Jeff Bezos and the Washington Post: Five Years Later

This week I’m at the Western Social Science Association annual conference. I’m giving a presentation looking at what has happened to Jeff Bezos and the Washington Post since the Amazon billionaire bought the paper five and a half years ago. Rather than writing a conventional conference paper, I have put together a rather long blog post on the topic with links to my source materials.

Jeff Bezos and the Washington Post
Five Years Later
Ralph E. Hanson
University of Nebraska at Kearney

The news started breaking on Twitter on the afternoon of August 6, 2013, that there was a big meeting scheduled at the Washington Post. Not long after, word came that Amazon founder Jeff Bezos had purchased the paper for $250 million from the Graham family, who had run the paper for four generations. Although Bezos founded and is the largest stockholder in book sales and media giant Amazon.com, he bought the paper out of his own personal fortune (and with a fortune estimated at $26 billion at the time, the Post cost less than 1 percent of his net worth). When Bezos does things, he doesn’t do them in a small way.

At the time Bezos was being recruited as a buyer of the Post, the company as a whole was profitable, but things were not looking good for the newspaper division. In May of 2013, the company announced that the newspaper division’s revenue was down four percent from first quarter the year before, and that it had an operating loss of $34.5 million. Along with the revenue falling, circulation was down more than 7 percent. The one bit of good news for the paper was that online revenue was growing, just not fast enough to make up for the losses from print.

The fact that this was a personal purchase is important. Washington Post reporter Paul Farhi pointed out at the time of the purchase that under Bezos the paper will be privately owned, so he will not be accountable to shareholders or other investors. He’ll be allowed to take a long-term approach, something he has a track record of doing. Although the Washington Post Company reported being profitable at the time of the sale, it has been suffering a steady decline in revenue over the past several years and has had declining print circulation as well.

At a time when the common wisdom says that newspapers are a dying medium from the last century, why would one of the wealthiest men in the world purchase a paper that has had declining revenue for six years? Bezos told the Post’s Farhi that he does not see any magic answer to the problems metropolitan newspapers are facing:

The Post is famous for its investigative journalism…. It pours energy and investment and sweat and dollars into uncovering important stories. And then a bunch of Web sites summarize that [work] in about four minutes and readers can access that news for free. One question is, how do you make a living in that kind of environment? If you can’t it’s difficult to put the right resources behind it.

When the Graham family decided to sell the Washington Post, they were looking for an investor who could pay the $250 million asking price and not demand an immediate return on the investment. And that’s when CEO Don Graham thought about his friend Bezos. Despite dealing with cutting-edge technology, Bezos has a reputation for taking the long-range view of business.

Back in 2011 in an interview with longtime tech journalist Steven Levy, Bezos talked about the fact that his companies have always taken a long view:

Our first shareholder letter, in 1997, was entitled, “It’s all about the long term.” If everything you do needs to work on a three-year time horizon, then you’re competing against a lot of people. But if you’re willing to invest on a seven-year time horizon, you’re now competing against a fraction of those people because very few people are willing to do that. Just by lengthening the time horizon, you can engage in endeavors that you could never otherwise pursue.

One of Bezos’s first innovations after buying the paper was providing subscribers to other metropolitan papers, including the Dallas Morning News, the Honolulu Star-Advertiser, and the Minneapolis Star-Tribune, unlimited free access to the Post’s web site and mobile apps. Normally, people who want to view more than a limited number of articles at the Post have to pay a monthly subscription fee (your author among them).

The goal of Bezos’s plan is to bring people in to the site who are outside of the paper’s print circulation area and who are unlikely to be good candidates for being paying customers, but who still have a documented interest in news. In short, he was taking a digital point of view. He was going need technology people as well as reporters to improve his product.

Although Bezos did not claim at the time of the purchase to have figured out how to make a major metropolitan paper into a growing, profitable media outlet, he did know that the paper’s readers have to be at the company’s core:

“I’m skeptical of any mission that has advertisers at its centerpiece. Whatever the mission is, it has news at its heart.”

