In her article "Hard Core: The new world of porn is revealing eternal truths about men and women" in the January/February issue of The Atlantic, Natasha Vargas-Cooper argues that the modern phenomena of easy online access to sexually explicit material represents a near-perfect market catering to male sexual desire. She posits that the nature of the material available online and its popularity offers a window into the true nature of male sexuality, untempered by social norms; and that this gives lie to various tropes of sexual mutuality and egalitarianism that have misguided her own journey towards sexual adulthood.
In service of her thesis Ms. Vargas-Cooper cites various sex acts that she (quite rightly) claims are easy to find online and complements these citations with personal testimony from the trenches of singlehood and dating, as it were.
My own experience in making and marketing sexually explicit films makes me cautious about declaring the market perfect, let alone representative of anything, other than what aspects of the human sexual experience can be captured and distributed as a media product. I would further caution that attempting to draw any insight as to the nature of male sexuality or the fundamental dynamic of male/female relationships on the basis of what sort of sexually explicit material is being produced and distributed is, at best, a vast inductive leap, and fraught with hazard.
Markets are notoriously imperfect and notoriously misunderstood; and broad inferences drawn from misunderstandings of imperfect markets tend not to be particularly insightful.
For example, it is widely believed that China's economy is as large as, or larger than, that of the U.S., when in fact China's economy a fraction that of the U.S. Nonetheless, popular sentiment and policy decisions, across a vast array of public concerns--trade, education, military readiness, etc--are being driven as much by popular (mis)conception as by fact.
Similarly, concerns, celebrations, and critiques of sexually explicit material and its place in society unfailingly make declarations about sheer size and ubiquity of the enterprise; reported anywhere from billions, to tens of billions, to even a trillion dollars per annum. Ms. Vargas-Cooper's article is no exception:
Pornography is now, indisputably, omnipresent: in 2007, a quarter of all Internet searches were related to pornography. Nielsen ratings showed that in January 2010, more than a quarter of Internet users in the United States, almost 60 million people, visited a pornographic Web site. That number represents nearly a fifth of all the men, women, and children in this country--and it doesn't even take into account the incomprehensible amount of porn distributed through peer-to-peer downloading networks, shared hard drives, Internet chat rooms, and message boards.
This paragraph seems to work because it feels right. It feels like sexually explicit material is everywhere--virtually inescapable. But there are a couple of problems.
To begin, there is no "January 2010 Nielsen Online Porn Rating." Nielsen only ever did one survey of people's online viewing habits for sexually explicit material (in 2007) and then abandoned the category as both trivial from a business standpoint and unworkable from a methodological standpoint. Nonetheless, this one abandoned research report has been recycled as "fact" ever since. From here, the paragraph bootstraps to a vast, incomprehensible bogeyman of "peer-to-peer downloading networks, shared hard drives, Internet chat rooms, and message boards."
[Editor's note: The Nielson rating information for January 2010 used in the March 2010 article, "Hard Core," was provided to The Atlantic by Nielson, not taken from a published survey.]
Now if boiled frogs are James Fallows's area of special attentiveness, sloppy, fact-free reporting on the business of explicit sexuality in cinema is mine. I will, depending on how egregious I feel the error, variously, chime in relentlessly in comment threads, writing my own blog posts, or even call newsrooms and demand to speak with reporters and editors.
The standard reply, whether from a cub reporter at the AP or a Pulitzer Prize winner at The New York Times is that the "adult industry" is almost all privately held companies, verifiable figures difficult to come by, and the figures we published ran with the proviso "reported as". Sometimes they will refer to an Adult Video News (AVN) pie chart. (Though usually not with the same level of scrutiny as in this Forbes article.)
Reported as? How wonderfully circular! But also incredibly unenterprising. The figures I'm about to present took me about 20 minutes to research:
Since online porn is presented by Vargas-Cooper as "omnipresent" and therefore important window into male sexuality, I took a look at how viewership of free online content on RedTube (by views, the most popular source of free online sexually explicit material) compares to views for content on YouTube.
