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The impact of the internet on the media is revolutionary

2011-10-18T15:01:00.000-07:00

The impact of the internet on the media is revolutionary.

This article will briefly explore the impact that the internet has had on the media both in print and television forms. There will be a focus on the extent to which the distribution and consumption of media have been transformed by the growth of the internet. There will also be a consideration of how the internet has created a change in how the news agenda is shaped. Finally, the essay will also consider the growing forms of media consumption, created by the growth of the internet.

Firstly, it can be argued that the proliferation of the internet has shifted the balance of who defines the news agenda; from traditional institutions such as publishing houses and privately owned television networks, to individuals, citizens and the public en masse. As a result one of the greatest changes has come politically: news bias is an issue frequently explored within media analysis and traditionally, the right-wing press and television have sought to represent the interests of big business and the cultural elite. However, this explosion in online communications has meant that there is there is greater representation of the interests of the individual in news reporting.

The proliferation of a more ‘democratic’ range of sources for media serves arguably to create far greater diversity within society and assists in the challenging of the monopoly of ownership, which results in narrow political representations of media and stifles artistic freedom and diversity.

In the context of media creativity, the internet has empowered the individual to produce their own work for little money and has therefore opened up a traditionally elitist media to the members of the public. Individuals using platforms such as Youtube and iTunes can get their short films and music distributed at minimal cost on a worldwide scale. This rush of ‘DIY’ creativity has created a massive upsurge in the popularity of ‘indie’ fims and music. For every plastic pop vehicle such as Justin Beiber, discovered on Youtube, there are many examples of experimental, challenging work being recognised because of the ubiquity of the platform.

The use of Twitter and other social networking sites has allowed the views of individuals, or indeed niche members of society, to be aired on a wider level. This was shown particularly during the recent protests at student tuition fee rises. The policing of the event came under intense media scrutiny after the large media organisations became aware of the “kettling” of groups of protesters: this became apparent when the words such as “kettle” and “student protests” began trending on twitter.

The student protests also raise an important point about how the major media organisations receive information in order to generate news stories. Regarding the student protests, a BBC reporter comments:

“It's not often you can cover a story from your desk almost as well as you could if you were on the ground. But social media and networking sites meant the most powerful images from the student protest were broadcast online before they hit television screens.” (bbc.co.uk, 2010)

This evidently allows the BBC, for example, to gain vital first hand information regarding a story from the public, whereas previously, they would have had to send reporters and accompanying crew to the scene of a story. Arguably, the internet has made it both easier, in terms of both logistics and ideas, and also more cost-effective to source news stories.

An article within the Independent regarding the released footage of Saddam Hussein’s execution goes further in its assertion that online media has eroded traditional media’s influence:

“But, for new-media enthusiasts, the fact that amateur film from a mobile telephone set the global news agenda shows citizen journalism has come of age…From the moment the explicit footage appeared on Anwarweb.net, traditional editorial processes were redundant.” (Independent.co.uk, 2007)

This also raises the issues of censorship: outside the control of editing rooms, raw first person footage is unedited and uncompromising. We are seeing increasingly graphic footage as a result of the rise in internet sources and we are becming increasingly used to shocking footage as a consequence.

There must also be a consideration of the effectiveness of the traditional media outlets in utilising the internet. The mainstream media have embraced the internet largely, and after initial uncertainty on how to treat this rapidly growing medium, have embraced the internet in order to enhance traditional television / print or radio methods of reportage. Television news broadcasts now routinely address viewer tweets and emails in order to discuss particular current affairs issues. The daily newspapers, with circulation at an all-time low, have created websites with additional content. The Times offer a subscription-based service, which is an undoubted risk, but attempts to recoup some of the money from lost physical sales and which allows them to place more resources into making a website of excellent quality and depth. This is actually apparent when viewing the site, regardless of political leanings. This move by The Times is particularly relevant when exploring the proliferation of portable internet devices such as the iPad and Android and OSx-based ‘smart phones’.

