The Marlowsphere (Blog #157)

When it comes to documentaries where the subject is jazz, the American catalogue is full of viewing choices, so much so you come away with the impression that jazz is only performed in the United States and if it is performed elsewhere on the planet, well, how good could it be? If it was created and performed on a par with American jazz composers, arrangers, and musicians, well, then, certainly documentaries would be a lot more present.

Syurpriz! That’s Russian for “Surprise!” According to a recently released feature-length  documentary (114 minutes) produced in Russia, jazz has been performed in Russia (more surprise) for 100 years!

The documentary—“Jazz 100 Russia”—was the brainchild of renowned Russian tenor saxophonist Igor Butman (he’s also one of the characters in the documentary as well as one of the producers, along with Yulia Hmelevskaya).

It was written by Russia’s leading jazz journalism Cyril Moshkow. The director is Alexander Bryntsev. The documentary’s major sponsor is the Ministry of Culture of the Russian Federation.

The documentary calls itself “groundbreaking” and it is that. It’s the first documentary to encapsulate the 100 years of jazz in Russia, starting with the introduction of jazz by (syupriz) an innovative dancer, Valentin Parnakh, who brought the jazz sound and aesthetic to Russia from his visits to Paris in the early 1920s.

Second, the six-part feature is a cornucopia of archival footage that no doubt took years of specific and serendipitous research.

Third, along with the archival footage, the soundtrack is wall-to-wall jazz of various stripes paralleling the evolution of jazz in the United States, from “trad jazz” to “free jazz” to today’s contemporary styles. This, too, must have required painstaking research.

Fourth, the documentary does not shy away from dealing with the political lefts and rights in Russia since the 1917 Russian Revolution, although the references are subtle and non-critical.

The 100-year span of Russian jazz history brought together in 114 minutes is in itself a work of art: gorgeously shot and edited so well the viewer does not notice the content juxtapositions. It tells a story of not just the jazz players, but also the social and cultural backdrop in which this democratic form of music through improvisation ─ and therefore individual freedom of expression ─ as survived and grown in a country with a long history of adherence to central authority.

Speaking of improvisation, one of the best definitions of jazz is articulated by Evgeny Pobozhiy, the young winner of the 2019 Herbie Hancock Jazz Guitar Competition. He says:

[Jazz] is the most perfect musical form that humans have created. Jazz culture
has absorbed the best achievements of humanity: Western traditions and oriental
ethnic traditions, and African, of course. It is based on improvisation, that is, on
spontaneous music-making, and improvisation is impossible without deep knowledge
and understanding. A jazz musician has always been something like a symbiosis of a
creator and a scientist, both involved in a certain spiritual practice.

Well stated. Just like the documentary.

The documentary will become available outside Russia after it has been shown on Russian television. Click here to see the trailer.

Eugene Marlow, Ph.D.
Producer/Director/Writer
“Jazz in China” Winner of the 2022 Free Speech Film Festival

Eugene Marlow, MBA, Ph.D., © 2023

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Dr. Eugene Marlow’s documentary short “Zikkaron/Kristallnacht: A Family Story” has been an official selection of 17 domestic and international film festivals, including the October 18-24, 2021 Paris Independent Film Festival and the London Indie Short Festival. It was awarded the 2016 John Culkin Award for Outstanding Praxis in the Field of Media Ecology by the Media Ecology Association. CUNY-TV aired the documentary in March 2020 as part of its “Short Docs” series.

Professor Marlow is a faculty member of the Department of Journalism and the Writing Professions at the Weissman School of Liberal Arts & Sciences, Baruch College, City University of New York (since 1988).

In addition to the above, Dr. Marlow is the recipient of several dozen awards for video programming excellence from numerous domestic and international video/film competitions.

About “Zikkaron/Kristallnacht: A Family Story”

This nine-minute documentary short describes the events of November 9-10, 1938 all over Germany and parts of Austria when, on the pretext of the assassination of a German diplomat in Paris, the Nazis destroyed thousands of Jewish-owned stores, buildings, synagogues, and homes.

The word “Kristallnacht” means “The Night of Broken Glass,” a reference to the shards of broken glass, a result of the destruction. “Kristallnacht” is considered the beginning of what resulted in the Holocaust.

