records I’ve listened to the most in the past few years were all old, but new to me: the Steve Reich Ensemble’s Music for 18 Musicians, Joni Mitchell’s Hejira, and Orchestra Beobab’s Pirate’s Choice. I also just spent less time listening to music period. After troubles with vertigo early in the decade, I stopped listening to music while working at the computer, and discovered the virtues of mindfulness over multitasking. While driving, I found podcasts and books on tape more consistently engaging.

I still try as much music as ever – more, actually, since eMusic and Lala make it so cheap to check out new albums. That may be part of the problem – an info glut, in which my iPhone clogs up with dozens of releases to which I never get around to giving more than cursory attention. I bought into the trade-off from vinyl’s warmth to digital’s portability, and now I wonder if I’ve shortchanged myself in the process – nothing on my iPhone sounds nearly as good as my vinyl copy of In Rainbows. I’m trying to even things out a little by at least ripping my old CDs uncompressed. But it’s hard to give up the convenience of instant $5 MP3 downloads – even when I get the feeling the compression is sucking the soul out of the new Dinosaur Jr. It may be time to go totally analog. If only I could fit my turntable in my car . . .

In any case, I’m clearly out of step with this generation’s aesthetics. I grew up on the old-fashioned album as a coherent artistic statement, and I still love the experience of listening to a single record – or, more atavistic yet, album side! – from beginning to end. But when I try to listen to new releases that way, they don’t hold up, and I realize the problem’s not just them, but me – they weren’t built for that kind of listening practice. Bands expect you to pick and choose your favorite cuts, then put your whole library on shuffle. But I rarely find that algorithmic experience satisfying – for me, it leads less to serendipity than to impatience, as I keep wondering if I’ll like the next song better than the current one.

I’m sure some of this past decade’s music will eventually grow on me. It took me years to warm to Yankee Hotel Foxtrot – it wasn’t until I heard the live Wilco record, Kicking Television, that I realized how much life there was in those songs that initially seemed so cold. Likewise, I was late to Radiohead because I never liked OK Computer – although when I finally heard Kid A, it grabbed me from the first cut. Maybe a few years from now Animal Collective will similarly speak to me – but for now, even after repeated attempts, I just don’t get the fuss, and I have a sneaking suspicion that a lot of other listeners feel the same, but are afraid of crossing the Pitchfork mafia. I do see the point of Grizzly Bear and TV on the Radio, but neither band has ever grabbed me for an entire album. Although maybe they would if MP3 wasn’t subjecting my ears to continual sonic fatigue.

In this midst of this midlife sonic crisis, there were still a handful of artists who made music I couldn’t get enough of. Not only Wilco and Radiohead, but also Hem, LCD Soundsystem, Calexico, and Stephen Malkmus. And Axl Rose, who made the great lost guitar-rock record of the decade. Future generations will rediscover Chinese Democracy for the masterpiece of power balladry it is. Or they won’t, and it’ll be their loss.

Below, my top 50 albums of the decade. Tomorrow, I’ll post a separate list of my top 50 songs.

1 Wilco, Yankee Hotel Foxtrot
2 Radiohead, In Rainbows
3 LCD Soundsystem, The Sound of Silver
4 Daft Punk, Discovery
5 Beck, Sea Change
6 Hem, Rabbit Songs
7 Bebel Gilberto, Bebel Gilberto
8 Bob Dylan, Love and Theft
9 Badly Drawn Boy, About a Boy
10 Calexico, Feast of Wire
11 M83, Before the Dawn Heals Us
12 Broken Social Scene, You Forgot It in People
13 The National, Boxer
14 Radiohead, Kid A
15 Guns N’ Roses, Chinese Democracy
16 The Langley School Music Project, Innocence & Despair
17 Wilco, A Ghost Is Born
18 Loudon Wainwright III, Here Come the Choppers
19 The Cast of Buffy the Vampire Slayer, Once More with Feeling
20 Stephen Malkmus, Stephen Malkmus
21 Norah Jones, Come Away With Me
22 Stephen Malkmus, Real Emotional Trash
23 Hem, Funnel Cloud
24 Wilco, Sky Blue Sky
25 Jayhawks, Rainy Day Music
26 Zero 7, Simple Things
27 Antony and the Johnsons, I Am a Bird Now
28 Nick Lowe, The Convincer
29 Kanye West, The College Dropout
30 The White Stripes, White Blood Cells
31 Arcade Fire, Funeral
32 Fountains of Wayne, Welcome Interstate Managers
33 Jens Lekman, Night Falls over Kortedala
34 Matthew Dear, Asa Breed
35 NERD, In Search Of . . .
36 Stereophonics, You Gotta Go There to Come Back
37 Fleet Foxes, Fleet Foxes
38 Kanye West, Late Registration
39 D’Angelo, Voodoo
40 Triumph the Insult Comic Dog, Come Poop With Me
41 Death Cab for Cutie, Narrow Stairs
42 Yeasayer, All Hour Cymbals
43 Outkast, The Love Below
44 Lambchop, Is a Woman
45 Various Artists, O Brother Where Art Thou
46 Son Lux, At War With Walls and Mazes
47 Suzanne Vega, Beauty & Crime
48 M83, Saturdays=Youth
49 Randy Newman, Harps and Angels
50 MC Paul Barman, It’s Very Stimulating

Tedcast #3: Interviewed by Erik Davis

The third Tedcast takes a break from my Fantasy & Science Fiction lectures to present an interview with me conducted by Erik Davis. Erik hosts Expanding Minds on the Progressive Radio Network, and is author of numerous books, including a great study of Led Zeppelin IV and the new collection Nomad Codes. Erik and I go back to college, where we worked together on a zine. Here we talk about the Centaur Manifesto, critical theory, and the tensions between being an academic and a public intellectual.