RefBan

Referral Banners

Thursday, April 26, 2012

Why Anonymity Matters

April 26th, 2012Top Story

Why Anonymity Matters

By Nick Denton

Why Anonymity MattersGawker Media is flying in the face of conventional media wisdom. While other outlets are doing away with anonymity, we've built anonymous accounts into our new comment system. We'll accept some disorder if that's the price of freedom in one's personal life, in politics and the press.

For anonymity, we're introducing the "Burner" — a new way to submit information or commentary without associating any real identity. To use a Burner, just enter a pseudonym in the login and start typing or uploading. That's it. Your machine is linked to that particular pseudonym and we'll provide a randomly-generated key if you need to switch to a different device or continue a conversation later. But there is no username, email address or password that could compromise your identity. Yes, even if we're hacked.

Why Anonymity MattersBut what's to stop authentic information and opinion from being drowned out by the background noise of the internet, or trolls from hounding away knowledgeable sources? Each contributor — whether anonymous or not — will now be given the power to moderate the conversation they spark. Interesting questions might warrant a response; corroborating responses can be accepted; and harassers can be dismissed. Give the source the ability to tell us what they know, then let the reader determine whether they've satisfied the critics, just as one would in judging a panel debate or a courtroom cross-examination.

Even if we safeguard the identity of a witness, he or she can still be questioned. In fact, the more serious the claim, the more important it is that the whistleblower or other source be subject to challenge. And challenge in public.

One assumes Ahmed Chalabi's account was subject to some test by Judith Miller of the Times, the chosen vehicle for his propaganda about Saddam's weapons of mass destruction. But not a sufficiently rigorous examination. And we have long moved past an era in which we put that much trust in journalists, even of an institution as respected as the Times. It's time for the leakers and the moles to bypass the traditional gatekeepers of information; and it's time for them to be subject to challenge, not just by their pet reporter, but by readers.

Number of comments

A Complete Guide to 'Hipster Racism'

April 26th, 2012Top Story

A Complete Guide to 'Hipster Racism'

By Lindy West

A Complete Guide to 'Hipster Racism'There's been a lot of talk these last couple of weeks about "hipster racism" or "ironic racism"—or, as I like to call it, racism. It's, you know, introducing your black friend as "my black friend"—as a joke!!!—to show everybody how totally not preoccupied you are with your black friend's blackness. It's the gentler, more clueless, and more insidious cousin of a hick in a hood; the domain of educated, middle-class white people (like me—to be clear, I am one of those) who believe that not wanting to be racist makes it okay for them to be totally racist. "But I went to college — I can't be racist!" Turns out, you can.

People benefit from racism—hell, I benefit from it every day—and things that benefit powerful people don't just suddenly get "fixed" and disappear because Halle Berry won an Oscar or whatever. Modern racism lives in entrenched de facto inequalities, in coded language about "work ethic" and "states' rights," in silent negative spaces like absence and invisibility, and in Newt Gingrich's hair. And in irony.

When people are trying to be sensitive about race but they don't know what to say, they usually go with, "Well, race is a complicated issue." Except, no, it's not. Race is one of the least complicated issues that there is, because it's made up. It's arbitrary. It's as complicated as goddamn Santa Claus. Oh, that guy's mom was half-black, which makes his skin slightly more pigmented than mine, which therefore means that he's inherently 12.5% lazier than me? Science! Um, no. What's actually complicated is our country's relationship with race, and our utter ineptitude at talking about it. We suck. I mean, I work on it every day, and I'm still a total fuck-up. But this new scheme someone came up with—where we prove we're not racist by acting as casually racist as possible? Not our best, white people. Not our best.

Racism is like a wily little bacterium. It doesn't just roll over and die once we swallow our antibiotics—it mutates and evolves and hides itself in plain sight, and then all of a sudden, fuck, my arm fell off. Dickhead bacteria. (Sidenote: arm for sale!)

A long time ago (not really!), it was socially acceptable to own people. Then it wasn't, but it was socially acceptable to murder people if they looked at your wife. Then it wasn't! Yay! But it was still okay to say that people whose skin color you didn't like weren't allowed to be around you. And so on. Eventually we arrived at the point (now) where it's socially unacceptable in mainstream culture for white people to say denigrating things about people of other races. But just because the behavior has been suppressed, that doesn't mean people's prejudices have simply disappeared. And white people haaaaaate being told what to do in our own country (fun fact: not actually "ours")!

