The Rosenblum TV blog archives.

The Agony and the Video

By Michael Rosenblum | Published August 25th, 2010
http://www.vimeo.com/12999733

Unwatchable…

I have to admit I was initially intrigued by a video series about storytelling posted by Henry Jenkins.

Kurt Reinhardt, who produced this series, apparently, has indeed gathered some really smart people to talk about Storytelling, among them Clay Shirky from NYU. These are no dopes.

Unwittingly, however, Reinhardt has produced an instruction video on how not to make a video for online, or anywhere else for that matter.

For a video that is suppose to explain the essence of storytelling in video, it is absolutely unwatchable.

Terrible.

Awful.

Garbage.

There is a reason talking heads don’t work in online video and here is exhibit A.  Watch the whole thing, if you can focus your attention for all 8 minutes, then tell me what you come away with.

Ironically, for a video that is supposed to be about storytelling, it is a stellar example of terrible storytelling itself.

First, let’s rip it apart for the production values – or lack thereof.

Whoever shot this thing had no idea how to tell a story with a video camera.

The subjects are all staring off into space somewhere.  Online video is a very personal experience. It’s one on one. It’s me and the person talking to me.  Most of the subjects are looking at something a bit off to the left of the camera, but I have no idea what it is. When someone is talking to me, I want eye contact. But that’s the least of it.

The video is nothing but a string of soundbites, all bludgeoned together. If someone had printed this as a written story, and said, ‘here, read this – it’s a bunch of quotes strung together from smart people. You figure it out’, we would all look  at it and say ‘this sucks’. Just because it’s video, it does not give you a license to do that. Which is what this person has done.

The ‘cut aways’, (Clay Shirky’s cast!) are amateurish and distracting. I remember the thing on his arm more than I remember what he said, which is a mistake.

This thing needs a complete rethink.

It needs a narrative thread. It needs some intelligent writing.

You can’t just throw a bunch of badly shot soundbites together and call it a day.

And you certainly can’t call it an instructional video.

Grade: D+

And Henry, for crying out loud, if you want to see some videos about storytelling, take a look at www.nyvs.com

(why not?)

When In Rome…

By Michael Rosenblum | Published August 24th, 2010

Pick up the white man’s burden…

Today’s lesson is ‘old habit die hard’.

This afternoon I had lunch with my old friend Peter Klein, who I have not seen in years.

Peter was a producer for 60 Minutes, and still does pieces for them, although now he has moved to Vancouver and is teaching at the University there. In fact, he just got tenure.

We started talking about how hard it is for institutions like CBS News to change, and that led me to thinking about the Laocoon (seen above).

The statue is in the Vatican Museum in Rome, and is attributed to Pliny the Elder.

The reason it made me think of the Laocoon is the pure white marble that we have come to associate with Roman sculpture. This, we all agree, is the way ancient sculpture is supposed to look.

The reason we think that is because the first big caches of Roman sculpture were retrieved from Pompeii and Herculanium in 1738 by workmen digging the foundations for a palace for the King of Naples, Charles of Bourbon.  The intense heat of the volcanic ash at Pompeii and particularly at Herculanium scorched the statuary to a bright white. So that is how we thought of ancient statues.

In fact, nothing could be further from the truth.  The ancients love to paint their statutes (and their buildings for that matter) in bright garish colors.

Shocking but true.

They also liked put wigs, eyelashes and other stuff on their statues.

It sort of offends our sensibilities.

Even if its the truth.

This is not how we think of Roman and Greek statues.

There’s a very interesting article on this at io109.com.

Even the very white and formal Acropolis looked more like Venice Beach, California.

The more garish, the better, in the eyes of the ancient Greeks.

This was and remains to many people very unnerving.

Ancient statues from the Greeks and Romans (and buildings for that matter) are supposed to be white and pure and pristine Not like these!

The truth of paint on ancient statutes was so upsetting that for many years thereafter, archaeologists and museums would, in fact, scrub off any traces of paint or pigmentation that they found on ancient statues.

All of which brings me back to Peter Klein and CBS News.

The way we are first introduced to things is how we tend to want to see them forever. Anything else seems ‘wrong’.

