And they need to pick up the December issue of Videomaker magazine, which contains an article I wrote titled, “How A Camcorder Sees Light” — or read it online, here.

Duane Lester of All American Blogger and Radio For Conservatives recently interviewed me about the history of Ed Driscoll.com, a topic I know just a little bit about. It’s an hour-long podcast; tune in here if you’d like to listen.

(Incidentally, greetings from 30,000 feet, as this and the last few blog posts were delivered via American Airlines’ onboard Wi-Fi system.)

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Rep. Russ Carnahan (D-MO) attempts to sell socialized medicine to his district; is met with the appropriate response: laughter and derision:

Here’s a one-and-a-half minute excerpt from Russ Carnahan’s (D-MO) healthcare forum on Monday. There are a couple of humorous moments from the event, and then it concludes with TheBlackSphere.net–Kevin Jackson–asking: “If it’s so good why doesn’t Congress have to be on it?”

Jim Hoft, St. Louis’ Gateway Pundit adds:

They weren’t buying into his obvious mistruths about Obama’s plan to socialize the nation’s health care system. Great job, St. Louis!

* * *

It was a rough day for Carnahan– First he got clobbered on the radio, then this.

As Glenn Reynolds and Jim Geraghty have noted, while it takes a fair amount of protesters in one large outdoor location to make a statement, it takes fewer less who actually show up at their town meetings to spook socialists used to getting their own way while their constituents look the other way.

Related: Speaking of Geraghty, he asks, “Hey, How Did We Fall Behind France, Brazil, Iceland, Egypt and Peru?”

Presume, for a moment, that the numbers provided to the Economist’s table of each country’s output, prices and jobs chart are accurate.

If that is the case, the U.S. unemployment rate of 9.5 percent is worse than than the most recent numbers available for many, many countries, including France, Greece, Italy, India, Indonesia, Malaysia, Argentina, Brazil, Mexico, Venezuela, Egypt, Israel, Iceland, Lithuania, Peru, Philippines, Ukraine, and Vietnam.

(I’m just picking out the counties that seem surprising. I mean, didn’t the Icelandic economy collapse? Aren’t most of the European countries supposed to be sluggish and held down by heavy regulation, unionized labor forces, and high tax rates? And I figure the Egyptian number has to be unreliable, since my sense when I visited in 2003 was that once you removed those who sit all day in an empty store sipping tea, the employment rate was somewhere around ten percent.)

Building a bridge to the 1930s!

Update: “Hello, I’m you’re new doctor…”

Video gearheads will certainly enjoy this HD video at, appropriately enough, Videomaker magazine on the history of blue and green screen in the movies, going back to Linwood Dunn’s pioneering efforts at RKO in the 1930s.

And speaking of Dunn, he gets namechecked in my newest article at Blogcritics on selecting the appropriate transitions when editing your next online video (which references some of the transitions I experimented with in the intro to the most recent edition of Silicon Graffiti). It makes, I hope, a nice follow-up to my own article this month at Videomaker on “The Art of the Title Sequence.”

Related: Well, tangentially at least. At Deep Glamour, Virginia Postrel explores another side of Hollywood make-believe: “Grace Kelly: ‘Natural Glamour’ Rising from the Sea.”

Scott Baker and Liz Stephans of Breitbart.tv’s daily B-Cast show join me for the newest edition of Silicon Graffiti. After a brief flashback to a period when television really was a Brave New World, we’ll look at the future of Internet television:

• What the legacy media thinks of their successors in new media.
• How it’s supplanting the coverage of stories that old media considers samizdat (see also: the Tea Parties on April 15 and the July 4th weekend).
• How new and old media will eventually converge.
• And more!

The change we’re living through isn’t an upgrade, it’s a upheaval, and it will be decades before anyone can really sort out the value of what’s been lost versus what’s been gained. In the meantime, the changes in self-assembling publics and new models of subsidy will drive journalistic experimentation in ways that surprise us all.

Read the whole thing, as they say in new media.

(Bumped to top.)

Happy Tenth Anniversary to Mickey Kaus’s Kausfiles, a pioneering blog, and still one of the best. And in a very real sense, it’s the blog that launched the blog that launched a thousand other blogs (including ours), as this C-Span interview with the author of a book called An Army of Davids highlights:

LAMB: Who invented the word ”blog” or ”Weblog?”