Post Under Bezos Ownership
The Good – Improved Reporting, Readership and Revenue
One of the big changes that came from Bezos was moving the Post from being a paper “For and about Washington” to being one with a national or even global presence. This meant that the paper was no longer going to limit itself to news within its print circulation area.

Under leadership of the Graham family, the paper had focused on how to deal with the old world of print. And in addition to his deep pockets, one of the main reasons for recruiting Bezos as a buyer was that he knew how to take it into the digital age.

By 2016, under Bezos’ ownership, things were looking up. It had a growing audience, increasingly ambitious reporting, and it was gaining recognition as a national newspaper. Politico’s Ken Doctor said that the Post was joining the ranks of The New York Times, The Wall Street Journal, and USA Today as a national paper.

At a time when the usual headlines were about newspapers cutting their staffs and offering buyouts, the Post was actually hiring people. According to Politico’s estimates, the Post’s newsroom was growing by more than 60 positions, or 8 percent. This gave the Post a news staff in excess of 750, compared with 1,307 at the NY Times, 450 at USA Today, and the Wall Street Journal with about 1,500. (The Wall Street Journal is generally considered to have the highest paid circulation of any paper in the United States.)

2016 was a good year for the Post, with 75 percent increase in new subscribers over the year, and doubled digital subscription numbers. The cost of a digital subscription to the paper is relatively low – your author pays $40 a year for his subscription. It’s also  making money by licensing its content management system to other papers – essentially its digital printing press.

The Post is drawing in this audience in part through more investigative journalism served up in a way that looks good online and on mobile devices.

Among the most important hires that Bezos made was Fred Ryan, the paper’s publisher and CEO. Bezos acts as an owner who cares about the property, but isn’t hands on in terms of the day-to-day news coverage.

Bezos has reportedly been more concerned with the “vision” side of the paper rather than the nuts and bolts details of how to carry that out. The details were left more to executive editor Marty Barron, who became somewhat of a national celebrity after being played by actor Liv Schrieber in the Boston journalism movie Spotlight. As an example of Bezos’ vision, he told the Post staff back in 2014 that they needed to “take advantage of the gifts the internet gives us.” Very simply, this means “projects that are designed to draw a disproportionate amount of traffic per journalist.”

Along with hiring journalists, Bezos has also brought in technology people who include “software development engineers, digital designers, product managers, mobile developers, and video engineers.”

An unlikely big name at the Post during this time was Shailesh Prakash, the paper’s chief information officer. Prakash told CJR, “It’s wonderful to have an owner who fundamentally believes that it’s not just content that will differentiate us, but also the design and the technology of how that content is presented, the speed at which it is presented, the quality of the products that present that content.”

The post also produces more than 60 newsletters. A current example of this would be the weekday morning newsletter, the Daily 202 that presents an in-depth analysis of a leading story followed by capsule summaries of the rest of the day’s leading stories, including links to stories at competing organizations.

Of course Bezos’ management team cannot take full credit for this growth. With the rise of first candidate and then President Donald Trump, news content that people care about has been a popular commodity.

The Bad – Conflicts with Unions
Despite all of these great things happening at the Post, not all is well with the staff there. Vanity Fair reports that while Bezos is seen as a savior for the paper and an effective owner providing great leadership, he’s also the same Jeff Bezos who has faced criticism from labor at this other business – Amazon. It’s worth noting here that Jeff Bezos is generally considered to be the world’s richest man. As one staffer told Kyle Johnson for Vanity Fair, “Bezos has done amazing things for this place, but the disaffection with Silicon Valley monopolies may be coming home to roost.”