The events of Kristallnacht” are told from producer Dr. Eugene Marlow’s maternal family’s perspective. They were present in Leipzig, Germany, during the event.  His Aunt Ruth (nee Landesberg) who was a child at the time of Kristallnacht, narrates the video. The video contains dozens of historical photographs and film. An original music score was composed and performed by Dr. Marlow and his quintet The Heritage Ensemble.

Generous support for this was project was provided by a PSC-CUNY Award, jointly funded by The Professional Staff Congress and The City University of New York.

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The Marlowsphere (Blog #149)

It is a truism that laws more often than not lag behind cultural customs especially in times of change, to which we could add in times of rapid technological change. Sociologist William Fielding Ogburn (1896-1959) posited in 1922, for example, the difference between “material culture” and “adjustment culture.” The former refers to technology, the latter to the often lagging response to technological change on the part of members of a culture and its cultural institutions. In other words, technology is the primary engine of progress, i.e., change, and it takes time for people and institutions to catch up to the changes and characteristics new technology brings, especially when it comes to terms and definitions.

In academia adjustments to technological change with respect to programs, courses, and especially terms are more often than not “behind the curve,” never in front of it. Often, there is a tendency to grab on to a new technology well after it has been embraced by early adopters and to describe “new” courses with terms gleaned from the popular media without much aforethought.

I have observed this from direct experience.

In 1988 the Journalism Program at Baruch College (City University of New York) invited me to create and teach courses in video field production and radio news. I was the first professor in the program with a print and electronic media background based on my recently acquired Ph.D. and experience in video and radio production.

In reality, I was hired because the Speech Department (now the Department of Communication Studies) had initiated a course in “Corporate Video” and the Director of the Journalism Program (then a part of the Department of English) didn’t want to be outdone! In other words, inter-departmental competition motivated my being hired. Mind you, this was 1988, a year before (now Sir) Tim Berners-Lee introduced the World Wide Web which, in turn, began the slow but inexorable demise of print journalism. So, in some small measure, the then director of the journalism program (a full professor with a Ph.D. in English Literature, now retired) can be forgiven for not having a crystal ball to peek into the future.

It was not until 2007 (19 years after my hiring) that the department hired a second professor with expertise in electronic journalism. Her specialty was “multimedia journalism.” And it was only until 2016 and 2017 that a third and fourth professor with print and electronic journalism credentials were hired. The latest addition to the faculty has deep experience in podcasting. That’s four professors out of 11 full-time professors in 29 years, even though in this same period the world of journalism had moved inexorably to a greater reliance on visualization (video) and orality (podcasting) via the computer.

There was progress, however. The (now) Department of Journalism introduced a course in “Advanced Multimedia Journalism” following the establishment of a course in “Multimedia Journalism” which I also taught. There’s now two courses in podcasting.

A couple of years ago we were in the throes of a self-review in response to periodic accreditation requirements. One of the department’s “learning goals” (originally formulated in 2013) dealt with “multimedia.” My reaction to reading this learning goal was to immediately feel how out of date and mis-defined it seemed. It had been articulated in 2013 by a professor with no “electronic journalism” experience to speak of. This prompted me to look into the technical definition and history of the term “multimedia.” My search taught me again that all things have antecedents and confirmed that academia is usually behind the curve.

I discovered the “concept” and “term” multimedia is about 60 years old! Yes, it’s that old and it predates the advent of the personal computer. It’s also another example of what’s old is new again.

According to several sources, the term multimedia was coined by singer and artist Bob Goldstein (later ‘Bobb Goldsteinn’) to promote the July 1966 opening of his “LightWorks at L’Oursin” show at Southampton, Long Island. Goldstein was perhaps aware of an American artist named Dick Higgins, who had in 1964 discussed a new approach to art-making he called “intermedia.”

A month later, on August 10, 1966, Richard Albarino of Variety borrowed the terminology, reporting: “Brainchild of songscribe-comic Bob (‘Washington Square’) Goldstein, the ‘Lightworks’ is the latest multi-media music-cum-visuals to debut as discothèque fare.”

But wait! There’s more. Two more years later, in 1968, the term “multimedia” was re-appropriated to describe the work of a political consultant, David Sawyer, the husband of Iris Sawyer—one of Goldstein’s producers at L’Oursin.