REYNOLDS: The word blog? I’m not really sure. It sort of just sprung up. And nobody likes the word, but it just stuck. The word ”blogosphere” was invented by a guy named Bill Quick, who is a science fiction writer and blogger out in California. And that one kind of stuck.

LAMB: And can you remember — I have read that Mickey Kaus’ was one of your first blogs that you saw. And who is he? Is that true?

REYNOLDS: I — yes, I think it’s true. Mickey Kaus was a writer for The New Republic and really in some ways the original architect of welfare reform under the Clinton administration through a book that he wrote in 1992. And he was a frequent writer for The New Republic and for Slate.

And he set up his own blog called Kausfiles. And I’m pretty sure it was the first blog I saw because the main thing I remember was following the link from Slate — and I was already an avid Slate reader, which I still am, that’s a Web magazine, slate.com. And I followed the link from Slate to Kausfiles, from this big Microsoft-supported, you know, online magazine, to this little one-man Web site that he had set up himself.

And it looked just as good. You know, it was as well-written, because it was the same guy. It was as well-designed, because I don’t know who designed it, but he had a good designer. And it just — the experience of doing it, it really brought home to me this sense that, you know, you could do this.

And I want to say it’s like the old punk rock ethos, you know, they were terrible, I wanted to be terrible too? But it wasn’t terrible. And that was actually what was really striking about it. There were lots of sort of amateurish, not very good Web sites out there in 1996, or whenever this was, but this looked good and it read well and it was really interesting, and I just thought it was really cool.

Mickey’s tenth anniversary post can be found here. And click here for our interview last summer with Mickey on L’affaire Edwards, recorded during the legacy media’s infamous “Keep Rockin’” interregnum, when the MSM was still AWOL on the now-infamous scandal.

Update: And speaking of the misadventures of the hirsute former senator…

I’m not at all sure I agree with John Derbyshire’s take on the passing of Farrah Fawcett and Michael Jackson, and the cultural era that made them superstars:

Working up my Radio Derb transcript here, I find I’ve been chastened by the concurrent death of Farrah Fawcett, who was only twenty months younger than me. I hear footsteps coming up the driveway, and shall keep perfectly still till they’ve gone, as I hope and trust they will. In that spirit, I’m trying hard to find something positive to say about the guy the media were calling “the Gloved One” the last time I paid any attention, which I see was a decade or two ago.

All I could come up with was that Jackson, like Fawcett, was a relic of the time when we were a single nation, listening to the same pop songs, going to the same movies, sticking the same babe posters on our bedroom walls, laughing at the same jokes, even giving our kids names from a common stock. Whether Jackson should be extravagantly mourned or not, I leave to you to decide; but that era of national-cultural unity surely should be. Requiescat in pace.

Am I reading that correctly? Does Derbyshire really want to go back to the era of mass media? As I wrote in my Atlas Mugged article back in 2007 on the slow death of mass media and the rise of the Blogosphere:

By the early 1970s, mass media had reached its zenith (if you’ll pardon the pun). Most Americans were getting their news from one of three TV networks’ half-hour nightly broadcasts. With the exception of New York, most big cities had only one or two primary newspapers. And no matter what a modern newspaper’s lineage, by and large its articles, except for local issues, came from global wire services like the Associated Press or Reuters; it took its editorial lead from the New York Times; and it claimed to be impartial (while usually failing miserably).

Up until the Reagan years, [Shannon Love of the libertarian Chicago Boyz econo-blog] says, “definitely fewer than one hundred people, and maybe as few as twenty people, actually decided what constituted national news in the United States.” These individuals were principally concentrated within a few square blocks of midtown Manhattan, the middle of which was home to the offices of the New York Times. The aptly nicknamed “Gray Lady” largely shaped the editorial agendas not just of newspapers but of television, as well. As veteran TV news correspondent Bernard Goldberg wrote in his 2003 book Arrogance, “If the New York Times went on strike tomorrow morning, they’d have to cancel the CBS, NBC, and ABC evening newscasts tomorrow night.”

Love calls this “the Parliament of Clocks”: creating the illusion of truth or accuracy by force of consensus. “Really, the only way that consumers can tell that they’re getting accurate information is to check another media source,” Love says. “And unfortunately, that creates an incentive for the media sources to all agree on the same story.”