As of this writing, RedTube has, across all categories of sexual interest, a grand total of 120 videoclips that have received 1,000,000+ views.
Compare that to this small sample of what people are watching on YouTube:
For the keyword [kitten] there are over 100 videos with 1,000,000+ views.
For the keyword [annoying orange] there are 71 videos with 1,000,000+ views.
For the keyword [rihanna] there are over 300 videos with 1,000,000+ views.
For the keyword [justin bieber] there are almost 500 videos with 1,000,000+ views.
For the keyword [lego] there are 201 videos with 1,000,000+ views.
If you added up the total views on just the above 1,000,000+ view videos on these topics alone, it would dwarf the total number of view for all 1,000,000+ view videos on RedTube.
YouTube also dwarfs "porn-tube" sites on the sheer number of video clips offered, and for nearly any niche sexual interest, non-sexual niche interest videos can be found on YouTube in greater numbers and with greater viewership.
And lastly, RedTube's "Anal Sex" category only has 40 videoclips with over 1,000,000 views, and of these only one (so far as I could tell, I didn't watch every clip front to back, but I think we can rule out the clips with only two people) features Ms. Vargas-Cooper's fabled double-anal, which she identifies as " a fixture on any well-trafficked site." (I suspect this one paragraph has used up mentions of the word "anal" for the Fallows blog for the next 100 years!)
But it's not just free online clips viewership numbers.
Whenever comparables can be found--DVD replication volume, cable rights contracts, dayrates for talent and crew, guild, union, and association membership, etc--data for sexually explicit media is minuscule in comparison to corresponding data in other media and entertainment.
Major League Baseball has approximately 1,200 players earning an average salary of $2,996,106 per season. The "adult industry" has about 1,200 actors who typically make $300-$1,000 per video.
Hugh Hefner is reportedly making a bid to buy Playboy (by far the largest "adult media company") in a deal that values the company at about $200,000,000. Groupon (an online coupon vendor) has a pre-IPO valuation of $15,000,000,000.
But instead of a seeking a rational explanation of this discrepancy, we are asked to believe that there exists a secret underground network of porn jizzillionaires. ("They don't want the notoriety of how much money they've made. That's why you don't see most of them running around in the Rolls they keep that in the garage and take out on weekends. It draws too much attention to them." Dennis McAlpine, PBS's Frontline: American Porn)
Would this pass for financial reporting on any other industry? (Wait, don't answer that, probably not a question that supports my thesis.) Are we really supposed to believe that, despite the fact that we can't find evidence of any meaningful amount of money, there's a vast network of Lex Luther-like porn moguls, living inside underground lairs, filled with stolen antiquities?
Or is it something more like China, hysteria, fear, and titillation that leaves common sense and observable facts behind?
Whether it's anti-porn hysterics, the "adult industry" and its cheerleaders, or the academics and journalists who want to spice up their publication with a little sex, everyone has a vested interest in inflating the numbers. And the only thing harmed by the outlandish claims made by all sides of the great porn debate is the truth. It reminds me of the "debate" around gun control, only with so much less at stake.
"Standing cat," 4,000,000+ views.
Tony Comstock is a documentary filmmaker whose company, Comstock Films, specializes in erotic documentaries. Follow him on Twitter at @TonyComstock.
James Fallows is a national correspondent for The Atlantic and has written for the magazine since the late 1970s. He has reported extensively from outside the United States and once worked as President Carter's chief speechwriter. His latest book is China Airborne.
Black poverty is fundamentally distinct from white poverty—and so cannot be addressed without grappling with racism.
There have been a number of useful entries in the weeks since Senator Bernie Sanders declared himself against reparations. Perhaps the most clarifying comes from Cedric Johnson in a piece entitled, “An Open Letter To Ta-Nehisi Coates And The Liberals Who Love Him.” Johnson’s essay offers those of us interested in the problem of white supremacy and the question of economic class the chance to tease out how, and where, these two problems intersect. In Johnson’s rendition, racism, in and of itself, holds limited explanatory power when looking at the socio-economic problems which beset African Americans. “We continue to reach for old modes of analysis in the face of a changed world,” writes Johnson. “One where blackness is still derogated but anti-black racism is not the principal determinant of material conditions and economic mobility for many African Americans.”
