我们还做错了什么?
One of the most riveting books I’ve read in the last few months is Jan Brogan’s The Combat Zone: Murder, Race, and Boston’s Struggle for Justice, a thorough investigation of the 1976 murder of Harvard football player 和rew Puopolo in Boston’s red-light district, 还有社会, 种族, and criminal justice issues that swirled around the case. Particularly at issue in 审判—and the overturned murder convictions of the three Black men accused of the crime—was the prosecution’s use of
race-based peremptory challenges to ensure an all-white jury. The appeal in the Puopolo case proved a landmark in abolishing that practice.
为普波洛的谋杀案创造背景, 审判, 以及由此引发的热点问题, 布罗根勾勒出 当时波士顿的种族氛围, which was particularly ugly in the aftermath of a 1974 court decision mandating the desegregation of Boston’s public schools. The virulent and violent white backlash over “forced busing” raged on 3 years later as the Puopolo trial began.
Brogan generally does a good job at setting the scene, 尽管她犯了一个严重的错误, perpetuating the myth that the judge in the desegregation case decided arbitrarily to exclude the suburbs from the busing plan, leaving the city’s two poorest neighborhoods to sort out the city’s school segregation problem. 备受诋毁的法官W. 小亚瑟·加里蒂., 事实上, was sandbagged by the Supreme Court just weeks before he handed down his decision, 禁止他将郊区学校包括在内. It’s a crucial distinction that was lost on enraged Boston residents then (and the many who still harbor resentments today over busing’s alleged long-term effects on the city’s schools), and it will be lost on Brogan’s readers now if they don’t know what really happened.
It also begs the question: What else does the book get wrong?
At 流媒体, 我们已经写了无数篇文章, 在线研讨会, and conference sessions over the last 3 years projecting a “new normal” in which producers of live events who recognized the value of streaming during the height of pandemic when streaming was their only option for connecting with their desired audience would make streaming SOP even when pandemic-related restrictions ceased to necessitate it. 和 流媒体 做出这种预测的远不止他一个人. Many in this industry—particularly those of us engaged in producing live streams—expected hybrid live events that serve an 现场 audience while not excluding the potentially vastly larger far-flung streaming audience to become commonplace and all but a no-brainer to those pre-pandemic non-streaming holdouts who’d finally discovered what they’d been missing.
But based on what I’m hearing from a wide array of streaming producers, the heightened demand for streaming live events that we expected to be a natural outcome of its COVID-era ascendancy is either evaporating or simply hasn’t materialized. 同样的, the anticipated trend of event producers continuing to leverage the efficiencies and savings of remote production and virtual events has fallen far short of expectations as well. 与此同时，有关 一个令人困惑的撤退到现场工作和 萎缩的机会 因为远程工作者不断涌现.
这可不是什么令人鼓舞的迹象 流媒体 columnists who are actually engaged in streaming production as a primary business—Anthony Burokas of The 生产商’s View fame and The Video Doctor’s Robert Reinhardt—have called out precisely this trend in recent and current columns. (See this issue’s The Video Doctor column on page 10 and Burokas’ November-December 2022 column 钟摆的摆动).
很明显, it’s too soon to declare the promised New Normal a non-starter or to proclaim a return to pre-pandemic, 现场, 正常的内部概念. But presuming the inevitability of a New Normal we thought would have manifested itself by now seems to have been misguided or simply overly optimistic.
Granted, this was the first global pandemic for all of us who weren’t in 1918–1919. But when it comes to reading the post-COVID tech tea leaves, 它确实让人想知道:我们到底错在哪里?
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