The US news networks got used to working in a certain way.

They were comfortable with that.
And now, even when they know, intellectually, that they have to change, that their way of working no longer conforms to the ‘truth’ of the way the world now is, they just cannot bring themselves to change.

Laocoon was killed when he attempted to warn the people of Troy about the danger of the Trojan Horse. Athena sent snakes to kill him.

Which is what you get when you try and tell a network executive about how they run their business and what they have to do to survive.

Snakes.

Is Natalie Tran for Real?

By Michael Rosenblum | Published August 23rd, 2010

Prof. Michael Hawley, Renaissance man

Everyone once in a while one of your friends says, ‘you have to talk to this guy’.

Your normal response is… uh.. sure.. fine.

So when Mark Bittman said, ‘you have to talk to this guy’, my feelings were… uh.. sure.. fine.

Aa such,  I was a bit unprepared for the tsunami of thoughts and information that inundated me this morning when I spent an hour on the phone with Michael Hawley.

Hawley runs the EG Conferences, which are an outgrowth of TED.

Would I like to speak at one? Well, if they’d have me.

But that’s not the point.

First, a few lines about Hawley:

-Alex W. Dreyfoos Professor at MIT Media Lab

-Founder ‘Friendly Planet’, ‘Toys of Tomorrow’, and a lot of other really cutting edge concerns.

-Won Van Clyburn piano competition 2002

-Duncan Yo Yo Champion

-Luger and member US Bobsled Federation

and that only begins to scratch the surface.

It’s that kind of stuff that makes me either want to work harder of kill myself, I am not sure which.

In any event, this is not talk about Michael Hawley, (go read his bio). Rather, Hawley turned me on to the video of a 24-year old vlogger in Australia named Natalie Tran, and sent me a few clips of her work from Youtube.

YouTube Preview Image

It’s clever and she’s got a great command of video. It may need a bit of editing and tightening, but at 24, I am intrigued by the potential.

Am apparently not the only one, and it seems I am a bit late to the party, with more than 259 million views on her Youtube channel.

Peruse her videos and you’ll see that she has a great command of the medium and a kind of snarky but funny commentary on society via video.

It’s what Andy Rooney could be if 60 Minutes were starting today (as opposed to the Museum of Television).

I started to research Tran to find out more about here and I came across this blog, which asks “Is Natalie Tran a Hoax?”

In other words, is Natalie Tran so clever that she has to be product of an ad agency?

I don’t think so, but just to be sure, I checked out this link that Hawley sent me – a lecture that Tran gave. The audio is bad, but it’s worth the effort.

YouTube Preview Image

She needs a little work, a little editing and a little tightening, but clearly there is something very clever and interesting here.

A Flashlight in the Dark

By Michael Rosenblum | Published August 21st, 2010

don’t forget the flashlight

In June, 1930, Charles William Beebe and Otis Barton were lowered to the bottom of a trench just off the coast htere in the Bahamas, where they ascended to a depth of 3,028 feet.

They did it inside a crudely cast iron ball, 1.5 inches thick with two tiny portholes made of quartz.

I read all about it yesterday in A Short History of Nearly Everything by Bill Bryson.

The sphere had almost no maneuverability – it simply hung on the end of a long cable – land only the most primitive breathing systems; to neutralize their own carbon dioxide they set out open cans of soda ime, and to absorb moisure they opened a small tub of calcium chloride over which they sometimes waved palm fronds.

But it worked.

There was no instrumentation and the most they could do was peer out of the little window.

In 1948 they dove to 4,500 feet in the Pacific.

Now, maybe you have seen enough National Geographic shows to look at Beebe and Barton’s iron ball and smile.

Don’t.

The only alternative today is Alvin, (built, ironically by General Foods), which can’t dive nearly as deep.

According to Robert Kunzig, quoted in Bryson’s book, “humans may have scrutinized perhaps a millionth or a billionth of the sea’s darkness. Maybe less. Maybe much less.”

Well, that is sobering.

Then there is the way that we conduct international journalism.

