Gillmor Gang: Old Brown Shoe - Tech Podcast Discussion
Observations on Contemporary Media and Communication
Currently, the television series Succession holds my attention. It’s a fictional portrayal of the Murdoch family and their extensive media holdings. The show is remarkably humorous, largely due to the constant competition among the family members to appear the most unscrupulous.
It’s a close contest; each of the central characters fluctuates between moments of anxious self-doubt and displays of supreme confidence in their ability to control the family enterprise. Characters who initially seemed exaggerated in previous seasons now appear more realistically integrated into their interactions with one another.
Echoes of Classic Catchphrases
One of the Culkin characters is a particular favorite, utilizing the family’s recognizable demeanor to explain how he secured his role. This brings to mind Humphrey Bogart, whose enduring star status is inextricably linked to the cumulative impact of all the roles he embodied. As Bogart famously quipped, “Of all the gin joints…”
These were formative catchphrases, preceding Bill Cosby’s comedic routines involving Noah and God, and Bob Newhart’s signature telephone conversations with himself. The principle was simple: establish the premise, then deliver the punchline. Stanley Kubrick brilliantly condensed this concept in Dr. Strangelove, through Peter Sellers’ line about “precious bodily fluids.”
George Harrison offered another memorable example in A Hard Day’s Night: “She’s a drag, a well known drag…” George Martin had previously produced live albums with the Goons, and Richard Lester, alongside Sellers, directed a short film featuring the Goons. Lester then directed the first two Beatles films. A Hard Day’s Night, filmed in black and white, captured the aesthetic of the French New Wave, blending lightweight cameras and on-location shooting with the visual scope of Kubrick’s 2001: A Space Odyssey. These approaches mutually influenced each other.
The onboard computer HAL in 2001 exhibited the same detached and laconic attitude (“I’m sorry, Dave. I can’t do that”) when rejecting its astronaut captive, mirroring the indifference George Harrison displayed when threatened with losing a role (“I don’t care.”). Each instance represented a role reversal, with the Beatle assuming the position of the arrogant advertising executive and the computer usurping the authority of its human operator. HAL’s apology lacked sincerity, and George’s disinterest was genuine.
Clubhouse Replay and the Future of Conversation
The release of Replay by Clubhouse is noteworthy. It’s important to note that it does not permit recording of private sessions, nor those accessible only to followed users. This approach makes sense, as it prioritizes the promotion of content creators who desire their work to be preserved or refined through post-production techniques, such as adding music and titles.
I personally value these capabilities, and I suspect many others do as well. Catchphrases gain traction because the combination of rhythm and resignation – exemplified by “I don’t care” – creates a soothing effect. While podcasts are popular, I favor the spontaneity of live conversation over heavily edited content. The advent of widespread broadband access, potentially designated as an inalienable right, may lead to streaming platforms supplanting podcasts.
The crucial question then becomes: what economic model will incentivize content creation?
Clubhouse Recording and Sharing
By default, recording is enabled for public Clubhouse sessions. Once a session concludes, a link to the room is added to each speaker’s profile. Hosts have the option to download an MP4 file for post-production, but I prefer sharing a link to a notification stream, like Twitter or a newsletter.
Listeners can access the session by clicking the “Listen To” button and navigate between speakers. The process is straightforward: initiate a room, disseminate the conversation, and track its evolution across social networks. This combination of low friction, readily available tools, broadband connectivity, and a collaborative economic model is promising.
It represents a positive development within the gig and creator economies.
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The Gillmor Gang — Frank Radice, Michael Markman, Keith Teare, Denis Pombriant, Brent Leary and Steve Gillmor. Recorded live Friday, November 5, 2021.
Produced and directed by Tina Chase Gillmor @tinagillmor
@fradice, @mickeleh, @denispombriant, @kteare, @brentleary, @stevegillmor, @gillmorgang
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