So yes, there was a shared mass cultural identity in the 1970s, but no Rush, no Fox News, no Pajamas Media, no Reason.com, no Weekly Standard, no YouTube, and no Blogosphere. And no 24/7 continually updated Website version of National Review; you waited for your copy to arrive in the (snail) mail and watched Buckley on Firing Line on the weekend. And for someone on the left who reads that laundry list and thinks, “Sounds good to me!”, there was also no CNN, no MSNBC, no Daily Kos, no Air America, and no Andrew Sullivan.com.

There’s no doubt today’s culture is a much more fractured and crude media environment; and certainly the grown-ups are long gone from the last vestiments of the liberal overculture. But it’s also one that provides infinitely more choices than the era that made superstars of Jackson, Farrah, and that now virtually forgotten other celebrity death this week, Ed McMahon. And it’s one that anyone can join, an idea that certainly cheeses off those relics left over from the era before democratized media no end.

Update: And speaking of the Chicago Boyz, “The Farrah Fawcett – Ayn Rand Connection”, revealed!

The weekend prior to my recent trip to Alaska, I had planned to purchase a Flip Mino HD or Creative Lab Vado HD  after reading the review of the two tiny video cameras by Skye at her Midnight Blue Weblog. However, since Best Buy was out of both cameras, but had a Sony MHS-PM1 “Webbie” in stock, I figured what the heck.

About the size of a pack of cigarettes (to borrow a common measuring term now apparently verboten) for the most part, the Webbie is certainly intuitive enough; rotating its tiny lens up from its protective cover turns the camera on, and the buttons below the monitor screen marked PHOTO AND MOVIE are certainly intuitive enough.

But there are several aspects of the camera that are less than intuitive. Clicking the movie button once lights up a small recreation of a typical video camera’s tally light, to let you know the camera’s recording. But then clicking it again generates a note that says “RECORDING”. It’s the camera’s way of letting you know it’s recording the just captured to the unit’s Memory Stick card, but it takes a couple of tries to figure out just when the unit is actually, you know, recording. (Also, you’ll need to purchase the Memory Stick card separately, which bumps the total price of the unit up slightly, as the Webbie’s onboard 12MB is pretty useless except for recording a handful of still shots.)

Right out of the box, the Webbie’s default mode is 720P, which is perfect for uploading videos to YouTube’s recently adopted widescreen format. The above video, documenting my train ride from Anchorage (where my plane got in) to Seward (where we picked up our cruise ship) was shot in the Webbie’s 720P format; mainly because I wasn’t sure how to switch the Webbie into 1080p without first flipping through the Webbie’s instruction manual. The button on the right hand side of the camera marked MENU brings up some commands, but the button to its right, which also doubles as the button to delete unwanted shots is what changes video modes. (VGA is also available as an option, for those who prefer standard def.)

As you can see by the above video, the picture quality is pretty darn good for such a tiny camera. But perhaps the most frustrating feature on the Webbie is the lack of a smooth zoom control. Obviously, because of its tiny lens, the unit uses electronics to generate its zoomed images, rather than adjusting the actual lens itself, a money and space-saving feature common on lots of low-end consumer camcorders.

But most camcorders have a fluid zoom effect. In contrast, the Webbie ratchets between positions in its zoom; you’ll want to compose your shots first, then hit record, or be prepared to discard the material shot while the camera zooms, and fluidly focusing on an object then zooming back (see Kubrick’s Barry Lyndon for this technique repeatedly used as a leitmotif) is impossible.

While the unit does have a tripod mount, it lacks a seperate microphone input, so you’ll be relying on the Webbie’s built-in mic, which may be fine for some occassions, and very frustrating for others.

But then, that’s the Webbie in a nutshell, isn’t it? Filling the gap between a cellphone camera and a decent consumer camcorder, the Webbie is great for quick and dirty video blogging, as a handy second camera for shooting B-roll footage, and certainly for home movies. But with a few additions and modifications, it could have been a much more useful little tool.

More on the Webbie from C/Net, which also includes a video of the unit in action:

In the classic Muggeridge’s Law department, this Onion headline is certainly spot on. (I was tempted to write, “Only 90 percent of waking hours? Slackers!)

What will eventually replace those glowing rectangles? That’s the subject of this Pop-Sci.Com article.