Gunga Dan

The picture above, for those two young to remember, is Dan Rather, who was once a vastly overpaid CBS News anchor.

He went to Afghanistan (before the US invaded) and dressed up as an Afghan to ‘report’ on the situation there.

Not speaking a word of Pashtun or Urdu, (and trailed by a large camera crew), how much information do you think he could have c=gleaned to pass on to his American viewers?

Would ‘none’ be a good answer?

Probably?

What could he have learnt that was of any value? What did he know to start with?

Would ‘next to nothing’ be a good start?

Probably generous. (The next to part).

Yet for more than 50 years, this has been the very foundation of American journalism.

A man in a tiny cast iron ball with a small quartz window left dangling in Afghanistan or Iraq for a few hours.

And this we call reporting.

This we call ‘journalism’.

This is what Columbia University President Bollinger feels must be protected.

Why?

What is the value here?

What is the value of this kind of pointless ‘reporting’?

Admittedly, it might have a bit of entertainment value, but not that much. Not for what it costs.

And worse, not for what it does to the American people, because they suffer from what Neil Postman used to call the illusio of knowledge’.

Having seen Gunga Dan on TV ‘reporting’ the news, we now believe we are qualified to have an informed opinion on what is going on there.

We aren’t.

Having illuminated a few square meters of the bottom of the sea in Bermuda, we think we know the oceans.

We don’t.

Now, here’s an interesting difference:

If all the sea life in the world could suddenly tell us what life was like on the bottom of the ocean, our understanding of the bottom o the ocean, and indeed of all sea life would change overnight.

They can’t.

Ironically, hundreds of thousands of people in places like Afghanistan or Iran or Iraq can tell us what life is like there every day.

And they do.

But we don’t accord them any credit.

We don’t want to listen to what they have to say.

We would rather lower another ‘white guy’ in a bathysphere with a video camera to peer out his porthole.

Is it any wonder Iraq and Afghanistan turned into such a mess?

One can only wonder, where is the next disaster?

Men Who Hate Women

By Michael Rosenblum | Published August 20th, 2010

The original.. at least in France…

I am still doing my morning runs (up to 6 miles today), and I am still listening to the books on tape version of The Girl With The Dragon Tattoo by Stieg Larsson.

I am captured by the book, besides its great story, because I lived in Stockholm for two years and worked for Jan Stenbeck, the notorious Swedish billionaire who makes a few cameo appearances in the novel.

The book was originally titled Men Who Hate Women, and it is to some extent an indictment of how Swedish men treat women.  No one comes across very well (at least no man) in so far as their treatment of women.

This institutional misogyny greatly reinforced a thesis first put forth by my dear friend, the late Len Shlain.

Shlain wrote a wonderful book The Alphabet vs. The Goddess, in which he (a neursurgeon by trade) postulateed that as we moved from an image based culture (goddess) to a print-based culture (written bibles), we also migrated from a left brain cuture (emotion) to a right brained culture (linear) and in doing so, moved from a female driven society to a male based one.

It’s an interesting thesis, an it seems to be borne out historically.

The Second Commandment of the Old Testament after all is ‘thou shalt make no graven images’, effectively crushing images. Women don’t fare much better in the ‘old world’ religions.  As we now move from a print based culture back to an image based culture (video and TV, not to mention computer screens), you can see the concurrent ascendancy of women in positions of power and a feminization of society.

I think to some extent the rise of fundamentalist Islam is a response to this rising culture of images and women, both antithetical to Islam.  If anyone denies ‘graven images’ it is Islam, which forbids and likenesses in its art (and thus its concentration on caligraphjy).

As for how Islam treats women, one must only look to the burkha and not much beyond.

And don’t get me started about how Orthodox Jews treat women.

As for Sweden, the arrival of Protestantism and the printing press seem to come concurrently, and indeed it is unlkely that the protestant reformation could have taken place without the arrival of the printed book and text. One of the precepts of the Protestant movement in fact was that the bible should be written in the vernacular and widely read by the public.

That rise of literacy and a print based culture carries with it for some strange reason the desire to crush the Mary cult in Christianity, th most feminized part of the religion.