As of June 2018, Bezos’ estimated net worth was up to an estimated $130 billion. And that makes his tightness as an employer hard to take. During the year-long labor dispute with non-management newsroom staff, the union sent a letter to Bezos where the employees wrote:

“We, the undersigned, have been extremely grateful that you stepped in to purchase the Post at a time when the traditional media model was collapsing, and we have given our all to take advantage of the long runway you promised. In the past year alone, the Post has doubled the number of digital subscriptions and increased its online traffic by more than half; its advertising team has met or exceeded all its targets.

“All we are asking for is fairness for each and every employee who contributed to this company’s success: fair wages; fair benefits for retirement, family leave and health care; and a fair amount of job security.”

In July of 2018, the Post reached a tentative agreement with the Washington Post Guild that gave workers a $15 a week pay raise for each of the two years in the contract. Employees would also be eligible for four weeks of paid paternity leave. The very sparse matching of contributions to a 401(K) retirement fund remained. The agreement was reached after 14 months negotiation.

By August of 2018, Bezos’ net worth was north of $158 billion. Time magazine estimates that Bezos’ net worth increased on average $260 million per day, or $10.8 million an hour, or $3,000 per second. On the other hand, the average WaPo staffer makes $78,000 a year – which means that the paper’s owner makes in 26 seconds what the average Postie makes in a year. Though it should be noted that almost all of that income comes from Amazon. While the Post has reportedly been profitable for the last two years in a row, it certainly is not making the kind of money Amazon is.

The Ugly – Attacks on Bezos
Money aside, owning the Washington Post isn’t always a pleasant thing for Bezos. President Donald Trump has not been fond of the renewed journalism from the Washington Post, and the president often takes out his anger on Bezos.

The president generally does not separate Amazon from the Post, referring to the paper as Amazon’s “chief Lobbyist.” But by all accounts, Bezos has exerted no influence over coverage of anything in the paper. Publisher Fred Ryan said, “Jeff has never proposed a story. Jeff has never intervened in a story. He’s never critiqued a story. He’s not directed or proposed editorials or endorsements.”

The president has also been highly critical of Amazon’s contract with the United States Postal Service for package delivery – primarily it would seem because of Bezos’ connection with the Post. (It should be noted that Amazon itself has no connection to the Post. They just share a wealthy owner.)

New York Post cover

Perhaps the more serious problems created for Bezos has been that the National Enquirer has published stories about Bezos’ extramarital affair and subsequent divorce action. The tabloid reportedly obtained a collection of text messages between the lovers, along with a number of explicit photos they had shared. While the Enquirer published several of the text message, they threatened to publish the “below-the-belt selfie” if Bezos (and presumably the Post) did not back off on criticism of the Enquirer and its reporting methods.

Bezos, rather than backing down, published an extended essay on the Medium online platform, complete with images of the threatening letters. Bezos also applied his considerable resources into investigating how the Enquirer obtained his text messages and photos.

The National Enquirer has been engaged in considerable controversy of its own over the last year for reportedly killing stories about President Trump’s involvement with a former Playboy model. David Pecker, who has been the tabloid’s publisher, has had a tight friendship with the president. Given the recent controversies, the hedge fund that owns the tabloid’s parent corporation put the paper up for sale, with Hudson News heir James Cohen being the buyer. (Hudson News runs the book stores and newsstands in airports across the country.)

Conclusions
Bezos has been largely successful with his purchase of the Washington Post. Since acquiring it in 2013, he has improved readership, revenue and reporting at the paper. He has also worked at building it up as a national news source that is delivered primarily digitally. Like he did before with Amazon, Bezos is most concerned with investing in the future of the Washington Post than with short-term profits; more interested in reader engagement than revenue.

Overall, the newsroom is happy to have a forward thinking owner who has deep pockets investing in the long-term success of the paper, but the staff would like it better if Bezos were willing to share more of that revenue with them.

Ownership of the Washington Post has not always been an easy thing for Bezos, opening him up to attacks on himself and his businesses from both President Trump and his allies.

