McLuhan on CBC  (May 18, 1960)                                              

Marshall McLuhan can be seen on a YouTube clip from a CBC (Canadian Broadcasting Company) television program entitled Explorations aired on May 18, 1960 on what must have been an early experience for him performing on the relatively new medium.

McLuhan, 49 years old, looks sturdy and vigorous, a ruddier appearance than the somewhat gaunt look he would take on over the course of the next two decades, an incredible journey by anyone’s standards. McLuhan wears a heavy wool suit and betrays an eager enthusiasm, possibly because he wrote the script for the Explorations episode, as his biographer Philip Marchand reports, as part of a media education curriculum designed for 11^th grade students. (Marchand 158) The clip indicates a beginning step in McLuhan’s journey to educate the world to the ways of electronic media. McLuhan tosses off challenging concepts, more easily comprehended fifty years after the CBC video presentation, but delivered with a steady optimism.  He introduces a colloquialism—“with it” as central to grasping his main point, the connectedness of post-literate, electronic man in a global family. McLuhan’s aesthetic, equal parts dedicated instructor and Promethean gift-giver, offers nothing less than a series of earth-shattering notions presented as cheerfully as the day’s algebra lesson. The video gains charm by its timing, prior to McLuhan gaining world fame, and reveals McLuhan firmly in command of a Weltanschauung for Echo Land well in advance of the publication of The Gutenberg Galaxy 1962) and Understanding Media (1964).

The YouTube clip extends just over 8 minutes (8:43), a small segment of a half-hour show devoted to the subject of teenagers. At the end of the clip McLuhan comments on the difference between adolescents (print era) and teenagers (electronic era); adolescents with their training in individualist print culture are always searching for personal identity while teenagers, a product of electronic culture, seek group identity.

The camera shows Alan Millar, the CBC host for the program, standing before a pay telephone at the edifice of an appliance store. Millar, a man of soothing voice and good TV hair, serves as puppet for McLuhan’s ideas. He states the world “is now a global village.” Millar hesitates a full beat, a pregnant pause, and repeats the phrase slowly… “a global village. ” He allows time for “global village” to sink into the minds of the 11^th grade audience and the next camera shot displays a bookcase, a “symbol of the age just past,” a time when we “had just one medium.” The plot thickened and the stage well set, McLuhan enters the frame to resolve matters lest the audience mourn excessively over the loss of the book with an explanation of the phrase “with it.” By “with it” we mean “we’ve understood completely, we’ve got the message as it were in every way possible.”  As for the print era man “they were not with it, they were away from it, by themselves with their own private point of view.”

McLuhan’s logic sounds airtight, but the 1960 audience may lack reference points for understanding the significance of being “with it.” The Beatles and hippies have not yet happened and the introduction of CNN and MTV are twenty years in the future. McLuhan offers help in the next few sentences:

"The new media has made everything into a single unit like a continually sounding tribal drum where everybody gets the same message all the time… a princess gets married in England, an earthquake in North Africa, a Hollywood star gets drunk… I use the word tribal. It’s probably the key word of this whole half-hour."

McLuhan has circled  back to the concept of globalism, beginning the scenario with the term global village and ending with the story of the tribal drum. Millar delivers a line straight from McLuhan’s script designed to acknowledge the viewer’s distance from such abstruse subject matter as media and connectivity. Millar asks, “Aren’t media, as I think most of us feel, on the edges of our life?”

“Media is at the heart of our life because the media work through our senses,” answers McLuhan.

The video clip features provocative set design, the placement of a pay phone in front of an appliance store. Consumers from the sixties viewed television as properly placed alongside refrigerators and dishwashers in an appliance store. The telephone, however, seemed divorced from television. The telephone, managed by the AT&T monopoly, seemed like a utility service similar to the water utility or lighting department, and hardly related to the television industry. McLuhan, of course, saw things differently. He tied telephone and television together as communication media even though nobody imagined a way to talk back to their television set. Today we interact constantly with both our telephone and television and communicate between them. CNN broadcasters regularly encourage us to tweet our viewpoints, send personal reports or photos, or vote our perspective on the topics of the day. McLuhan’s educational program anticipates the convergence of phone and television communications and, no doubt, would have added computers to the discussion should anybody have had the least clue to what he meant.

The 1960 clip reveals McLuhan’s fondness for revelations gained from colloquial speech, his clever use of the metaphor “global village,” so powerful it is repeated to the present day, strange retrieval of  past functions, the drumbeat of tribalism being revived by electric circuitry, and the fierce impact of a new media environment—the electronic media, a rival the book. McLuhan viewed media as extensions of our bodies and as reshaping our sensory balance. He intentionally concluded on the interface, how we access media through our senses. Imagine the video if McLuhan had designed it for 12^th graders!

McLuhan famously descried any concern with the content of TV shows. He studied television from a macro perspective, anticipating the ways television has become part of a spectrum of environmental services. He felt the debate over the “false claims of advertising” was wasted effort in comparison to decoding Madison Avenue’s power for “icon-making and image making,” decades before these views could be fully understood.  And possibly not yet understood. 