As Coldplay blandly strained for the universal, she and Bruno Mars pulled off something more specific and more daring.
What a perfect Beyoncésong name: “Formation.” All great pop involves people acting in formation. So does all great change. And while fans scream that Beyoncé’s a “queen” and “goddess,” her core appeal really is as a drill sergeant. With Beyoncé in command, greatness is scalable, achievable, for the collective. Everyone waves their hands to the same beat. Everyone walks around like they have hot sauce in their bag.
But in pop and in politics, “everyone” is a loaded term. Stars as ubiquitous as Beyoncé have haters, the “albino alligators” who “Formation” informs us she twirls upon. And in a more general historical sense, “everyone” can be a dangerous illusion that elevates one point of view as universal while minimizing others. Beyoncé gets all of this, it seems. As a pop star, she surely wants to have as broad a reach as possible. But as an artist, she has a specific message, born of a specific experience, meaningful to specific people. Rather than pretend otherwise, she’s going to make art about the tension implied by this dynamic. She’s going to show up to Super Bowl with a phalanx of women dressed as Black Panthers.
Most people in the U.S. believe their country is going to hell. But they’re wrong. What a three-year journey by single-engine plane reveals about reinvention and renewal.
When news broke late last year of a mass shooting in San Bernardino, California, most people in the rest of the country, and even the state, probably had to search a map to figure out where the city was. I knew exactly, having grown up in the next-door town of Redlands (where the two killers lived) and having, by chance, spent a long period earlier in the year meeting and interviewing people in the unglamorous “Inland Empire” of Southern California as part of an ongoing project of reporting across America.
Some of what my wife, Deb, and I heard in San Bernardino before the shootings closely matched the picture that the nonstop news coverage presented afterward: San Bernardino as a poor, troubled town that sadly managed to combine nearly every destructive economic, political, and social trend of the country as a whole. San Bernardino went into bankruptcy in 2012 and was only beginning to emerge at the time of the shootings. Crime is high, household income is low, the downtown is nearly abandoned in the daytime and dangerous at night, and unemployment and welfare rates are persistently the worst in the state.
Will the Democratic Party nominate a candidate who hasn’t been a member of their party, and who has long denounced it?
When a party chooses its presidential candidate, it also chooses its party leader in the election. This year the Democrats face an unusual situation. Bernie Sanders isn’t just an outsider to the party establishment; he’s not even been a member of the party, and has long excoriated it in unsparing language. Although the media haven’t much focused on this history, the early signs suggest it could become a problem for Sanders in getting the nomination—and a problem for the party if he does get it.
According to the entrance polls at the Iowa caucuses, there was a 30-percentage-point split between self-identified Democrats and independents in their support for Sanders. Hillary Clinton won 56 percent of self-identified Democrats but only 26 percent of independents, while Sanders won only 39 percent of Democrats but 69 percent of independents.
The number of American teens who excel at advanced math has surged. Why?
On a sultry evening last July, a tall, soft-spoken 17-year-old named David Stoner and nearly 600 other math whizzes from all over the world sat huddled in small groups around wicker bistro tables, talking in low voices and obsessively refreshing the browsers on their laptops. The air in the cavernous lobby of the Lotus Hotel Pang Suan Kaew in Chiang Mai, Thailand, was humid, recalls Stoner, whose light South Carolina accent warms his carefully chosen words. The tension in the room made it seem especially heavy, like the atmosphere at a high-stakes poker tournament.
Stoner and five teammates were representing the United States in the 56th International Mathematical Olympiad. They figured they’d done pretty well over the two days of competition. God knows, they’d trained hard. Stoner, like his teammates, had endured a grueling regime for more than a year—practicing tricky problems over breakfast before school and taking on more problems late into the evening after he completed the homework for his college-level math classes. Sometimes, he sketched out proofs on the large dry-erase board his dad had installed in his bedroom. Most nights, he put himself to sleep reading books like New Problems in Euclidean Geometry and An Introduction to Diophantine Equations.