In conclusion, it is clear that the internet has forced major media outlets to adapt their approach to delivery or risk becoming outmoded and outdated. What is most interesting is the shift in news-making agenda from the media outlets themselves, to the individual. This has meant that the ‘voice’ of the individual has become easier to access and can be heard by more people than previously. In terms of media diversity and also individual freedom of expression, this can only be seen as a good thing. For these reasons, the internet has had a largely beneficial effect on media in its various forms.

Bibliography:

Findarticles.com, 1995. ‘Impact of internet on use of traditional news media’ [online] Available at: http://findarticles.com/p/articles/mi_qa3677/is_199504/ai_n8730110/ [Accessed 15/03/11]

BBC.co.uk, 2010. ‘Student protesters steal a march on social media’ [online] Available at: http://www.bbc.co.uk/news/education-11735711 [Accessed 01/04/11]

Independent.co.uk, 2010. ‘Now we can all set the news agenda’ [online] Available at: http://www.independent.co.uk/news/media/now-we-can-all-set-the-news-agenda-431038.html [Accessed 12/02/11]

Learning to ride a motorbike

2011-10-18T14:52:00.000-07:00

Learn to ride a motorcycle.

Driving to work trapped in the beige and moulded plastic interior of my generic hatchback, slogging through commuter traffic, I made a surprising decision. Thirty-five years old, bored and seeking new challenges, I wanted to learn to ride a motorcycle.

I had watched and re-watched ‘Long Way Round’ and “Long Way Down’ countless times. Ewan McGregor and Charlie Boorman’s popular travelogue series made motorbikes, previously uninteresting and unfamiliar to me, seem intoxicating: the stuff of freedom, adventure and friendship. GPS routes formed in my mind and programmed themselves into my daydreams: biking holidays exploring the rural beauty of Britain; the sun-dried roads of Europe. The exhilaration of feeling the landscape, opened up to the elements. The rising costs of fossil fuels was a factor too.

I read many internet sites voraciously, the most accessible and useful being the www.Geton.co.uk website, which provides information and links for new bikers as well as free one hour bike lessons for beginners, in partnership with training providers throughout the UK.

It was through this scheme that I found myself taking the first tentative steps towards biking. A training provider in Stoke on Trent walked me through my initial baby steps into riding.

For a glorious hour I rode a Yamaha YBR125 and learnt basic skills. I took to it all surprisingly quickly, given my lack of even riding a pushbike for a number of years. As the wind buffeted against me while I practised changing gear, stopping and slow riding, I knew I was unequivocally hooked.

The CBT was booked with the same provider, an all day course, starting with practice on private training grounds, followed by the minimum of two hours riding on public roads. There were setbacks; an extra two hours needed to complete the course on account of a blisteringly hot day, sweat pouring from the ends of my sleeves, throttle painfully over-revved, frequent stalls and a U –turn that refused to conform to its namesake.

Finally, I released onto public roads and rode purposefully with an instructor lingering behind in case of near death scenarios. With the intonation of a local radio DJ, he encouraged and instructed me through the earpiece. Save for one moment where he warned, “Whoa, get back over to your side, you’re veering towards that mini!”, all passed without incident and I became confident and fluid through junctions, roundabouts, hills and blind corners. Several things became apparent in comparison to driving a car: once on a bike you seem to adopt a cloak of invisibility that only the finest Hogwarts magician could cast; cars pull out at junctions, oblivious to your oncoming presence. Distracted from their arguing/radio station hopping/texting, they will shake their heads at you and pull up far too close behind you. Garish, brightly coloured clothing, usually avoided in any sane circumstances, are needed.

So, the prized possession of a CBT certificate sits on my bookshelf. Next steps: theory test, modules one and two. And actually buying a 125cc motorbike fit for my meagre budget. The solid reliability and familiarity of the YBR125 is a strong favourite or the economy and good looks of Honda CBF125.

