{"id":1240,"date":"2014-02-03T14:08:01","date_gmt":"2014-02-03T22:08:01","guid":{"rendered":"http:\/\/www.artsjournal.com\/culturecrash\/?p=1240"},"modified":"2014-02-10T16:34:15","modified_gmt":"2014-02-11T00:34:15","slug":"reporting-the-digital-age-and-the-disappearing-middle-class","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/culturecrash\/2014\/02\/reporting-the-digital-age-and-the-disappearing-middle-class.html","title":{"rendered":"Reporting, the Digital Age, and the Disappearing Middle Class"},"content":{"rendered":"<p>[contextly_auto_sidebar id=&#8221;UdzFLHqHKqJ9wXVQI1GqH0q0PFUfcGe7&#8243;]<\/p>\n<p>HOW are digital technology and the 21<sup>st<\/sup> century economy reshaping journalism, including arts reporting? I&#8217;ll plan to dig into economy-of-culture questions on this blog as often as I can. Today, a business columnist gets into it quite smartly in a new piece.<\/p>\n<p>Michael Hiltzik\u2019s Los Angeles Times <a title=\"Hiltzik on journalism\" href=\"http:\/\/www.latimes.com\/business\/la-fi-hiltzik-20140202,0,1097804.column#ixzz2sISW1b8l\" target=\"_blank\">column<\/a>, \u201cSupply of news is dwindling amid the digital media transformation,\u201d debunks the sense that we\u2019re moving in a golden age of journalism. Instead, w<a href=\"https:\/\/www.artsjournal.com\/culturecrash\/wp-content\/uploads\/2014\/02\/New_York_Times_newsroom_1942-1.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-1241\" alt=\"New_York_Times_newsroom_1942-1\" src=\"https:\/\/www.artsjournal.com\/culturecrash\/wp-content\/uploads\/2014\/02\/New_York_Times_newsroom_1942-1.jpg\" width=\"220\" height=\"167\" \/><\/a>e\u2019re getting more analysis and commentary than ever, but much less reporting.<\/p>\n<p>He quotes George Packer in the New Yorker:<\/p>\n<p><i>&#8220;<a href=\"http:\/\/www.newyorker.com\/online\/blogs\/comment\/2014\/01\/telling-stories-about-the-future-of-journalism.html\">What the Web has never figured out<\/a> is how to pay for reporting, which, with the collapse of print newspapers, is in desperately short supply, and without which even the most prolific commenters will someday run out of things to say.&#8221;<\/i><\/p>\n<p>As for commentary \u2013 which, of course, we need as well, here\u2019s Hiltzik:<\/p>\n<p><i>One suspects that the real reason that new online journalism sites often focus on commentary, analysis and context isn&#8217;t to feed unfulfilled demand, but because the overhead is low. You can comment<\/i><i>ate from anywhere, including your bedroom or your mother&#8217;s attic. Breaking a news story, however, often means buying a plane ticket, checking into a hotel, and deep-ending into a single subject for weeks or months at a time.<\/i><\/p>\n<p><i>News reporting is often threatening to someone, which creates another expense: lawyers.<\/i><\/p>\n<p>Are there ways to pursue serious journalism in this environment? Of course &#8212; I&#8217;ll point to the site I often contribute to, Salon, or to ArtsJournal. But many challenges remain. (I&#8217;ll point out that I am, for now, optimistic re. Greenwald&#8217;s forthcoming investigative site.) So far arts journalism has been hit very hard, and the surge of digital media has not brought it back. Let&#8217;s hope some of the new initiatives bear fruit.<\/p>\n<p>A related issue, which cuts into all kinds of things that matter, from newspaper subscriptions to book purchases to museum tickets, is the hollowing out of the middle class. This has long been a concern on the political left, but it\u2019s gotten so bad that business owners are starting to complain about it. After all, consumer spending makes up about 70 percent of the economy \u2013 when the middle-class shrinks, they spend less money, and everyone feels it.<\/p>\n<p>Today a New York Times story documents the changes: <a title=\"Middle class, business world \" href=\"http:\/\/www.nytimes.com\/2014\/02\/03\/business\/the-middle-class-is-steadily-eroding-just-ask-the-business-world.html?hp\" target=\"_blank\">\u201cThe Middle Class is Steadily Eroding. Just Ask the Business World.\u201d<\/a><\/p>\n<p>The sectors that rely on a middle-class consumer are fading. Of course, fields that depend on hedge-fund managers and Russian plutocrats \u2013 which is increasingly the case with the visual-art market \u2013 thrive. Potential donors, of course, make more money, but it&#8217;s not helped arts institutions much in recent years. And is that really the way we want culture to work in the 21<sup>st <\/sup>century? Nelson D. Schwartz writes::<\/p>\n<p><i>As politicians and pundits in Washington continue to spar over whether economic inequality is in fact deepening, in corporate America there really is no debate at all. The post-recession reality is that the customer base for businesses that appeal to the middle class is shrinking as the top tier pulls even fu<\/i><i>rther away.<\/i><\/p>\n<p><i>If there is any doubt, the speed at which companies are adapting to the new consumer landscape serves as very convincing evidence. Within top consulting firms and among Wall Street analysts, the s<\/i><i>hift is being described with a frankness more often associated with left-wing academics than business experts.<\/i><\/p>\n<p>ALSO: At the risk of being relentlessly grim today, let me close with a brief salute to Philip Seymour Hoffman. From <em>Boogie Nights<\/em> to <em>Capote<\/em> to <em>The Master<\/em>, he may have been my generation\u2019s finest actor. Tom Carson of GQ <a title=\"Carson on PSH\" href=\" http:\/\/www.gq.com\/blogs\/the-feed\/2014\/02\/philip-seymour-hoffman-death.html\" target=\"_blank\">asks<\/a> if he may\u2019ve been America&#8217;s greatest actor, period. Carson writes:<\/p>\n<p><i>the heroin overdose that allegedly did Hoffman in made it unmistakable that we\u2019d always been strangers to this man\u2019s innermost life. At least in public, a poster boy for self-destructiveness he wasn&#8217;t. That obviously means he was better at concealing the psychological pressures he was under than we could ever have guessed from the rumpled, thoughtful, ego-allergic pleasure he projected at just getting to practice his craft.<\/i><i><\/i><\/p>\n<p>I knew Hoffman almost entirely through his films. I sat next to him at a Mark Taper performance of Chekhov, and interviewed him by phone for a profile of film director Todd Solondz. Hoffman came across as grounded, solid, literary \u2013 we spoke a bit about the glories of Richard Yates\u2019 prose \u2013 and humbly dedicated to his muse. (We got off track a bit talking about the New York theater company he helped run. The dude&#8217;s idealism was clear.)<\/p>\n<p>In any case, many of us are still reeling from this enormous loss.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>[contextly_auto_sidebar id=&#8221;UdzFLHqHKqJ9wXVQI1GqH0q0PFUfcGe7&#8243;] HOW are digital technology and the 21st century economy reshaping journalism, including arts reporting? I&#8217;ll plan to dig into economy-of-culture questions on this blog as often as I can. Today, a business columnist gets into it quite smartly in a new piece. Michael Hiltzik\u2019s Los Angeles Times column, \u201cSupply of news is dwindling [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[39,26,31,76,27],"tags":[],"class_list":{"0":"post-1240","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-creative-class","7":"category-cultural-issues","8":"category-downturn","9":"category-film","10":"category-journalism","11":"entry","12":"has-post-thumbnail"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/posts\/1240","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/comments?post=1240"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/posts\/1240\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/media?parent=1240"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/categories?post=1240"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/tags?post=1240"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}