| It is a tiny bit better but (as I have written before and will write again in all likelihood), it is a part of the central defect in the correlation between the idea that we must expand audience diversity, and who is charged with writing, producing (i.e., choosing and then marketing), reviewing, and even selling these shows. Yes, we have a smattering of diversity in the critical class, but it is largely a self-perpetuating demographic. And that demographic is not just mostly white, it is not very young where it matters. To me, the DCC exemplifies the defect. As I think I said in the previous post, what was once an "elite" organization as to which it was not a surprise that the demo was heavily older white male, the the cutbacks and the internet forced an expansion, we somehow ended up with a club that grew its ranks by giving those who lost their elite gigs a seat at the table no matter how laughable their new affiliation. There was an opportunity there, that was blown. And the same sort of thing has played out in many, many other slices of the whole. {end of rant, for today} |