All I know is, I still have that romantic dream etched in my brain: I want to weave through Italian roads sat astride a growling Moto Guzzi V7 Classic. The stuff daydreams are made of.

Morrissey Years Of Refusal review

2009-01-29T12:45:00.000-08:00

Ambiguity has always rested at the heart of Morrissey’s music and persona. Years of Refusal, the ninth Morrissey solo album proper, doesn’t stray too far from type.

Within the twist of a phrase he can be the loved or the loveless, the persecuted or deified, self-loathing and narcissistic in equal measure. Which are we to believe is the true Morrissey? Of course, he is never that simple, we are never that simple. The outpourings of this complex psyche set to music have always been captivating and the highs of Years Of Refusal are as alluring as anything he has written; that there are also lows is testament to Morrissey’s own brand of mercurial genius.

Recorded quickly and mostly live with You Are The Quarry’s late Jerry Finn at the helm, there is a raw and grinding guitar edge to most of these songs. When this works, as it does in the opener Something Is Squeezing My Skull, it’s gutsy and emphatic. Morrissey’s vocal is fantastic, bearing the “Here I am” quality reminiscent of the opener of Your Arsenal. The drug references are surprising and original, guitars punky and the drums thunderous throughout.

Indeed, Matt Walker’s excellent drumming throbs throughout the album, be it the funereal march of Mama Lay Softly On the Riverbed or the rolling flamenco rhythm of When Last I Spoke To Carol; the best Morrissey drummer since Viva Hate and Kill Uncle’s Andrew Paresi, capable of variation and subtlety and enough to make Mike Joyce sob quietly into his handkerchief. These traits are sadly missing from the guitars as a whole. The power chords and samey chord sequences grate at times and save for a few touches, such as the acoustic arpeggios on the beautiful single Paris, and the (five seconds of) Jeff Beck widdling of Black Cloud, one longs to hear more guitar invention. At its worse, on All You Need is Me, it’s merely American rock by numbers. The inclusion of the two mediocre songs already available on last years Greatest Hits doesn’t help the album and new material would’ve been welcome here; the B-sides from last year, Children in Pieces and My Dearest Love would’ve nestled perfectly in the spaces.

It’s Not Your Birthday Anymore is by far the stand out track. Arguably, it surpasses anything throughout the comeback period since Quarry. The synth washes and drum machine sound fresh, a relief from the bland rock; the singing is initially gentle and restrained, echoes of Vauxhall and I, before exploding into notes higher and more wrought than Morrissey has dared previously venture. “All the gifts that they gave can’t compare in any way / To the love I am now giving to you/Right here, right now on the floor” Morrissey seductively sings and dark obsession and the abuse of power has never sounded so joyous. It segues into the world weary beauty of You Were Good In Your Time. A fabulous, string soaked ballad with eerie dialogue creating the mood of pathos that the song explores. The arrangement, a break from the hard rocking, is welcome and restrained.

After such songs of grandiose beauty, the closing couplet are unremarkable; Sorry Doesn’t Help is lyrically and melodically uninspiring. The legal references; “Like a QC full of fake humility” were already tired within Quarry let alone here. Although the song itself is unremarkable, the “wig out” at the end of I’m Ok By Myself is enjoyable, Morrissey’s distorted falsetto sounding like Muse’s Matt Bellamy, if that is a good or bad thing.

Years of Refusal is an inconsistent yet often compelling album. It manages to be both down with the kids and also deliver thrills for the long-term fans. It is best when the music varies from type: …Carol’s flamenco trumpet backed lament for example sounding unlike any previous Morrissey song. Lyrically he has become less florid, less infatuated with nostalgia and the minutiae of the human heart, in favour of more direct imagery. Clearly, this simpler lyrical approach, which has alienated a section of his loyal fanbase, is all about the sound of the band as a whole and not merely as Morrissey’s platform, a sentiment he echoed around the release of Your Arsenal. Both Morrissey and band have produced a resilient effort that is as engaging and relevant as ever.