It's Raining Down in Texas

Rain has arrived in Austin! I predicted to myself that the Weather Channel would become the most compelling TV station when global climate change was in full swing. Seems like it is in full swing. Talked to my parent in New York and temperature was scheduled to hit Austin, TX like levels of 95 degrees. But what's the purpose of discussing the weather. I looked at Maureen Dowd's column today and earlier saw David Brooks in the NY Times. Brooks feels capitalism has gone downhill since the arrival of the high achievers, the winners in the meritocracy contest. He says this new class is doing worse than the good old boy WASP bluebloods, the ruling class of yesteryear. Not sure what he's getting at. Seems like a spurious argument. Other things have changed. My belief, technology has changed everything. Everything now moves at the speed of light, the world has been revolutionized. Interestingly Maureen Dowd's column is about the tragic death of a boy from the infection of a cut by some super-bacteria. She said the bacteria grow best on gym floors and artificial turf. Always hated that artificial turf stuff. Isn't that with the Koch brothers are involved in-- the guys with a right wing agenda and huge bank accounts to support conservative candidates?! Now I am really convinced artificial turf is evil. So this blog is about media-- weather channels and New York Times columnists. Not very original... but hey it's a start! Barack Obama visited Austin today. Local radio talk show, Jeff Ward, got into manipulating Obama speech soundbites and asking listeners what they would like to tell Obama. I got home before I heard any of their comments/questions for the prez.. The one guy I did hear told Jeff Ward he preferred not to get whipped into a frenzy on the topic of politics. Smart listener... and yeah, I'm back commenting on other media.

Facebook and Its Followers

I have been on Facebook for number of years. In my student advising days a computer sciences major encouraged me to join. Ironically he seemed to be a shy kid. A shy kid introduced me to a club with about 600 million members! I don't use it much. But I see that some people use it all the time. Facebook appeals to those seeking self-expression. But don't we all seek self-expression? The only requirement is the knowledge of typing. You have an audience-- your Friends, or at least those friends who logon. You express a point-of-view. But Marshall McLuhan explains there is no point of view in the electronic world. Information comes at you from infinite directions. There is no margin and no center. What is a point-of-view in a simultaneous world? Everything comes, goes and leaves. The experience of expressing yourself is real. We have become creators of news. The guy, Jason Russell, with the Kony 2012 video presents an interesting case. He felt passionately about Uganda and children and produced a video that got 80 million hits-- possibly a record success. He was overwhelmed by the criticism of his piece, so the theory goes, and had a breakdown. He made himself part of the story and the criticism felt especially personal. So you have to play the internet carefully or be the kind of personality confident enough to weather the firestorm of comments. Andy Warhol warned about that 15 minutes!

Goldman Sachs and The Forbidden Dance

Remember the lambada, "the forbidden dance" from Brazil? Goldman Sachs, once regarded as a "best in breed" investment firm, may have  become the forbidden firm of Wall Street. One of their hotshot employees wrote an editorial for the NY Times telling how toxic the scene had become in the corridors and meeting rooms of Goldman. The leadership had gone to hell, he explained. At one time they actually considered the needs of their clients. This philosophy, placing client needs above all else, provided a rudder for the ship. The new rudder has a different goal-- making more money for themselves. Nobody tries to figure out what effected the change. The answer cannot simply be the passage of time (i.e.-- as time passed, people became more corrupt). Actually 143 years had elapsed since Goldman Sachs first opened their doors or whatever gets opened up at investment banking firms. I'm not sure they want the general public headed through the portals so maybe they open up a side door or maybe a secret trapdoor? But something changed beyond the scope of the company and contributed to the chaos of money grubbing so evident around the entire Wall Street scene.

The biggest change over the last 20-30 years has been the computer. The computer increases speed and transparency. Suddenly consumers could engineer their own trades with almost the same visibility to the stock environment as the insiders pulling the levers behind the curtain. Once we saw the Wizard and his methods the whole ruse was about to tumble. The last five years have been Humpty Dumpty falling off the wall and all of the SEC, congressman and regulators struggling to put Humpty back together again. Without the public confidence you cannot return Humpty Dumpty, the rules of the game, back together. And so the future looks chaotic on the financial front. A new system probably has been forming up outside of our awareness. We look backward for historic explanations. The historical record does not explain what is going on-- because that is all BC (before computers).

SXSW is Happening

This week is SXSW conference in Austin, a gargantuan of a successful idea from the Lewis Black mindset, the editor of the Austin Chronicle, Austin's free alternative newspaper. To all things free many gifts are bestowed. Try figuring out the magic of SXSW and what a catalyst, aphrodisiac-like attraction the event has become for the movers and shaker-bakers from every coast, hill and valley. My thought is that calling Austin the "Live Music Capital of the World" helped ignite the magic. When you can name it, then you claim it. The genius who invented "Live Music Capital" sparked the thing and SXSW, a play on the Hitchcock film title, "North By Northwest," was also marketing genius. Lewis Black, a movie maven,  was an RTF grad student at the University of Texas in an earlier incarnation. RTF means Radio-TV-Film for the uninitiated and SXSW means South By Southwest. SXSW began as music festival and now has three parts-- interactive, film, and music-- a sturdy three-legged stool if there ever was one.