So racism went underground. Sure, you can't say racist things anymore, but you can pretend to say them! Which, it turns out, is pretty much the exact same thing. There are a couple of strains of "ironic racism" making the rounds right now, and a couple of typical defenses.

1. "Tee-Hee, Aren't I Adorable?"
This category includes things like wide-eyed acoustic covers of hip-hop songs, suburban white girls flashing gang signs, and this Tweet from Zooey Deschanel: "Haha. :) RT @Sarabareilles: Home from tour and first things first: New Girl episodes I missed. #thuglife." See, it's hilarious, because we aren't thugs—we are darling girls, and real thugs are black people who do crime! Oh, hey, can I call you back? I need to sew more ric-rac on my apron. I hope a black person didn't get into my ric-rac Kaboodle and steal all of it! JK, LOL. RIP, Whitney.

(Now, I'm obv not saying that Zooey Deschanel is some terrible racist. I don't know her, although I did sit next to her at a restaurant once, and she ordered "olives." She seemed lovely, and she didn't call anyone the n-word for the entire meal. But I'm saying that we are all kind of bizarrely cavalier and careless these days, throwing our most deeply-considered morals under the bus for the sake of a few cheap jokes. It's weird, and we owe the world a little more critical thinking.)

2. "Recreational Slumming."
Wherein privileged people descend for a visit inside the strange, foreign spaces of othered groups. Like, I don't know, IHOP. Or that "scary" bar in the south end. Then they go home again. Catchphrase: "It's soooooo ghetto, but I actually totally like it!"

3. "Ummm, I'm a Writer and I'm Trying to Write in Here!"
This is Lesley Arfin crowing about the majestic power of the n-word, and white kids whining that it's "unfair" that black people "get" to use "it". You know, because words are powerful and words are Arfin's craft and would you take the color red away from the best painter on Twitter??? And besides, don't you just find Arfin to be so RAW and DELICIOUSLY NAUGHTY? It's all tied up with the deliberately obtuse people who conflate "freedom of speech" with "immunity from criticism." You "can" say the n-word. Go ahead and say it if you want, Skrillex. And I will go ahead and give you the world's most sidewaysiest eyeball forever. Because it hurts people. Why do you want to hurt people?

4. "God, Don't White People Suck?"
Okay, I get what you're trying to do here—having some fun at the expense of the oppressors while setting yourself up as one of the "cool" white people—but mainly what you end up doing is implying that black people don't like informative radio or TED talks. Stuff White People Like: having the best brains! Isn't it great that we can make fun of ourselves while still reminding you that we're better than you?

And the thing is, when these things get called out, there really is no defense. But they try:

"No, don't you see? I'm just showing how I'm so down with [minority group] that it's totally cool for me to make jokes at their expense. Because we are just that kind of tight bros now."
No. You cannot unlock some secret double-not-racist achievement by just being regular racist. Otherwise Bill O'Reilly would be president of the NAACP.

"But it's a JOOOOOKE."
Here's the thing about jokes. They only work when they're aiming up. I wrote this in another piece recently, but I'm just going to plagiarize myself: People in positions of power simply cannot make jokes at the expense of the powerless. That's why, at a company party, you never have a roast where the CEO is roasting the janitor ("Isn't it funny how Steve can barely feed his family? This guy knows what I'm talking about!" [points to other janitor]). Because that would be GROSS, and both janitors would have to work late to clean up everyone's barf. Open-mic comedians, I know you think you're part of some fresh vanguard in alternative comedy who just discovered that a lot of black ladies don't like it when you touch their hair, but pleeeeeeease just stick to stuff about how your stupid girlfriend is a bitch. (Just kidding. Please never speak again.)

"So I'm not allowed to have a genuine interest in another culture?!!?!??!"
First of all, privileged dickweeds wearing Urban Outfitters "Navajo" panties, I didn't realize that you excavated those in your anthropological field work. My bad. Carry on. And second of all, again, you "can" do whatever the fuck you want. You "can" wear whatever you want, say whatever you want, and think whatever you want about whatever you want. All the time! Yaaay! But if a group of people comes to you and says, "This thing that you are doing is hurting us," and you keep doing it for fun, then you are a dickweed! Like, you know we had an actual genocide here, right? A deliberate extermination of human beings? Right where your house is? So maybe just err on the side of sensitivity.

