The New York Times recently wrote an article that questions the editorial independence of many news organizations in Spain that are being pressured by the government and by the financial institutions that hold their debt.
Over the past two years, the editors of three major Spanish newspapers have been ousted. Their removal came amid steep financial losses, but also followed the publication of articles that had ruffled feathers in Spain’s political establishment.
The best-known of these editors, Pedro J. Ramírez, has said that his dismissal from the newspaper El Mundo was triggered by his decision to publish embarrassing text messages sent by Prime Minister Rajoy to his former party treasurer, Luis Bárcenas, shortly after Mr. Bárcenas went to prison.
And the sentence that really summarizes the climate in Spain, by Madrid bureau chief of Economic Alternatives:
“I don’t think there has been a worse time for freedom of expression in Spain since the death of Franco.”
It’s fair to say that the article has not been well received back in Spain.
Roy Disney on the great difference between intrusive obnoxious advertisement on media (tv, print, web,…) and the paid-for, enjoyable, branded merchandising we own in our homes.
From earlier post about cultural appropriation of entertainment :
[I]t was Disney that really pioneered cradle-to-grave entertainment. In 1929, Walt Disney sold the rights to use Mickey Mouse (soon called the “million dollar mouse”) on children’s writing tablets, signing his first licensing contract a year later. “The sale of a doll to any member of a household,” Roy Disney, Walt’s brother, said, “is a daily advertisement in that household for our cartoons and keeps them all ‘Mickey Mouse Minded.’ ”
‘Star Wars’ Doesn’t Belong to George Lucas. It Belongs to the Fans.
When asked about the changes that he had made to his earlier work, including to “Star Wars,” [George Lucas] said: “It’s my artistic vision. If I want to go back and change it, it’s my business, not somebody else’s.”
He could not be more wrong. If the past four decades have made anything clear, “Star Wars” the phenomenon doesn’t belong to Mr. Lucas or a studio, no matter what the copyright states: It is owned by the fans who — aided and abetted by him and his expansive empire — turned it into a sensation, a passion, a cult and, for some, a lifestyle.”
I’m fascinated by this phenomenon of cultural and moral appropriation. It has caused Lucas a great deal of grief but it has also transformed his movies into an icon for posterity, not to mention the invaluable free marketing it generates.