And, as it would appear in Sweden, it also carried a concurrent kind of misogyny.

Or maybe I am reading (or listening) too much into it.

The Girl With The Dragon Tattoo

By Michael Rosenblum | Published August 19th, 2010

Now a book, a film and books on tape…

I am spending the month of August in a house on Exuma, one of the Bahama Out Islands.

Let’s say it makes The Hamptons look like Staten Island.

I have taken to long runs every morning, and am up around 6 miles now.

My friend, Mark Bittman, also a runner (but far better than I), suggested that I listen to books on tape while I run.

As a result, I downloaded The Girl With The Dragon Tattoo, mostly because it was a best seller and my brother in law, Ted, kept telling me how great the movie was.

So I started to run, listening to the book.

At the same time, before we left, I bought Lisa an iPad. She downloaded the movie The Girl With The Dragon tattoo.

So we started to watch the movie at night, laying in bed.

Now I found myself in the curious position of listening to the book and watching the movie at the same time.

This gave me a whole new perspective on video, writing and filmmaking.

Anyone who reads a book and then goes to see a movie is naturally disappointed in the movie. They have to be. A movie is 90 minutes ong. The whole book, read to you, is 28 hours. There have to be cuts.

What makes this interesting is that, if I keep running at the same pace, (and we keep falling asleep as fast), we are, at least for the moment, in sync between my book on tape and the movie.

So what are the differences?

The movie, of course, drops out a lot. A lot. But it drops more than just pieces of the story. The movie is almost a praecis of the book  but cones largely with pictures.  It’s the visuals that really drive the movie.  If you took the movie and just listened to the track, you would soon be completely lost. Some scenes, I have observed, are 95% visuals.

Which leads me back to the construct of video.

Often, for convenience sake if nothing else, we build a video by laying down the audio track first, then covering it with pictures that match.

Narration and soundbite down first, pictures follow.

If this is the case (and it often is), then what we lose here is the power of the pictures to drive the story.

Which is exactly how the movie works!

If the producers of the film had laid down all the dialogue first and then taken selects that matched the dialogue, the film would hab been nothing.

If the books on tape people had simply taken the soundtrack of the film and passed it off as the story, it too, I think, would have been incomprehensible.

When we approach video it is like the film. I has to tell the story visually. We have to be driven by the pictures.

OK, now back to Stocking Island and a day of diving.

Toward A New Architecture For Media

By Michael Rosenblum | Published August 18th, 2010


The experience of Current TV taught me two things:

  • There were literally millions of people who were ready to contribute content of all kinds in video
  • 99% of it was junk.

It was junk because no one had ever been taught how to make video.  It’s not their fault. When we went to school we were taught how to read and write – not with the idea that we would all have careers as novelists, but with the idea that the skill of reading and writing was essential to being able to function in a print based culture.

Literacy was not always a requirement of survival or success.

Charlemagne, perhaps one of the greatest kings in pre-Gutenberg Europe was functionally illiterate. This in fact was not all that unusual.

The rise of the printing press meant that literacy was now a requirement not just for Kings, but for everyone.

The idea of giving out video cameras to millions of people without training them and expecting to get great results is about the same as the idea of giving out millions of pencils to European peasants in 1452 and expecting them to start cranking out great novels.

It wasn’t going to happen.

So why would we have ever thought that to make great video content all you had to do was pick up a video camera, point it at a cat in a tree and hit the record button.

Current showed me that this was not the case. The will was there, but not the focus.

With Current TV and The Travel Channel Academy, we had tapped into a vast reservoir of potential talent.  And these two projects really only scratch the surface.  We have since launched The Guardian Media Academy, with The Guardian in the UK;  WEtv Film Academy in the US and there are more on the way. And even this, we think, is just the tip of the iceberg.

The reason behind this involves not just training people, which is valid in itself, but rather a complete reversal in the way that media and video in particular flow.

The way we have designed the media in America and the rest of the world so far is not the result of any grand design.  It is simply the result of what the technology was when that media was first unleashed.