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Thinking about 40+ years of Star Wars

The new Star Wars trailer dropped online today, and my social media have been blowing up with a wide range of friends and acquaintances squeeing loudly about it (and a few grumbling).  Some have been sobbing quietly in the corner.

Obviously, I’m excited to see this come Christmastime.

Star Wars has been a part of my life since the summer before my senior year in high school when I went to see the original at least 13 times in the theater. (Yes, I went to see it every weekend that summer, and I did eventually get to see it at the River Hills 70mm theater in Des Moines.  This was before VCRs and before cable TV was common.  I have no regrets.)

I have since seen every Star Wars movie in the theater – from the rather terrible The Phantom Menace (though it does have one of my favorite Star Wars lines ever in it: “I can only protect you princess; I cannot fight a war for you.”) to the brilliant Rogue One (that accepts that heroes in rebellions do bad things and realize they are bad).

A quick peek through my blog archives shows that I have mentioned Star Wars in one form or another more than 25 times since I moved the blog onto WordPress. (I have no way of searching the old hand-coded blog.)

Here are a few highlights:

 

 

 

 

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Marie Colvin and the risks of covering war

Earlier this week I took my Global Media Literacy students to our wonderful local community World Theatre to see the Marie Colvin biopic, A Private War.

The film tells the story of acclaimed war correspondent Marie Colvin (played Academy Award nominee Rosamund Pike), who covered wars around the world from the point of view of the ordinary people who are the victims of the violence and disruption.  For 26 years, Colvin reported from strife-filled places – the Middle East, Africa, Chechnya, the Balkans, South Asia. She was instantly recognizable by the black eye patch she wore after being hit by a grenade attack in Sri Lanka. The movie is based on Marie Brenner’s profile of Colvin from Vanity Fair.

At a time when journalists are under both verbal and physical attacks, Colvin consistently stood up for the importance of journalism globally. In a 2010 speech, Colvin said, “Covering a war means going to places torn by chaos, destruction, and death, and trying to bear witness.  It means trying to find the truth in a sandstorm of propaganda when armies, tribes or terrorists clash.”

As I told the audience at The World before the screening of the film, it is too easy in our current environment  to lose sight of the value and dangers of journalists covering wars around the world.  Marie Colvin stood up for telling the story of the people who are war’s biggest victims.

You can get a bit of a feel for just who Marie Colvin was by watching her final broadcast on CNN sent out the night before she was killed by artillery fire directed on her location in Syria by President Assad’s military (Note – This video comes with a content warning from YouTube.)

Longtime New Yorker editor David Remnick wrote that Colvin was always recognizable when she showed up on CNN, wearing her signature black eye patch she acquired after losing her left eye from a grenade attack during the civil war in Sri Lanka in 2001. Remnick says it was Colvin who taught him how to be a foreign correspondent when he was covering the West Bank city of Jenin following an Israeli military incursion. The morning after Remnick watched the report by Colvin from Syria, he woke up to the news that the reporter had died from rocket fire.

The Washington Post’s Pulitzer Prize–winning reporter Dana Priest wrote, “Her bravery was legendary. In the 1991 Iraq War, she stayed behind enemy lines. In 1999, when others fled, she remained in East Timor (an island nation in South Asia) to document the 1,000 refugees in a U.N. compound under attack by government-backed militias. . . . Her black eye patch symbolized her fearlessness and commitment to telling the story of civilians who, she reminded her worried friends and readers, ‘endure far more than I ever will.’”

The day after viewing the film, my students’ reactions were varied, but all of them said they were hit hard by the story, saying they weren’t really prepared for how intense Colvin’s story would be.

The theatre management tells me we had 140 people there for the screening Tuesday evening. I’m glad so many people from my local community showed up to see A Private War. It’s a difficult story to watch, but it’s an important one for all Americans to see.