The original meaning of “multimedia” kept evolving. In my 1995 book Winners! Producing Effective Electronic Media (Wadsworth Publishing Company) co-authored with Research Associate Janice Sileo, in a chapter entitled “Multimedia” we wrote, “The Microsoft Corporation, in a February 1993 Backgrounder, defined computer-based ‘multimedia’ as ‘the integration of text, graphics, audio, video and other types of information. . . .’.” Further, “Clearly, multimedia has evolved from an integration of various digital, electronic, aural, and visual technologies into an interactive medium for use in the home and the office.” Sound familiar? 1993 is 29 years “after” the term was originally coined. Yet some journalism educators use the term and define “multimedia journalism” as if it were invented just a few years ago!

Clearly, the term “multimedia” has been bandied about and used by journalists and professors of journalism who have no concept of its origin or layered meanings. Further, the term “multimedia journalism” is likewise mis-construed. It should be “computer-based journalism” or “digital journalism. “ If used even more correctly, “multimedia” would also refer to film, broadcast and cable television. After all, these communication media combine sound with pictures and graphics and text of all kinds. This is an example of a more recent generation of professionals ignoring the fact that there are always antecedents.

But to ask these folks to appreciate the abovementioned distinctions might be too much. They perceive they’re in the technological vanguard and don’t want to be disturbed in their academic bubble. They haven’t done their homework. They’re in the caboose of a technological train—with a longer history than realized—whose engine is ahead of them.

©Eugene Marlow, Ph.D. 2020

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The article Marlow Has Music & Journalism in His DNA is drawn from a podcast interview Dr. Eugene Marlow gave on “College Talk”—a weekly video program exploring the lives and work of the people of The Weissman School of Arts & Sciences at Baruch College. Marlow has been a professor at Baruch since 1988.

The Marlow podcast interview is entitled Jazz and the Evolution of Media in the 21st. Century. The program is hosted by Dr. Aldemaro Romero Jr., Dean, Weissman School of Arts & Sciences, Baruch College (CUNY).

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Marlowshpere Blog (#124)

The last three blogs (#121, #122 and #123) took an overall look at job growth/job prospects for those in the so-called “creative class.” In this blog I take a specific look at those wishing to enter the fields of writing (or the literary arts), editors, and journalism:

• Writers & Authors: +3%
• Editors: -2%
• Journalism: Reporters, Correspondents, and Broadcast News Analysts: -13-14%

To reiterate what I stated in the last blog, if any conclusion can be drawn from the numbers in this group of “creative class” disciplines, it is this: there is an ongoing seismic shift away from the printed word (and what it takes to create works with printed words) towards the dominance of the visual image, generally speaking.

In a way, though, the numbers are somewhat deceiving. As the descriptions below will attest, the significant drop in job prospects for editors, reporters, correspondents and broadcast news analysts is primarily due to the shift away from news-on-paper to news-on-bytes. One need only take a look at the shrinkage in the number of newspapers in the United States as the Internet has grown in penetration to come to the obvious conclusion that editorial and journalism positions have been lost in the print world. And where have they gone? To the online news business.

But there is a major wrinkle. As Scott Timberg readily points out in his book Culture Crash (Yale University Press 2015), the financial aspects of editing and/or reporting online is far different from the legacy print world. In fact, more than a few former “print” professionals are working for far less, some for nothing. It is not a one-for-one shift. There is a true loss of positions and financial wherewithal. And what positions do exist are going to those with multimedia skills and experience, but not necessarily “life” or “analytical” experience—again, a reflection of the shift from the printed word to the visual image.

And there are two other ramifications:

First, it seems to be forgotten that while the visual image has become more dominant that the creation of visual content still requires the written word, i.e., a good television program, film, or live show still requires the written word on a page. And if the written word doesn’t look good on the page—or in this case, on the computer screen—it won’t look good on the television or film screen, or in live performance, regardless of wondrous special effects, costumes, and lighting—the visual aspects.

Second, the loss of journalists due to the loss of print or broadcast venues (and in this context we can include cable news) has longer term ramifications for democracy. The analysis of political and economic events provided by competent journalists for public consumption is part and parcel of the choices an electorate makes come time for elections. As many other organizations have documented, a free press is a necessary major component of a functioning democracy. Where there is no free press—free to observe and comment on the government, both good and bad—there is no democratic process, or, at the very least, there is a pretense of a democratic society.