In the case of newspapers, presses and ink and paper and distribution were very expensive.  So expensive that HL Mencken once joked, ‘freedom of the press is reserved for those who own a press’. And the number of people who could afford a press were few and far between. So few and far between that they were called Press Barons. And they were rich and powerful.

When Orson Welles produced his masterpiece, Citizen Kane, he made Charles Foster Kane a press baron – master of the universe for the 1930s. Charles Foster Kane or the Hearst family or the Sulzbergers in New York or the Meyers in Washington or the Northcliffes in the UK were indeed in total control of the world’s media.

And that control was maintained by the sheer cost of the infrastrcture of a newspaper.  You have to not only own the presses, you have to cut down the trees, buy the ink, employ the reporters, build the buildings, print the papers and then physically deliver them to every household in the country. Difficult? Next to impossible. You can’t start one in your garage.

When radio and later TV appeared, the model as very much the same. The limitations on the electromagnetic spectrum meant that there would only be a very few TV stations or radio stations. And the cost of putting up a transmitter to push sound or pictures and sound through the air was staggering.

So newspapers, radio and TV all were based on the same basic principle of constraint – it was an expensive business to get into.

As a result, the architecture of those businesses became one in the same: A small core of people provided a very refined and polished product in limited amounts to everyone – all at the same time.

Never have so few done so much for so many, Churchill might have said. And it was true – the content of the paper, the radio and the TV were indeed provided by the very few for the very many.

We might visualize the distributive mechanism of these media as a pyramid, with the owners and content creators at the top and everyone else on the bottom, receiving what they made:

This model worked quite well so long as the means of making and distributing the content remained expensive and difficult to do.

When the web came along, the basic technology upon which all media had been based changed fundamentally. Suddenly, anyone was able to get access to everyone on the planet for free, all the time.  This in itself was a pretty remarkable change in what had been the founding principle of media – distribution costs, which were now none.

But an even  more astonishing shift took place in the ability to create content. Now, with a laptop, anyone could become a blogger, and later with cheap video editing software, a video producer as well.

The conventional media companies proved unable to adjust to this new shift wrought by a new technology. Like Bell Telephone, and so many others before and since, they preferred to stick with their old architecture and simply plug it into the web with the hopes that nothing else would change.

This was a lost cause before it got started.

As a result, those businesses began to see their old business models, models that had served them so well for decades (or more, in the case of newspapers) disappear before their eyes.

At the same time, businesses that were pure children of the web; businesses that could not have existed before the web, had organically found an architecture that worked quite well for them, but was the complete reverse of the traditional media model.

In the new architecture, unlimited content, mostly provided by the users themselves, sought out unlimited users globally.  This is the model that eBay uses, and Amazon.com and Google. Everything in the world being offered all the time.  Everyone in the world gaining access.  The company placed itself at the nexus of this transaction.

This model works quite well for almost every successful web entity once you start to look at them.  Amazon – all the books in the world being offered, all the people who want to buy books coming to see whats available. eBay – all the stuff in the world being offered; all the people who might want to buy that stuff coming to see what’s offered. Jdate.com: all the people looking for dates meet all the people looking for dates. Even Google – all the information in the world being offered meets all the people looking for that information, all the time.

What the web creates here is a marketplace. A marketplace for books, a marketplace for dates. A marketplace for grilled cheese with the face of Jesus.

Why then not a marketplace for news, or media?

Instead of The New York Times of NBC News deciding what people ‘need’, or minions of marketing people parsing Nielsen ratings to try and divine what the ‘viewers want to see’, the eBay model allows people to make rational choices all the time, with respect to news, programming or anything else.

Why not fill the top box with all news, or all the media you can find and then fill the bottom box with all the people who are in search of news or media.

One would think that this is the most obvious of moves to make for NBC or The New York Times. But they can’t bring themselves to do it. They can’t bring themselves to do it for a number of reasons – any of which will ultimately prove their demise.

First, they have always lived in a world in which an elite group of executives have made the ‘important decisions’ for what people will get to see.

In the world of eBay, there are no executives who make those decisions. No one at eBay makes the decision that on Monday at 9AM we’re going to offer old radios and at 10AM we’re going to offer used Barbie dolls. This would be inherently insane –and in fact destroy what makes eBay or Amazon work.

