OUT WITH THE OLD, IN WITH THE NEW
There no less interesting a story than the media whining about access. People don’t care and good reporters find ways to do their jobs, regardless of obstacles.
What we saw this week at the DNC was a bit of a market reset when it comes to political coverage.
Reuters reports how 200 “content creators “ were issued credentials for the convention. These are influencers who have amassed massive audiences on social media platforms like TikTok, Instagram and YouTube.
One of those influencers is Carlos Eduardo Espina. He’s shooting videos this week on the floor at the United Center. He does his videos in Spanish for what he calls “the Latino immigrant community in the United States.” Espina has over 10 million followers on TikTok. The DNC gave Espina a speaker’s spot earlier this week.
Leigh McGowan is known as “Politics Girl” and has amassed 1 million followers amongst her social media platforms. She regularly appears as a guest on traditional media programs, McGowan’s tail wagging the dying dog that is mainstream media.
Legacy brands are feeling the pinch. The DNC is going out of its way to marginalize (yes, that’s what its doing) the stodgy, ink-stained wretches that used to dominate coverage. Why grant space to the shingle-hanging crowd when you can paint the floor with delegates/influencers? The creators don’t have to hide behind a false virtue of “objectivity” when covering politics. They serve the audience, and what followers want is information dopamine, sent right to their phones, content that fits their siloed worldview.
The days of network reporters wearing those clunky antenna headsets and spouting back what others told them are long gone. Objective bystanders be gone! Although the D.C. press corps is anything but objective, they don’t influence votes the same way charismatic personalities do on social media platforms.
Word to the vanguard press: It’s cold and lonely in the basement. Get used to it.
THE SIX
*I wrote earlier this week about the “good vibes” around the convention-ing Democratic Party. A writer for The Free Press is in Chicago wrote a piece affirming my take. From the piece: “These people know how to throw a fantastic party, and it’s full of flashing lights and smiling delegates and Stevie Wonder and dancers and tears streaming down faces and wild roars of hope and love and drama. But for now, after three days of this four-day convention that is really just a supremely entertaining infomercial.” Cool buds and tasty waves, that sums up the Blue platform.
*When they are not saying anything, the Dems are preaching some platitudinal idea of being the “party of freedom.” The messaging is a combination of aww shucks, politics shouldn't be so acrimonious coupled with aggressive fear-mongering about how Republicans will take away everything the American people know and love. They are trying to send signals of hope, how politics not need be so hostile. Of course, it’s all a fraud, as this article from Reason so precisely explains.
*The author of this story from Outside takes on a narrative journey of summer camping in the Mojave desert. He feels “compelled to face the faceless temperatures of the 21st century” and the Mojave is one of the more uncompromising places on earth. The heat feels like “a pizza stone pressed to the temple, a claustrophobic hug from Satan”. At some point, journaling about the experience becomes impossible as the pencil sizzles in the hand. An entertaining read.
*I’m fascinated by what’s happening in the music business these days. Musicians who have long since died are still nonetheless scoring some major brand deals, thanks to the rights holders of their estates who are still finding ways to squeeze money out of music catalogs. Take the estate of Whitney Houston, which in 2019 saw 50 percent sold to a company called Primary Wave for $7 million. At the time, the estate was making $1.5 million per year, but after a series of brand deals, that’s up to $8 million annually as of 2024. A sync deal to get a song into a commercial ($50,000 to $1 million) or a movie ($10,000 to $500,000) can go a long way, but a whole movie is even better: When Whitney Houston: I Wanna Dance With Somebody came out in December 2022, the following year catalog streams were up 25 percent. Death pays.
*Anyone been watching Hard Knocks with the Bears? I’ve watched a bit of a few episodes; I’d say mildly entertaining (the Nick Saban appearance in episode 1 was a highlight). One thing that’s different about this season’s shows? No cussing. Apparently, that’s a condition the Bears put on the league for allowing them to film the franchise. No “F” words from Coach ‘Flus, at least when the cameras are rolling.
*And finally, a hilarious highlight from the DNC this week. Absolute choke job by Wisconsin Governor Tony Evers on the roll call. A meme forever, Gov. Evers! The internet can be cruel.
Have a suggestion for The Kerr Report? Send email to jonjkerr@gmail.com.
Jon, I read your comments about the music business with great interest. I've found that what you stated is true. My professional music career began in 1968 when I was 19. In 1974 I wrote a song ("Give Me One More Chance") and recorded and produced it on a group called The Procedures in 1975. I sold the publishing to Chicago's "The Numero Group" in 2010. They managed to license it for the soundtrack of the 2020 Amazon original movie "I'm Your Woman" starring Rachel Brosnahan (The Marvelous Mrs. Maisel). I'm among the credits at the end of the film, and between them and BMI, I'm still getting quarterly royalty payments. But what is really amazing is the revenue from sources that didn't exist in the 70's - every stream or download of the movie; streaming services (i.e., Amazon, Apple, Spotify, YouTube). Still getting paid for what was created a half-century ago!!