For those into DIY video, and video podcasting, I have a troika of video-oriented product reviews at Blogcritics:

• Digital Juice’s Videotraxx HD stock footage collection.
• DigiEffects’ new Damage plug-in: “You Have Great Looking Video, They Can Fix That.”
• And DigiEffects’ trio of still fun and useful legacy plug-ins.

Check ‘em out — it certainly makes a nice change pace from all of our recent Hef blogging!

Update: Skye at Midnight Blue gets techie with it as well, comparing the Creative Lab Vado HD camcorder and the Pure Digital Flip Mino HD, two tiny affordable cameras great for quick and dirty vlogging, in a new post appropriately titled “Flip Vs Vado”, complete with screen captures and YouTube clips.

Required reading — at least to a guy whose late father co-owned a suburban Chevy dealership in the ’50s and ’60s. P. J. O’Rourke writes, “The phrase ‘bankrupt General Motors,’ which we expect to hear uttered on Monday, leaves Americans my age in economic shock:”

I don’t believe the pointy-heads give a damn about climate change or gas mileage, much less about whether I survive a head-on with one of their tax-sucking mass-transit projects. All they want to is to make me hate my car. How proud and handsome would Bucephalas look, or Traveler or Rachel Alexandra, with seat and shoulder belts, air bags, 5-mph bumpers and a maze of pollution-control equipment under the tail?

And there’s the end of the American automobile industry. When it comes to dull, practical, ugly things that bore and annoy me, Japanese things cost less and the cup holders are more conveniently located.

The American automobile is—that is, was—never a product of Japanese-style industrialism. America’s steel, coal, beer, beaver pelts and PCs may have come from our business plutocracy, but American cars have been manufactured mostly by romantic fools. David Buick, Ransom E. Olds, Louis Chevrolet, Robert and Louis Hupp of the Hupmobile, the Dodge brothers, the Studebaker brothers, the Packard brothers, the Duesenberg brothers, Charles W. Nash, E. L. Cord, John North Willys, Preston Tucker and William H. Murphy, whose Cadillac cars were designed by the young Henry Ford, all went broke making cars. The man who founded General Motors in 1908, William Crapo (really) Durant, went broke twice. Henry Ford, of course, did not go broke, nor was he a romantic, but judging by his opinions he certainly was a fool.

America’s romantic foolishness with cars is finished, however, or nearly so. In the far boondocks a few good old boys haven’t got the memo and still tear up the back roads. Doubtless the Obama administration’s Department of Transportation is even now calculating a way to tap federal stimulus funds for mandatory OnStar installations to locate and subdue these reprobates.

Among certain youths—often first-generation Americans—there remains a vestigial fondness for Chevelle low-riders or Honda “tuners.” The pointy-headed busybodies have yet to enfold these youngsters in the iron-clad conformity of cultural diversity’s embrace. Soon the kids will be expressing their creative energy in a more constructive way, planting bok choy in community gardens and decorating homeless shelters with murals of Che.

I myself have something old-school under a tarp in the basement garage. I bet when my will has been probated, some child of mine will yank the dust cover and use the proceeds of the eBay sale to buy a mountain bike. Four things greater than all things are, and I’m pretty sure one of them isn’t bicycles. There are those of us who have had the good fortune to meet with strength and beauty, with majestic force in which we were willing to trust our lives. Then a day comes, that strength and beauty fails, and a man does what a man has to do. I’m going downstairs to put a bullet in a V-8.

As Frank Martin writes, “P.J. O’Rourke Explains It All For You”, so definitely read the whole thing.

The Wall Street Journal notes:

In the propaganda blitz that followed North Korea’s missile launch last month, the country’s state media released photos of leader Kim Jong Il visiting a hydroelectric dam and power station.

Images from the report showed two large pipes descending a hillside. That was enough to allow Curtis Melvin, a doctoral candidate at George Mason University in suburban Virginia, to pinpoint the installation on his online map of North Korea.

Mr. Melvin is at the center of a dozen or so citizen snoops who have spent the past two years filling in the blanks on the map of one of the world’s most secretive countries. Seeking clues in photos, news reports and eyewitness accounts, they affix labels to North Korean structures and landscapes captured by Google Earth, an online service that stitches satellite pictures into a virtual globe. The result is an annotated North Korea of rocket-launch sites, prison camps and elite palaces on white-sand beaches.