But in newspapers and TV this is the very core of the business.  The first step for NBC or The New York Times in moving in this direction would then be to fire all their Executive Producers and Managing Editors. (Don’t hold your breath).

More significantly, the old media would have to let go of ‘control’ of the content. This also is not going to happen.

They would have to learn to ‘trust the people’ to produce the content.

Unlikely.

Here we are dealing with the priesthood of media. ‘Professional journalists’ who have spent their lives travelling to countries where they don’t speak the language, don’t know the history, don’t know the culture and are fundamentally outsiders – pontificating to the rest of us on ‘the truth’.

This clearly does not work (just look at anything from Vietnam to Iraq), but it is all they know how to do.

This arrogance married to ignorance has been a sure recipe for disaster, except that up until now there was no alternative.

Intellectual Bankruptcy for Journalism Schools

By Michael Rosenblum | Published August 17th, 2010

RIPNYT

There was a curious juxtaposition of stories in this morning’s news:

Mark C. Taylor, former chairman of the humanities department at Williams College (my Alma Mater), and currently chairman of the department of religion at Columbia University wrote in the New York Times: Academic Bankruptcy:

American higher education has long been the envy of the world, but today our institutions are eroding from within and are facing growing competition from countries like China and India, which are developing ambitious plans to enter the global higher education market. Capital can be intellectual and cultural as well as financial; it is vital that American higher education remains the reserve currency of the global educational system. No less than Wall Street, our colleges and universities are in dire need of reform.

Then, who should come along to underscore his point, but his own boss, Lee C. Bollinger, the President of Columbia University

Bollinger was writing in The Wall Street Journal. claiming “Journalism Needs Help”.

You see, this is what happens when you spend too much time in academia.

Journalism does not need ‘help’. Bollinger, ironically makes this quite clear in his very first paragraph:

We have entered a momentous period in the history of the American press. The invention of new communications technologies—especially the Internet—is transforming the human capacity to speak, perhaps as monumentally as the invention of the printing press in the 15th century. This is facilitating the largest and fastest expansion of global economic growth in human history. Free speech and a free press are essential to a dynamic economy.

You bet we have.

And journalism has been on the leading edge of the Internet Revolution.

We have gone from what was essentially an information desert to an information explosion.

Where once there were a handful of sources of information – and almost all of them in private hands and run for profit, we now have millions of sources of information. Indeed, there are now an estimated 240 million blogs online.  Shall we compare the so called GoldenAge of newspapers in New York, when there were 17?

Journalism, contrary to what Mr. Bollinger says, is NOT in trouble.
What is in trouble is the old style news businesses.

They are very much in trouble.

In fact, they are dead.

But so what?

Bollinger calls for government aid to bail out what are essentially dinosaur industries that can no longer compete.

Let’s have a call for a bail out of buggy whip manufacturers in the wake of Henry Ford and his disruptive cars.

How will buggy whip manufacturers, let alone wheelwrights survive?

They won’t.

They shouldn’t.

Because no one wants them anymore.

So why should the government underwrite them?

Bollinger seems to believe that there is something magical and special about journalism as it used to be practiced.

His comment:

My best estimate is that there are presently only a few dozen full-time foreign correspondents from the U.S. covering all of China, despite the critical importance of that nation to our future.

is the most telling.

What is he really saying here?

Today we only have a few dozen old white people who are in China telling us what is going on.

I mean, who else can we trust except for a few old white guys to tell us about China?

The fact that there are probably a few million Chinese actually online blogging and posting videos about Cina is inherently worthless to us.  We  want the stuff from OUR white guys over there – even if most of them hardly speak a word of Mandarin.

In Iran, onlymehdi.com, a blogger in New Jersey(!) takes in and posts 250 videos a day from dissident students in Iran.

Ever see even one of them on the CBS Evening News?

Of course not?

And why not?

Because they weren’t made by one of OUR reporters in Iran – someone who flies into the country, doesn’t speak the langauge, doesn’t know the history or the culture and ‘reports’ to us.

You call this journalism?

We have been in Iraq for nine years now!