The most controversial element so far occurred at the Interactive portion (computer people) of SXSW. Some company, how's that for a generality, hired homeless people to act us wireless hot spots, which as I understand it means they provided places, like human towers, where you could get wireless access to the internet. Some said the idea was piss poor, underlining the narcissism of high-powered techies who have the illusion that life begins and ends with them. The rest of the people are carbon life forms. Others liked the idea that the homeless people had been included on some level. Talk about a digital divide! I'll look at my laptop, smart phone etc. while you just hold that lamp.

Oh well, some things are so reeking full of irony that you can hardly comment, they comment on themselves. But there was something very allegoric about the whole issue, an Aesop's Fable of sorts. There once was a man with a laptop computer and another man holding a microwave antenna....

Go Outside

Go Outside. This was the article of an Austin American Statesman article from the other day. American kids don't play outside, eat sugar and suffer from diabetes, don't exercise and have become obese. And when you stay inside in an air-conditioned environment your body does not have to cool itself down. We burn less calories by living in an "air-conditioned nightmare," as Henry Miller said in the title of his 1945  novel. Leave it to a novelist to figure out air conditioning signaled a step down a slippery slope way back in 1945.

So what's the alternative to living inside in an air-conditioned nightmare. Go outside! What will you find out there? Who knows... never can tell. I have been walking the hills of a nearby neighborhood.

A friend explains Andrew Breitbart's early demise as a case of him being "too tense because he could not control the future of the world..."

Giving up control... now there's a theme!

Why do we prefer outside to inside? In days of yore the outside was a dangerous place, full of wild animals and physical threat. We tamed the American continent and built incredible infrastructure and well-insulated houses. The suburban palace is a programmed environment. Temperature controlled. Media systems come in through the flat screen televisions. We can even broadcast ourselves now on Facebook, Twitter, Youtube, punching away on laptops and cellphones. Why leave the house? (see paragraph one)

What, me drive?

Went to see Drive, the new Ryan Gosling. Gosling plays a "Los Angeles wheelman," as stated in the Sept. 23 review in Entertainment Weekly (EW). As someone with limited driving skills just going to the film posed something of a threat. I don't mean the actual driving to the theater; well, that's always part of it. A film premise based on high speed driving really pinches my insecurities. But wait a minute-- the Danish director does not drive at all in real life! He just sidesteps the issue completely. Doesn't drive in his personal life but makes movies about surly, skillful drivers aiding and abetting masked desperadoes on the journey to and from their targeted businesses. Movie directors have always admired tough guys-- who drive insanely fast, beat people up, kill people, threaten, intimidate, rob, commit adultery with noir dames and a whole range of behaviors at odds with the Ten Commandments. But this Danish director does not have a driver's license-- and the Good Book makes little mention of the dangers inherent in using the interstate highway system. Of course, you likely get more people dying on the American highway than committing bank robberies or any of a slew or cinematic sins. Other notable directors without a driver's license include Alfred Hitchcock and Spike Lee. Detect a pattern there? Not sure. I sympathize with the Danish director and his fascination with good driving skills. As a passenger, Nicolas Winding Refn has the objectivity to see driving as the impressive skill it really is. But, take a closer look at that middle name-- Winding! That's a Winding of a middle name! And the opening scene of the film is a wingding of a scene. EW called the scene an "addictive getaway sequence." I agree and want to study the sequence-- but it won't become addictive until the movie is available on DVD or Youtube, correct? I like LA noir movies, Chinatown, from 1994 being the best ever. The Ryan Gosling vehicle vehicle lacks some of the finer points of Polanski's 1974 depiction of Thirties LA, character development and dialogue for starters. LA in the Thirties did not have near the number of skyscrapers and electric lights blazing you get now and so Driver constantly refers back vertical skyscraper shots. A note of supreme irony is the appearance of the name Frank Capra III as one of the film's producers. Frank Capra I was the anti-cynic, the anti-noir, a man of optimism and cheerful romance built upon the subtle use of dialogue. Capra the First must be spinning in the grave at the long, wordless gazes between Ryan Gosling's Driver and Irene, the waitress with the heart of gold played by Carey Mulligan. If words were sex these two two would be DOA on their honeymoon night. But back to Chinatown. Roman Polansk correctly anticipated the knife as weapon of choice for the 21st century noir. Polanski, playing a thug, slashed Jack Nicholson's nose, opening Jake Gittes a roomier nostril. Drive features the knife, stiletto, straight razor with much gusto. This new, old-fashioned tool of death, steel to the gut, eye, artery, has become the film artist's best method for dispensing with bad guys, an alternative to the first-person shooter of video games-- though a video game aesthetic thrives throughout the film. And now I've got to start worrying about shaving.