For decades the Man of Steel has failed to find his groove, thanks to a continual misunderstanding of his strengths.
Superman should be invincible. Since his car-smashing debut in 1938, he’s starred in at least one regular monthly comic, three blockbuster films, and four television shows. His crest is recognized across the globe, his supporting cast is legendary, and anybody even vaguely familiar with comics can recount the broad strokes of his origin. (The writer Grant Morrison accomplished it in eight words: “Doomed Planet. Desperate Scientists. Last Hope. Kindly Couple.”) He’s the first of the superheroes, a genre that’s grown into a modern mass-media juggernaut.
And yet, for a character who gains his power from the light of the sun, Superman is curiously eclipsed by other heroes. According to numbers provided by Diamond Distributors, the long-running Superman comic sold only 55,000 copies a month in 2015, down from around 70,000 in 2010—a mediocre showing even for the famously anemic comic-book market. That’s significantly less than his colleague Batman, who last year moved issues at a comparatively brisk 150,000 a month. Mass media hasn’t been much kinder: The longest-running Superman television show, 2001’s Smallville, kept him out of his iconic suit for a decade. Superman Returns recouped its budget at the box office, but proved mostly forgettable.2013’s Man of Steel drew sharp criticism from critics and audiences alike for its bleak tone and rampaging finale. Trailers for the sequel, Batman v Superman: Dawn of Justice, have shifted the focus (and top billing) to the Dark Knight. Worst of all, conventional wisdom puts the blame on Superman himself. He’s boring, people say; he’s unrelatable, nothing like the Marvel characters dominating the sales charts and the box office. More than anything, he seems embarrassing. Look at him. Truth? Justice? He wears his underwear on the outside.
Humbled by his struggling presidential campaign, can the once-mighty New Jersey governor vault back into contention after Saturday’s debate?
SALEM, New Hampshire—Chris Christie was accustomed to being a big man: a man of stature, a man of power, a man who demands and gets his way.
But recently, the big man (this is a description of his personality, not his size) was seeming awfully small.
On Friday evening here, the governor of New Jersey was desperately trying to talk some sense into the people of New Hampshire, a couple hundred of whom had come out to see him on a snowy night. The night before, Christie’s rival Marco Rubio had played the same venue, filling a larger room of the elementary school beyond its capacity. Christie was begging the crowd not to pile on the bandwagon of the apparent winner, but instead, to show some courage.
In Homs, Syria, where entire city blocks have been reduced to rubble by years of civil war, a Syrian wedding photographer thought of using the destruction of the city as a backdrop for pictures of newlywed couples “to show that life is stronger than death.”
In Homs, Syria, where entire city blocks have been reduced to rubble by years of civil war, a Syrian wedding photographer thought of using the destruction of the city as a backdrop for pictures of newlywed couples “to show that life is stronger than death,” according to AFP photographer Joseph Eid. Here, Nada Merhi, 18, and her husband, Syrian army soldier Hassan Youssef, 27, pose for a series of wedding pictures amid heavily damaged buildings in Homs on February 5, 2016.
One professor is borrowing a method from Harvard Business School to engage students and inspire better decision-making skills.
In a spacious classroom in Aldrich Hall on the Harvard Business School campus, 100 students are passionately discussing a case called “Battle Over a Bank.” But these aren’t MBA students deliberating over how much the government should regulate the financial sector. This group of mostly undergraduates, guided by the award-winning Harvard Business School professor David Moss, is diving into the fierce 1791 debate over whether the Constitution could be interpreted to allow the fledgling U.S. government the power to form a bank at all.
This class, “History of American Democracy,” is no pedestrian historical survey course. It uses the case method—the business school’s signature teaching technique—to immerse undergraduates (as well as a limited number of HBS students) in critical episodes in the development of American democracy.