How many Iraqis do you think have video cameras? A million? 10 million?

And how often do you think they are making videos of the crap that is going on in their own country?

100,000 a week? 10,000 a week?  Let’s take an incredibly conservative number and say 1,000 a week.

that would be 52,000 videos a year for 9 years or 400,000 videos.

How many of those videos have you ever seen on The CBS Evening News (or anywhere else?)

Would none be a good number?

Would none be a good guess?

And how come?

It’s not because they’re not there.

It’s because we don’t want to acknowledge that they have any value.

We don’t ‘trust’ them.

And why?

Because they aren’t WHITE FOLKS LIKE US.

You know, the graduates of the Columbia University Graduate School of Journalism.

They are not entitled to report their own lives.

They aren’t smart enough.

Only we are.

But now, their stuff is burying our good white ignorant reporters.

help!

Bail them out.

Keep our people working.

It’s a bit like illegal immigrants when you think about it – only backward.

Very backward indeed.

Spindletop

By Michael Rosenblum | Published August 15th, 2010

It’s a gusher!

On January 10, 1901, the world changed forever.

Captain Anthony F. Lucas was trying his luck drilling for oil in east Texas.  The landscape was hot and dry, dotted with salt domes, the remnant from some long forgotten sea from the Jurassic Age.  This was not western Pennsylvania.

Some of Lucas’ partners had been drilling there off and on since 1894, with nothing to show but a mountain of debt and a landscape littered with dry wells.

Lucas was also on the verge of bankruptcy. Then, at 1,139 feet, Lucas struck oil at a place called Spindletop Hill.

Prior to Spindletop, Western Pennsylvania had been producing 50% of all the oil in the world. And the Titusville well was producing 20 barrels a day.

When Spindletop hit, it blew a gusher that spewed out 100,000 barrels of oil a day. That’s 4,200,000 gallons of oil a day.

It took nine days just to get the well under control.

But Spindletop, and the later development of the oil fields surrounding Spindletop, changed the oil business, and the world, forever.

Suddenly a massive source of incredibly cheap oil and vast volumes had been discovered.

In 2000, I opened a video café in New York, on the Lower East Side. The idea was something like an internet café, except instead of people coming in to do their emails, I provided them with final cut pro stations and small video cameras. We had nightly screenings of the films my patrons made.

One day, a very tall guy name Jamie Daves came into my café to talk to me about the world of video. I showed him around. I told him that there was going to be an explosive growth of people making their own content instead of waiting for networks or studios to make it for them.

Then he left.

A few days later, I was in London when the same Jamie Daves called.

He asked if I remembered him.  Who could forget him?

He told me that he represented former Vice President Al Gore.  Gore had just lost the election.  He than asked if I would be able to meet with the Vice President the next time I was in New York.

Are you kidding? I was going to be in New York the following Thursday.

He asked if there were some private place we could meet. I suggested my loft in Soho and gave him the directions.

When I got home on Wednesday night, I told my ever sooner to be ex-wife that Vice President Al Gore was coming over the following morning. She rolled her eyes and said ‘right!’, in that special way that only soon to be ex-wives can.

Sure enough, the following morning, my doorbell rang at 8am, and there, in the little video monitor that passes for security in Soho lofts, was Al Gore.

“Al Gore” he said.

I already knew that.

“Come on up”.

Gore came in.  He looked just like he looked on TV.  He also got right to the point.  He and his partner, Joel Hyatt were going to start a new cable TV channel. He was thinking about a history channel or a politics channel.

“Al”, I said, “there’s a whole revolution going on now in video technology. For the first time, people can create their own content at home”.

Then Al told me all about how the introduction of new video technology was just like Gutenberg’s invention of the printing press.

I took a beat and looked at him…  I had told Jamie Daves the Gutenberg story only a few days before in NY.

OK.

At that moment, there was a sound in the kitchen. It was my soon to be ex, just getting up.

“What’s that?” Al asked.

“My wife”, I said. “Why don’t you go in and say hello”.

So he did.

He walked into the kitchen, where she was in her bathrobe, extended his hand and said, “Al Gore”.

