Fritinancy

March linkfest

This month’s book recommendation is I Like to Watch (2019), by the Pulitzer Prize-winning television critic Emily Nussbaum. The book collects a decade’s worth of Nussbaum’s reviews and essays for the New Yorker and other publications, including one written especially for the book. Nussbaum is such a good writer that she made me care about shows that hadn’t appealed to me (I’ve watched exactly one episode each, for example, of “The Sopranos,” “Buffy the Vampire Slayer,” and “Lost”). And she made me care even more deeply about subjects I was already drawn to, like the complicated career of Joan Rivers and the way the 2016 presidential election made “jokes” unfunny. (You can read the jokes essay—one of the best pieces of writing to come out of that twisted season—here.)

 

Every. Thing.

Books and podcasts that focus on one thing are so early-21st-century. In 2020 the way to grab eyes and ears is by promising every. damn. thing.

Here’s a long list that undoubtedly doesn’t include everything.

Huge

The title of Diane Ravitch’s new book about American schools, Slaying Goliath, struck me right between the eyes. Hadn’t I seen something like it very recently?

 

 

January linkfest

I’ll get to the regularly scheduled links in a bit, but I wanted to lead off with some recommendations from my 2019 media diet (a term I’ve borrowed from Jason Kottke, whose blog always makes for tasty consumption).

All over the place

I suppose it was inevitable that the 2018 post-apocalyptic horror film A Quiet Place, which was shot on a relatively small budget and subsequently made a boatload of money, would require a sequel. And so it has come to pass that A Quiet Place Part II will open in theaters in March. (Tiny spoiler: There’s more out there than the noise-hating creatures.)

As I watched the trailer I started thinking about (a) the unimaginativeness of the title, which suggests an unimaginative sequel; and (b) how popular the word place is in movie and television titles. And it isn’t just a recent fad: the trend goes back decades.

Words of the decade 2010–2019: Fritinancy edition

In a few weeks, members of the American Dialect Society (and of the word-loving public) will gather in New Orleans and vote on the words of the year and the decade. Ten years ago, the American Dialect Society picked google as its overall winner; my own list back then included blog, Ground Zero, terrorism, and PTSD.

New decade, new list. As before, I’m following ADS criteria. To qualify for my list, a word must be:

• demonstrably new or newly popular in the decade in question
• widely and/or prominently used in the decade in question
• indicative or reflective of the popular discourse
• not a peeve or a complaint about overuse or misuse

I confess a bias toward my interests in technology, business, and social media (just as the ADS has a bias toward words of specifically linguistic interest).

I welcome your own nominations in the comments. You can also submit words of the year and decade to ADS: woty@americandialect.org.

As for WOTY, I’ll post my own nominations soon—see last year’s list here—and have already posted my choices for brand names of the decade.

Hidden messages in broadcast call letters

Long-time listener here, but I’m the first to admit to some gaps in my knowledge of radio history. Oh, sure, I knew that US radio and TV call letters begin with “W” for stations east of the Mississippi and “K” for stations west of the Mississippi*, and that Canadian stations’ call signs begin with “C.” I recognized many call letters as representing the networks that owned or operated them: KABC, WCBS, KPBS. I knew that the call signs of many public-radio stations include the initials of the colleges and universities that house their studios: KFJC (Foothill Junior College), KCSM (College of San Mateo), KPCC (Pasadena City College), WBUR (Boston University Radio). And I appreciated the Bay Area references in many local stations’ call letters: KABL, KFOG, KOIT (for Coit Tower, one of the city’s quirkier landmarks).

I also knew one call sign whose initials stood for a phrase: Chicago’s WGN, for “World’s Greatest Newspaper,” aka the Chicago Tribune. But it wasn’t until I started watching Ken Burns’s excellent eight-episode Country Music on PBS (that’s Public Broadcasting System, in case you didn’t already know) that I learned how many other early call signals—though randomly assigned—took on extra character as initialisms for slogans and phrases used as commercial gimmicks or mnemonics.

Undated ad for WSM, which began broadcasting from Nashville on October 5, 1925.

Let’s hear it for the boys

I’ve been watching The Boys on Amazon Prime, and along with enjoying the clever conceit (superheroes as corrupt bad guys controlled by an evil mega-corporation) and the dash of Brit slang and swearing (shufti, dekko, chuffed, lots of casual cunts), I’ve been thinking about the title. The show is based on a graphic-novel series that I’ve never read, and maybe “boys” is more overtly explained there, but on the show we’re left to infer that The Boys are the good-guy squad, even though one of their number is a young woman.

 

They aren’t the only capital-B Boys trending in popular-culture titles right now. Although less robust than the ongoing Girl/Girls title phenomenon (see my posts from 2015 and from 2018), “Boy/Boys” is still a trendlet worth noting.

Pretty big little tiny lying things

The news that Tiny Pretty Things, the 2016 YA novel about ballet students by Sona Charaipotra and Dhonielle Clayton, is being made into a 10-episode Netflix series sent me into a free-association reverie.

“Black Swan meets Pretty Little Liars.” – Amazon. The sequel (2017) is titled Shiny Broken Pieces.

Word of the week: Intimacy director

Just for my own amusement, I keep a list of job titles that didn’t exist until relatively recently. Most of them are in technology fields: Customer success manager. Code sensei. Scooter juicer. Operations Jedi.

One recently created job, however, depends not on technology but on psychology and stagecraft. Intimacy directors—the title appears to have been invented around 2016 by the founders of Intimacy Directors International, although the discipline was developed about 15 years ago—work with theater actors to choreograph “moments of staged intimacy in order to create safe, repeatable, and effective storytelling,” according to IDI’s website. (Their counterparts in television and film are called intimacy coordinators, and play similar roles in “scenes containing intimacy, simulated sex, nudity or high emotional content.”)