As with the previous three blogs, the following Job Growth/Job Prospects descriptions are taken directly from the “Occupational Outlook Handbook” (online) of the U.S. Bureau of Labor Statistics, Employment Projections program.
 
Writers & Authors: +3%
 
Employment of writers and authors is projected to grow 3 percent from 2012 to 2022, slower than the average for all occupations.

Despite slower-than-average employment growth, online publications and services are growing in number and sophistication, spurring demand for writers and authors with Web and multimedia experience.

Some experienced writers should find work in the public relations departments of corporations and not-for-profit organizations. Others will likely find freelance work for newspaper, magazine, or journal publishers, and some will write books.

Strong competition is expected for most job openings, given that many people are attracted to this occupation. Competition for jobs with established newspapers and magazines will be particularly strong because employment in the publishing industry is projected to decline.

Writers and authors who have adapted to online media and are comfortable writing for and working with a variety of electronic and digital tools should have an advantage in finding work. The declining costs of self-publishing, the growing popularity of electronic books, and the increasing number of readers of electronic books will allow many freelance writers to have their work published.
 
Editors: -2%
 
Employment of editors is projected to show little or no change from 2012 to 2022, as print media continue to face strong pressure from online publications.

Despite some job growth for editors in online media, the number of traditional editing jobs in print newspapers and magazines is declining and will temper overall employment growth.

Competition for jobs with established newspapers and magazines will be particularly strong because the publishing industry is projected to decline in employment. Editors who have adapted to online media and are comfortable writing for and working with a variety of electronic and digital tools should have an advantage in finding work. Although the way in which people consume media is changing, editors will continue to add value by reviewing and revising drafts and keeping the style and voice of a publication consistent.

Journalism: Reporters, Correspondents, and Broadcast News Analysts: -13-14%
 
Employment of reporters, correspondents, and broadcast news analysts is projected to decline 13 percent from 2012 to 2022. Employment of reporters and correspondents is projected to decline 14 percent while employment of broadcast news analysts is projected to show little or no change. Declining advertising revenue in radio, newspapers, and television will negatively impact the employment growth for these occupations.

Readership and circulation of newspapers are expected to continue to decline over the next decade. In addition, television and radio stations are increasingly publishing content online and on mobile devices. As a result, news organizations may have more difficulty selling traditional forms of advertising, which is often their primary source of revenue.

Declining revenue will force news organizations to downsize and employ fewer journalists. Increasing demand for online news and podcasts (audio or video digital media files that can often be downloaded from a website) may offset some of the downsizing. However, because online and mobile ad revenue is typically less than print revenue, the growth in digital advertising may not offset the decline in print advertising, circulation, and readership.

News organizations also continue to consolidate and increasingly share resources, staff, and content with other media outlets. Reporters are able to gather and report on news for multiple media stations owned by the same corporation, while television stations reuse news and material already gathered by other stations and reporters. As consolidations, mergers, and news sharing continue, the demand for journalists may decrease.

Following a merger or content-sharing agreements, some news agencies may reduce the number of reporters and correspondents on staff. However, in some instances, consolidations may help limit the loss of jobs. Mergers may allow financially troubled newspapers, radio stations, and television stations to keep staff because of increased funding and resources from the larger organization.

Reporters, correspondents, and broadcast news analysts are expected to face strong competition for jobs, because of both the number of workers who are interested in entering the field and the projected employment declines of both occupations. Those with experience in the field—experience often gained through internships or by working for school newspapers, television stations, or radio stations—should have the best job prospects.

Multimedia journalism experience, including shooting and editing pieces, should also improve job prospects. Because stations are increasingly publishing content on multiple media platforms, particularly on the web, employers may prefer applicants who have experience in website design and coding.

In addition, opportunities will likely be better in small local newspapers or television and radio stations. Competition will be particularly strong in large metropolitan areas, at national newspapers with higher circulation figures, and at network television stations.

If you have any questions or comments about this or any other of my blogs, please write to me at
meiienterprises@aol.com.

Eugene Marlow, Ph.D.
June 15, 2015

© Eugene Marlow 2015

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