The Isolation 2020 Country Jamboree

Since people aren’t supposed to go outside or meet in groups during the coronavirus pandemic, people are spending a lot more time online, and one of the things they are doing (apart from endless Zoom calls) is trying to recreate some of the things they enjoyed during more normal times — like the old campfire singalong or basement jam session, for example. Someone in need of the latter created a Facebook group called the Isolation 2020 Country Jamboree, and it has quickly become one of my favorite stopping points on Facebook. The idea behind the group — which had 26,000 members when I wrote this — is that anyone can record themselves playing the guitar or piano or whatever instrument they feel like playing, and then upload it to share with everyone who is missing live music. It’s really great.

I found the group after a friend posted about it a few weeks ago, and asked me to play and upload a song (a John Prine one, since he had just passed away). So I recorded one, and uploaded it, and I think it got 5 likes or something like that, and one nice comment. I confess this made me a little irritated, since I thought I was much better than lots of the other people who were uploading songs (in my own mind anyway) and some of them got dozens or even hundreds of likes and comments. Social-media thirst is a terrible affliction 🙂 Anyway, at first I thought the hell with it, I don’t need to go there any more, most of the singers are terrible, and their videos are bad, and so on. Or that’s what I told myself anyway. But I kept seeing them pop up in my Facebook feed, and I clicked on a few, and I have to say the whole thing kind of started to grow on me.

Not only were some of the videos and songs pretty good — in some cases by people who play professionally, and have albums, etc. like Heather Valley, who has an excellent voice — but even some of the “bad” ones started to grow on me. The whole thing is like a giant campfire singalong with hundreds of guitarists and singers, some of whom are excellent and some of whom are, well… enthusiastic at least. Some are shy (and a few of them are the best) and some are very confident without reason. But some are just quietly great, and some of the ones you wouldn’t expect turn out to be the most talented, with great voices, and some great guitar playing. There was even a guy who recreated an entire Supertramp song with all the keyboard parts, plus the snippets of a Winston Churchill speech that were included in the original.

In some cases, their phones are pointed up at the ceiling, or they have fingerprints all over them, or they are too far away, or the volume isn’t high enough, but in most cases the passion comes through anyway and none of that matters. Some of my favorites are the ones where the player is sitting in their garage or a woodshed, with their overalls or work clothes on, and maybe their guitar isn’t the best, and then they launch into something and it’s just great. One guy standing in his garage as his kids rode in and out on bikes admitted that he’d had a few beers after work and then did a great version of My Home Town by Bruce Springsteen. I’ve been going through it and adding comments on almost every one of them, telling them they did a great job and to keep it up. Maybe it’s the cabin fever talking, but it’s become one of my favorite things.

Fighting misinformation during a global pandemic

Note: This was written originally for the daily newsletter at the Columbia Journalism Review, where I am the chief digital writer

act-checking and verification was already a crucial skill for journalists even before the COVID-19 pandemic came along, thanks in part to the rise of Donald Trump and the alt-right’s weaponization of social media as a distribution method for misinformation. But the coronavirus has made fact-checking and filtering skills even more important, as trolls traffic in rumors about how drinking bleach or taking mega-doses of vitamin C can cure the virus, or how the rollout of 5G technology caused COVID-19 (misinformation that Twitter is now removing in the UK if it presents a tangible threat, after a number of antennas were toppled and burned). Complicating things even further is the fact that the president of the US himself is spreading misinformation about whether the virus can be treated by injecting disinfectant or using UV rays inside the body.

To talk about some of the skills and tactics that journalists (or anyone, for that matter) can use to fight this kind of misinformation, we used CJR’s Galley discussion platform to speak with a number of experts in fact-checking and verification, all of whom are co-authors of the latest edition of the Verification Handbook, which was published earlier this week by the European Journalism Centre (later this week, we’ll be using Galley to interview Gemma Mendoza of Rappler, Brandy Zadrozny of NBC, and Claire Wardle of First Draft). Craig Silverman, the media editor at BuzzFeed, selected all the authors and edited the handbook, and says the skills described in it are more important than they have ever been.

“It’s important for journalists to embrace complexity and to resist instinctively grasping for the obvious explanation,” Silverman told CJR. To give one example, he said, there has been a lot of bad reporting that assumes Russian trolls are to blame for everything bad on social media. “Poorly worded politics tweet from a newly-created Twitter account? Russian troll! Someone promoting trump? Russian troll!” In reality, the provenance of a specific rumor or hoax may be a lot more complicated, involving 4chan posts that were then shared on Twitter and picked up by an alt-right media outlet, and then tweeted by the president. And the platforms share much of the blame, Donie O’Sullivan of CNN told CJR. “We had a story this week about a conspiracy theory falsely claiming an innocent woman in the US was coronavirus patient zero. The conspiracy had been circulating on YouTube for weeks and the company didn’t do a whole lot about it.”

Continue reading

The idea of Shakespeare as a creative genius is relatively new

I didn’t know this, but the modern idea of Shakespeare as an almost unparalleled artist and genius of the stage was essentially an eighteenth-century creation. There were many reasons for this, including the fact that at the beginning of the eighteenth century, all of the London theatres had been closed during the Puritan Interregnum (1649–60) following the English Civil War. After the Restoration, the easygoing and licentious Charles II ascended the throne that had been vacant since the military defeat and subsequent execution of his father, and all forms of entertainment were once again legitimized, including the theatre and related pursuits.

After the Restoration, the easygoing and licentious Charles II ascended the throne that had been vacant since the military defeat and subsequent execution of his father, and all forms of entertainment were once again legitimized, including theatre and related pursuits. Londoners, fed up with Puritan austerity and intolerance, threw themselves into the new hedonism with a vengeance, and the reopening of the theatres in 1660 drew a definitive line between the repressive past and the exciting new era in which the senses—physical, aesthetic, sensual—would be celebrated rather than denied.

That same year saw the very first appearance by a professional woman performer on the English stage. Before the 1640s, female characters had been played by young men, but now there was a new focus of popular idolatry: a creature that James Boswell called “that delicious subject of gallantry, an actress.” Charles II himself led the titillating fashion in taking as his mistress the charming and celebrated comedienne Nell Gwyn. David Garrick was at the beginning of a career that would make him one of the most celebrated actors in British history, and he and Samuel Johnson almost single-handedly created the modern cult of Shakespeare.