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Questions Worth Asking – Journalism Edition

AFSP Guidelines for Reporting on Suicide

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Apollo 11 Documentary a Must for Space Fans

I live in a mid-sized town in central Nebraska, so seeing the latest documentary in a theater is not always practical. But this weekend I was going to be passing through Omaha on my way to visit my father in Iowa, and it looked like I could just make a matinee of the new Apollo 11 documentary at the Alamo Drafthouse being released for this summer’s 50th anniversary of the moon landing.

I’m so glad I got to see it.  I expect to list Apollo 11, assembled out of recently uncovered archival film and  sound, as one of my favorite films of this year.

Earlier documentaries have tried to  tell the story of the entire Apollo program (1989’s For All Mankind)  or simulated a visit to the moon (2005’s Magnificent Desolation), but Todd Miller’s film focuses in on just the journey of Neil Armstrong, Buzz Aldrin and Michael Collins. It starts withe the roll out of the massive Saturn V booster to the launch pad and ends when the three astronauts emerge from quarantine. The story is told almost entirely using archival film with just a limited number of brief simple line animations explaining a few complex concepts.

The real treat of this documentary is seeing footage we have not seen before in dozens of anniversary of the moon landing TV specials. Much of it is drawn from a previously forgotten cache of 65 mm footage that had been hidden is archives since 1969.  Some of the most impressive of this is of the Saturn V being rolled out and of the launch itself. While these will look good on the small screen at home, it’s at its best on the theatrical (or if you are really lucky, the IMAX) screen.

There was also footage shot by a one-frame-per-second camera mounted in the LEM.  While it certainly doesn’t show smooth motion, it gives the viewer a much better picture of the moonwalk than the more frequently seen grainy television pictures.  Miller further makes effective use of still photos show on medium-format roll film shot with the ubiquitous Hasselblad cameras used by NASA at the time.

The film does not have a narration, per se, instead using an archive of period sound that includes audio from the astronauts, from mission control, and from the equipment required to make this incredible journey.  Occasionally Miller will use newscaster commentary from Walter Cronkite as essentially a narration, but never anything that wasn’t from the period.

If you watch the credits carefully – and who among us doesn’t – you will see that composer Matt Morton performed his electronic score for the film using late 1960s instruments, including the 1968 Moog Synthesizer IIIc.

I’ve been enthralled with the space program my entire life. I would like to say that my first media memory was the moon landing, but unfortunately that would not be true.  Instead, that first memory belongs to the fire in Apollo 1 that killed Gus Grissom, Ed White, and Roger Chaffee. But it is the Apollo 11 landing that has held my imagination every time I look at the moon. I had just finished third grade when my parents let me stay up late to watch the moon walk.

Over the years I’ve consumed almost everything I could find on the moon landing. Until now, the one thing that has held my attention over the years was Michael Collins memoir Carrying The Fire. Collins, of course, was the pilot of the command module who was the Apollo 11 astronaut who did not have to land on the moon. I just re-read Carrying The Fire this winter, and it is a worthy accompaniment to the Apollo 11 documentary. One of the things that makes Collins’ book so good is that he actually wrote it himself without the aid of a ghost.  Because of that, it is the authentic voice of one of those voyagers to the moon.

Miller’s Apollo 11 film feels fresh because it doesn’t view the trip to the moon through the eyes of history and all that has happened over the last 50 years.  Instead it keeps its gaze on what Americans saw and did back in the summer of 1969.  The film has been criticizes for spending too much time looking at this amazing journey by focusing on men in short-sleeved dress shirts staring at flickering video screens. For some, that is not the most engaging image.  But for me, the sound of each of the stations of Mission Control calling out “Go!” in response to the questioning of the flight controller is at least as exciting as any extended fight scene from the latest super hero epic.

If you have the opportunity, I strongly recommend getting out this week to see Apollo 11 in the best theater you can find. Thank you, Alamo, for bringing this excellent documentary to Nebraska.

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Columnists for your reading pleasure – 2019 edition

Here are links to a number of columnists and columnist index pages from newspapers around the country for my JMC 406 commentary writing students, and anyone else who’s interested.  It has been published here multiple times in different forms.