“It’s democratized intelligence,” says Mr. Melvin.

More than 35,000 people have downloaded Mr. Melvin’s file, North Korea Uncovered. It has grown to include thousands of tags in categories such as “nuclear issues” (alleged reactors, missile storage), dams (more than 1,200 countrywide) and restaurants (47). Its Wikipedia approach to spying shows how Soviet-style secrecy is facing a new challenge from the Internet’s power to unite a disparate community of busybodies.

“Here is one of the most closed countries in the world and yet, through this effort on the Internet by a bunch of strangers, the country’s visible secrets are being published,” says Martyn Williams, a Tokyo-based technology journalist who recently sent Mr. Melvin the locations of about 30 North Korean lighthouses.

Given the desire of Google’s management to suck up to neighboring undemocratic China, I can’t help but wonder what they think about these efforts.

(Via Joshua Stanton.)

With the latest Terminator movie in theaters this weekend, don’t miss this PJTV segment hosted by Bill Whittle and featuring an interview with P.W. Singer, author of Wired For War, on the current state, and the near future of robots (and the men who control them) on real-life battlefields.

As James Lileks wrote a few years ago when he broke down the subtext and leitmotifs of the score for Star Trek’s “Doomsday Machine” episode, “I think this will be the stupidest, most geeked-out thing I’ve ever written. I think I need an intervention: dude, it was one cheesy episode of one cheesy show. Give it up.”

Similarly, having doped out how to do a decent transporter effect for the end of last week’s edition of Silicon Graffiti, I figured I’d write up a how-to article, which is over at Blogcritics. If you’ve ever wondered how do beam yourself into or out of your own video…well, now’s your chance.

K’plah!

It’s a special travelogue edition of PJM Political this week, featuring my interview with Mark Steyn, Steve Green on “Caracas On The Potomac”, and from PJTV, Glenn Reynolds’ interview with Nick Gillespie of Reason, and Roger L. Simon on rediscovering his faith after coming face to face with Evil.

Tune in here to listen!

Found via Kyle Smith, John Podhoretz explores “The way the wind is blowing for newspaper movie critics“:

In the past three years, three dozen film critics have been told by the struggling newspapers and alternative weeklies for which they work that their interpretations of the latest Hollywood and foreign fare are no longer part of the business plan in a business that no longer has much of a plan except to hold off the Grim Reaper as long as possible–which, in the words of the deranged ex-CIA agent Vince Ricardo in The In-Laws, “could be about an hour.”

Indeed, it is likely that by the time the year is over, only the top 10 or 15 papers in the country will have a movie critic on staff. The rest will rely on freelancers or wire service reviews. The death of the newspaper movie critic has been the occasion for much weeping, wailing, and gnashing of teeth among .  .  . newspaper movie critics. If you live in one of the cities in which the local critic is no more, you may not even have noticed the difference.

If you have worked for a newspaper in the past 20 years, and have had the fascinating misfortune of attending one of the innumerable focus groups convened to tell you what is right or wrong with your paper, you will have learned many awful things.

One is that many people are stupid. The other is that nobody pays attention to the things professional writers care the most about. They don’t look at bylines; they don’t know the difference between wire copy and staff-written material. They like (or used to like, before the Internet came along) sports scores and stats boxes, TV listings and stock quotes, and weather maps. They adore weather maps. They are keenly interested in the supermarket ads and the movie ads.

What do all these things have in common? They are not written.

There is a story told about a major American newspaper that was among the first to do a huge readership survey in the early 1980s. The survey cost several million dollars. And in those days, the editors expected to learn that their lead political columnist was the most popular in the paper, that people really followed the sports columnists, and that the area rose and fell with the opinions on the editorial page.

To their absolute horror, what the editors discovered was this: No more than 5 percent of the readers looked at the editorials. The lead political columnist was one of the least-read. And the most popular item was “Walter Scott’s Personality Parade,” a column of questions and answers about celebrities which appeared not in the newspaper itself but in Parade, the independently published Sunday supplement.

And nobody, but nobody, knew the names of the critics. This was at a time when the paper in question had two movie critics, two theater critics, two television critics, two book critics, a dance critic, a rock critic, a classical music critic, and an architecture critic. It took the paper nearly three decades to get around to it, but the lead critics in all but one of these fields have taken buyouts and are not being replaced.