The expression on her face was worth whatever unpleasantness was to come. And there would be a lot.

The next morning, as I was walking up Houston Street my cell phone rang. It was Gore.

“What are you doing next week?” he asked.

Nothing special.

“Why don’t you come on out to Park City, Utah. My partner Joel Hyatt has a ski house. We can talk about the whole video thing.”

Well, OK by me.

So that was how I came to spend a week with Al and Tipper and Joel and his wife Susan Metzanbaum, and taught them to shoot and cut video. And they made some pretty good films.

They could quickly see that in fact anyone could do this, and so at the end of the week, Al and Joel asked me if I would join the management team of their new TV channel.

“Who’s on the management team?” I asked.

They pointed at each other. “We are”.

“Sign me up”

And so it was that we formed what would become Current TV.

Al and Joel sent me on a national speaking tour of college campuses across the country to get the word out that there was a new kind of TV channel that was going to be born – one that would take content from the viewers instead of showing content to them. Publishing, not producing.

Then, we went to San Francisco, where Current TV would be housed, to await the results.

They were not long in coming.

A few weeks after the speaking tour, a large mail truck pulled to the back of the building we had rented on the Embarcadero.

The postman began to unload mailbag after mailbag after mailbag of DVDs and VHS tapes. These were still the days before anyone ever thought of uploading video to the web.

Our small storage room was soon filled from floor to ceiling with bags of tapes.

There was more content in that room than NBC or CBS could have produced in a dozen years. And it was just the first day.

We had struck Spindletop.

Current was founded in the early 2000s, and we tapped into something massive. But if Current was Spindletop, Youtube, which was founded in 2005 was Dammam 7.

That was the well that stuck the first oil in Saudi Arabia.

Today, people upload 24 hours of video to Youtube every minute! If NBC were to try and match Youtube’s video production volume in one year, it would take them approximately 2000 years of constant work to catch up… with one year’s worth.
And we are only at the beginning of what Youtube and what is called User Generated Content will do.

Until now we have been living in a video desert; a content desert. The great reservoir of content – the great engine that is going to produce the content of the future is not at the networks and not at the studios. It is ‘out there’. It is you.

The Transcendant Power of Images

By Michael Rosenblum | Published August 14th, 2010

Ernest Bujok – ink on paper – silkscreen

When I graduated from Williams College, I was fortunate enough to receive a Thomas Watson Foundation Fellowship.

That grant allowed me to spend the next three years traveling around the world photographing, all expenses paid.

Freed from every possible constraint, I was able to follow my own personal passions, and my passions led me to photograph faces.

The first year I traveled overland from London to Kathmandu, across central Asia. The second in the Middle East, and the third I crossed Africa overland, from Tunis to Nairobi.

Wherever I went, I was drawn to faces.

What I began to discover was that the camera was in fact more than a tool for capturing images – though it is certainly that.  It was also an excuse, in a way, to be someplace I was not supposed to be.  Once, in the middle of the Sahara, traveling with the Tourge bedouin, I was able to spend an evening at the Cure Salee, a tribal meeting of the bedouin.  Because I had the camera, I was able to inject myself right into the middle of the event.

No matter where I went in the world I found that the camera was a passport to entry to almost anything, and later,, to anone.

The lens became for me a means of communication, as opposed to capture.

It was a kind of connection between two people – myself and the subject.  A rationalization for being with someone.

The lens provided a kind of highway borne between us, where none had existed before. A connection.

The connection that the camera provides creates a sort of dialogue between two people – the photographer. In a way, it would be almost immaterial if there were not even any film (or digital card). Sometimes I found that the photograph itself was almost an afterthought. If the connection is good, the experience itself is a kind of performance art.

The fact that you can capture it is what makes it all the more powerful.

This is, I think, what make some photography fine art, great art, even powerful art.

Museums are filled with photography that transcends the mere notion of ‘capture’.

In video we have yet to cross the divide. We still use the video camera as a tool to capture what is in front of us.

Now that cameras are small and ubiquitous, perhaps we can begin to push the edge a bit and think of video as an art form, and a means of communication, as well as recording.