National Columnists

Critics

Local and Regional Columnists

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Looking at Hip Hop

Today in my media literacy class we’re going to be taking a look at hip hop, and these are just several examples we will be considering as we discuss the genre and cultural movement. More text to come…

The 44th Anniversary of the Birth of Hip Hop

Some old school bboying.

Break Dancing in Rural China

Draze – Irony on 23rd

“In his new Irony on 23rd music video, Draze, offers the nation a front row seat to one of the countries most heated debates concerning the impact of recreational cannabis retail outlets on communities. Set to the soulful sounds of rhodes keys and a live saxophone Irony On 23rd captures the thoughts, pain, and reactions of a community experiencing gentrification. Through the power of story, Draze paints a picture of how numerous ironies appear to meet at the intersection of 23rd and Union. The storyline focuses on Uncle Ike’s,  one Washington’s States top Pot shops which has moved within a few feet of one of the communities most prominent African American Churches.”

A Hamilton Remix of “Immigrants”

A Hamilton Remix of “Wrote My Way Out”

Hip Hop and the Mash Up

This is Chapter 3 – It Goes Like This

 

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Girl Talk, Girl Walk, and the Art of the Long Tail Mash Up

One of the least pleasant parts of writing new editions of Mass Communication: Living in a Media World is making the decision of what material to cut in order to make room for important new material. Some of the cuts aren’t that bad – the material is dated and really doesn’t belong in the book anymore.  But sometimes I have to cut materials that I really like and is still relevant.  But textbooks can only be so long… so the example has to be cut.

For me, one of the most painful cuts for the seventh edition was taking out the material on mash-up artist Gregg Gillis, better known as Girl Talk. For me, his masterpiece was a 71-minute long mash up called All Day that featured more than 400 separate samples. The following post brings together and updates several posts I’ve written on the topic over the years.

Please note that most of the links here to video or audio content will contain offensive and/or NSFW language.

Girl Talk All Day album coverTrying to explain what Gregg Gillis, aka Girl Talk, does to someone who grew up in the days of the Doors or the Ramones can be a bit challenging. He’s a DJ who plays clips from multiple songs at the same time. Put more elegantly, Gillis is a mash-up artist—someone who combines two or more pieces of music to create something new.

As an example, one of the most famous mash-ups is Danger Mouse’s “The Grey Album” that combines the a cappella vocals from rapper Jay-Z’s “The Black Album” with samples from the Beatles’ so-called White Album.  While Jay-Z had created the a cappella version of his album specifically for mash-up use, the Beatles publisher EMI was not amused and attempted to get The Grey Album suppressed. Despite EMI’s efforts, The Grey Album remains available and is considered an artistic success.

As great as the work by people like Danger Mouse may be, nothing really compares to the level of mash-up done by Pittsburgh’s 29-year-old Gillis.  Gillis has a degree in biomedical engineering, but several years ago he quit his day job to create the incredible mixes that go into his five albums.  His most recent album, All Day, reportedly contains 400 different samples — typically some kind of rap combined with some sample of pop, rock or soul music from the last 40 or 50 years.

All of Gillis’ music is given away online, and none of the samples he’s used have been authorized or paid for.  Were he to attempt to license the music, Gillis estimates that it would cost several million dollars, and that many of the songs wouldn’t be available at any price.  And yet, so far no label has sued Gillis for his sampling.  According to Duke law professor James Boyle, speaking on NPR’s One The Media, says there may be a range of reasons no one has gone after Gillis:

There is the story that the labels learned from DJ Danger Mouse and don’t want to risk creating the Che Guevara of the digital sampling age, the lost hero to which all of us will offer reverence and thus make him even more popular.