Of course, newspaper readers are also aware of the vast difference between “The News” and The News, and that they rarely intersect, which has also sped up the newspaper’s Red Queen’s Race.

Meanwhile, just as in 2003, when the film industry convinced itself that texting cell phones were their enemy, they’re starting to lose sleep over the “Twitter Assault on the Studios — and Movie Critics”, as Maria Russo describes the “assault”:

A new site called Flicktweets has just launched, produced by the Movie Review Query Engine. It collects real-time tweets about movies onto one page.

At the moment, “Wolverine” is topping the tweets, with such tiny jewels of insight as @albertkiko’s: “I saw X-Men Origins Wolverine! I think it was a good film based on the fictional Marvel comics!”

Whether the site catches on or not, one thing seems sure: It could be what helps studios and film critics, not usually the best of friends, find common cause. Both are under siege by the armies of critics at the movies these days packing iPhones and Blackberries.

Tweeting insta-opinions about movies is hard to resist for those addicted to constant connectivity. But it could be disastrous for the movie business, introducing an element of randomness and chaos into an already volatile landscape.

The idea of tweets from random strangers moving public opinion for or against a movie gives new meaning to William Goldman’s famous line about Hollywood, “Nobody knows anything.”

It’s also one more cruel strike against the notion that professional film critics perform a valuable service that, sorry, Average Joe Movielover cannot reproduce — especially not in 140 characters.

When Universal Pictures Chairman Marc Shmuger spoke on a panel about the future of Hollywood at TheWrap’s launch party in January, he noted that the studios are in a bad spot when people text their opinions about movies to friends even before the movie is done. Months of marketing planning are out the window.

Yes, God forbid the rubes have opinions of their own and share them with others! Obviously a 140-character tweet isn’t going to replace a meaty lengthy carefully written review, but for getting a quick sense if a popcorn movie is any good, adding up the number of SUX! versus ROX! tweets is a pretty good indicator to see if a mass media product is finding support amongst its intended audience.

But yes, losing newspaper critics helps to coarsen the culture. On the other hand, for critics such as the late Pauline Kael of the New Yorker, who went out of her way to promote trash cinema, over more nuanced, traditional content, is that a bug or a feature?

As Steve wrote yesterday, “Coolest backyard project ever? Maybe, folks. Maybe.” Certainly looks like classic Right Stuff-era NASA precision in this video shot early today from the launchpad:

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Found via Greg Pollowitz, the Penn Station of video hosts turns four years old today. Here’s my early “Army of Davids”-style look at the benefits of the site at Tech Central Station from February of 2006. As for its downside, here’s my firsthand report at the drawback of relying upon the site as your sole video host.

And from Videomaker magazine in late 2007, here’s my look at some of the other video hosts out there, complete with quotes from my interview with Liz Stephans and Scott Baker of Breitbart.tv.

(For some uber-wonky video talk, my latest Videomaker article compares and contrasts CMOS and CCD sensors in video cameras, with a cameo appearance by Hahn Choi, one of the many hard working behind the scene people at PJTV.)

“Yahoo pulls the plug on GeoCities.”

Boiled down from nine hours of PJTV’s Tea Party Coverage, and now in handy portable podcast form (to borrow a favorite Lileksianism), everybody’s on PJM Political this week!

• I interview Steven Malanga of the Manhattan Institute and City Journal magazine about his new article at Real Clear Politics, “Obama and the Reawakening of Corporatism.”
• Host Steve Green discusses CNN’s now-infamous Susan Roesgan, and the CNN/MSNBC Alinsky teabagging technique.
• And from PJTV’s wall-to-wall live coverage of the Tax Day Tea Party Protests, interviews with:

• Pajamas Media/PJTV CEO Roger L. Simon.
• PJTV co-hosts Allen Barton, Bill Whittle and Joe Hicks.
• Glenn Reynolds of Instapundit.com.
• Talk radio stars Tammy Bruce and Hugh Hewitt.
• Finally, from the “Twitter-sphere”, Michael Patrick Leahy of Top Conservatives On Twitter, and beaming in from Planet Kruiser, a cameo from the man, the myth, the legend, comedian Stephen Kruiser.

Produced (and edited!) by yours truly; tune in here to listen!