"Yeah, but we have a black president! Isn't racism over?"
Okay. That's probably the most racist thing you've said all day, imaginary amalgam of all the careless hipsters in the world. You know how you can tell that black people are still oppressed? Because black people are still oppressed. If you claim that you are not a racist person (or, at least, that you're committed to working your ass off not to be one—which is really the best that any of us can promise), then you must believe that people are fundamentally born equal. So if that's true, then in a vacuum, factors like skin color should have no effect on anyone's success. Right? And therefore, if you really believe that all people are created equal, then when you see that drastic racial inequalities exist in the real world, the only thing that you could possibly conclude is that some external force is holding certain people back. Like...racism. Right? So congratulations! You believe in racism! Unless you don't actually think that people are born equal. And if you don't believe that people are born equal, then you're a fucking racist.

But you know what? At least that's sincere. And at least sincere racism isn't running around Brooklyn wearing artisanal suspenders and masquerading as enlightenment. Give me sincere racism or give me no racism at all, but enough with this weaselly shit.

Image by Jim Cooke and elenabo/Shutterstock

Number of comments

How Technicolor created ruby slippers without using color film

April 26th, 2012Top Story

How Technicolor created ruby slippers without using color film

By Esther Inglis-Arkell

How Technicolor created ruby slippers without using color filmTechnicolor film was not color film, and it did not produce anything like lifelike colors. But how did it produce color movies? And why did those colors glow? And why did all of it lead to Dorothy getting ruby slippers?

As anyone who has seen an old Technicolor film knows, it looks weird. Blue eyes look like they glow. Pink faces look like they've been painted peach. Red looks scary. It all looks dyed, not recorded — and that's because it was. There wasn't any color film at the time that Technicolor was making its big splash. No one had figured out how to create a film stock that would record color. They had, however, found a way to make film stock that would filter out all the color that shouldn't get through. And they had dyes. By putting them together, they made Technicolor glorious.

Click to view Technicolor cameras didn't film in color. Instead they filmed in black and white, with different filters. The light entered the camera lens and went to a half-silvered mirror, which split the beam of light through a magenta lens (red and blue together), and a green lens. Behind the magenta lens was film sensitive to blue light, and film sensitive to red light. Behind the green lens was just plain light-sensitive film. The production crew ended up with three sets of film, one showing the blue light that the object they were filming gave off, one showing the red light, and one showing the green. All of these were black and white film strips. They just showed odd-looking pictures. For example, on the 'blue' roll, a person with few blue tones in their skin would have skin that looked completely dark, while a blue ribbon would look pure white. Each of the black and white images were dyed with its proper color. Sometimes, when they were dyed, the films would combined and re-filtered, so that only bright blues would make it out of the blue-dyed film.

At last, when it was time for the film to be shown, the three dyed films would be layered on top of one another, to make 'glorious technicolor.' This is why, especially in the early films, the coloring looks so painterly. It's also why most early films nearly cause eyestrain — especially the famous film The Wizard of Oz. The Technicolor process was expensive, not just because of the camera and the technicians needed to film, but the many incidental technical issues. Some colors, if they were too subtle, would suddenly pop out as other colors. Yellows would turn green in random patches, if two much of the wrong color was filtered out. And since the beam of light entering the camera was split between multiple films, only a fraction of the light in the studio made it onto any one film. This meant that the studio needed to be extra bright. Many regulars on The Wizard of Oz complained of eye damage from the studio lights, that lasted years.

Mostly, though, it meant that production teams didn't want to waste a single opportunity for color. In the books, Dorothy's slippers were silver, and the yellow brick road, silver slippers, and emerald green city were said to represent the gold standard, silverites, and paper money. But silver slippers were no fun at all on film. They might as well be filmed in black and white. Red, however, was easy to see, eye-catching, and didn't wreak havoc with the color mixing — the way the famed yellow-brick road often did. Hence the ruby slippers, which made the most of Technicolor, and an American fairy-tale was changed forever.

Via American History, Smithsonian, and Widescreen Museum.

Number of comments