Another story is, they’re going, hmm, this is really interesting. Let’s let him run a bit, and when we finally see how things are playing out then we’ll figure out a way of getting a revenue stream out of this. A third story is they realize it’s actually fair use and they don’t want a bad precedent brought against them. And then a fourth one is that they are gibbering in terror and are so scared by this new phenomena, they’re incapable of rational action of any kind and so are caught in a kind of fugue state, as the digital music scene develops.

BTW, if you really want to get the full flavor of the OTM program on mash-ups and sampling, you really need to listen to it rather than read it.

Without further ado, here are a number of fascinating videos and links dealing with Girl Talk and mash-ups.

Girl Talk – Bounce That animated video
Note: You need to go to YouTube to view this video.

This video was created by Professor Matthew Soar and his students at Concordia University in Montreal using rotoscoped video. (BTW, to the best of my knowledge this video does not contain offensive language)

Visual Breakdown of Girl Talk’s All Day

Here’s a great visualization of All Day that displays what samples make up each track as they play.  It was put together by @adereth.

Download Girl Talk’s All Day at Gillis’ lable Illegal Art.

For those of you who are fans of mashup artist Girl Talk, there is a now a fascinating dance film out that is essentially a 71-minute long video for Girl Talk’s latest album All Day.

There’s a preview below, but here’s a link to the entire film.

The film was funded through Kickstarter, the long-tail funding website, with director Jacob Krupnick raising almost $25,000 from 577 backers who committed amounts ranging rom $5 to $500 or more.  (Most of the backers were under $100.)

This is Chapter 3 – It Goes Like This

And finally:

An extended lecture on Mash-ups, Borrowing and the Law
from Professor James Boyle


 

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Opportunity closes out 15-year mission to Mars

Opportunity's tracks.

The Opportunity Mars rover left more than 28 miles of tracks on the red planet over the last 15 years.

NASA’s Jet Propulsion Lab finally declared the mission of the Mars Rover Opportunity had come to an end today after having lost contact with it following a massive dust storm in June of 2018.  for several months.

Opportunity left Earth on the summer of 2003 and landed on Mars in January of 2004. The little rover was assigned a 90-day mission, but Opportunity and her sister rover Spirit kept on running.  Spirit lasted five years before getting stuck in a sand trap.  These two rovers are responsible for some of the most amazing planetary science ever.

Eleven years ago I heard the project’s manager give a lecture, and he was amazed at the time that they had kept exploring for four years.  I don’t think anyone imagined their missions run so long.

I know I am anthropomorphizing a non-sentient robot based on my reaction to android and robot characters from science fiction, but I don’t care.

God speed, Opportunity. You were a great explorer.

(sniff, sniff, no, I’m not crying, well, maybe a little…)

XKCD Remembers Opportunity

Satirical Sarcastic Rover remembers Opportunity in the WaPo

And a tribute from Oppy’s younger sibling, Curiosity:

Oppy’s last message from last summer

 

 

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2019 State of the Union Blogging Contest

Every time I teach Commentary and Blogging at UNK, I have a blogging competition or two.  This year, my students had the opportunity to do an instant blog post somehow related to the president’s 2019 State of the Union address.  While they were welcome to talk about the speech itself, they were also free to take any approach to the theme they wanted.

There are links to all the entries below.  After you’ve read as many as you like, you can vote for your favorites here. They are listed in the order in which I received the links from my students. (It’s ranked voting, so you get to rank order your top three choices.):

  1. Amanda Hendrickson – President Trump’s Motives with SUTO
  2. Keegan Francl -Dear Politics: Give Us Millineals Something to Care About
  3. Treygan Gowen – My First SOTU
  4. Cassidy Sleicher – Best of: The State of the Union (according to the internet)
  5. Alex Eller – My Take: 2019 State of the Union Address
  6. Madison Yeutter – My Response to the 2019 State of the Union Address
  7. Nicolena Boucher – Washington’s Precedent, Our Tradition 
  8. Ian Khaler – SOTU POTUS IDK
  9. Hannah Maupin – The Memes of the Union
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