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Alaska: Future Swing State?

The state where Barack Obama most improved his performance from 2008 was Alaska. He lost it by “only” 14 percentage points this year, considerably less than his 22-point margin of defeat in 2008.

Part of the reason is that the former governor of Alaska, Sarah Palin, was on the Republican ticket in 2008 but was not this year. That probably doesn't explain all of the shift, however.

Consider that in 2000 - also without Ms. Palin on the ballot - the Democratic nominee, Al Gore, lost Alaska by 31 points.

There are reasons to think that Alaska could continue to become more competitive in the coming years.

One factor is that Alaska's vote is quite elastic, meaning that it can shift quite a bit from year to year. In 2008, 43 percent of voters in Alaska identified themselves as independents on the exit poll, among the highest percentages in the country. (There was no exit polling in Alaska in 2012.)

Of the remaining voters in the state, far more were Republicans (37 percent) than Democrats (20 percent), meaning that a Republican candidate will ordinarily have a clear advantage if the independent vote is split about evenly. But the right sort of Democrat, who wins the majority of independents, can be competitive there, and indeed some Democrats (like Alaska's Democratic senator, Mark Begich) can win statewide office there under the right conditions.

Alaska's population is also changing; between 2010 and 2011, Alaska had the third-highest population growth rate in the country, trailing only Texas and Utah.

Where are those new Ala skans coming from? Many are from liberal states on the West Coast. Between 2005 and 2009, about 4,300 Californians moved to Alaska per year, making it the top state for domestic emigration to Alaska. So did 4,200 residents per year from Washington and 2,200 from Oregon.

Texas, where about 2,700 people emigrated to Alaska each year, also ranked high on the list, perhaps in part because of each state's ties to the fossil fuels industry (along with Texas' large population). But the new residents of Alaska are most likely considerably more liberal than the rest of the state's population, over all.

On cultural issues, Alaska already resembles other Pacific Coast states in certain respects. Only about half of Alaska's adults say that religion is an important part of their everyday lives, which is among th e lowest rates in the country (and similar to those in Washington and Oregon).

On economic affairs, Alaska is considerably more conservative. And Democrats will encounter some friction in the state so long as they are perceived as opposing the interests of the oil and natural gas industries, which are essential to the economy there.

If the Democratic nominee in 2016 is someone like Hillary Rodham Clinton, who embraces a relatively traditional Democratic agenda, she will have better places to compete.

But a Democrat who was perceived as being of the center-left or the libertarian left, especially one from a western state like Colorado's governor, John W. Hickenlooper, could conceivably be competitive in Alaska. And if Alaska continues to add population from states like California and Washington, it could be competitive on a more regular basis in 2020 and going forward.



Bob Costas Keeps His Focus on Guns and Violence

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After stirring some intense debate with his comments last Sunday about how the easy access to a gun may have contributed to the murder committed by Jovan Belcher of the Kansas City Chiefs and his subsequent suicide, the NBC sportscaster Bob Costas has continued to take his argument to more forums - including his own.

On “Costas Tonight,” his talk show on the NBC Sports Network, to be telecast Thursday night, Mr. Costas again thrashed out the issue of the prevalence of guns in American society, this time with two guests, the former basketball star Charles Barkley and the former tennis champion John McEnroe.

Mr. Costas has also scheduled an appearance Wednesday night on Bill O'Reilly's top-rated cable program on Fox News.

On “Costas Tonight,” t aped Tuesday night, Mr. Barkley said that owning and carrying guns were part of what he termed “black culture,” announcing on the show, “I carry a gun” - specifically, one in his car for last 20 years. Having that access to a gun, he said, makes him feel safer because “we jocks get robbed all the time.” He said, “I feel a sense of peace when I have it with me, but it would take extreme circumstances for me to even touch it.”

Mr. McEnroe, on the other hand, made much the same points that Mr. Costas had in his commentary Sunday and in an interview with The Times on Monday, saying that “there are too many scenarios that would make it that much easier to pick up a gun and do something.”

Mr. McEnroe endorsed the efforts of Mayor Bloomberg to get guns off streets in New York. “I feel safer without it,” he said in response to Mr. Barkley's argument that a gun made him feel safer. “I've got to say I think that there are just so many bad things that could happen,” Mr. McEnroe said.

On the program, Mr. Costas again addressed what he said was a misunderstanding about the commentary he delivered Sunday night, which was mainly a series of quotes from a column written by the sportswriter Jason Whitlock. Mr. Whitlock, who writes for Fox Sports, called on the N.F.L. to postpone Sunday's game between the Chiefs and the Carolina Panthers out of respect for Belcher's murder victim, Kasandra Perkins, who is the mother of their 3-month-old daughter.

Mr. Costas, who has been criticized by supporters of gun ownership rights, said these critics had accused him of laying blame entirely at the feet of the so-called gun culture.

“Domestic violence is part of it,” Mr. Costas said. “Drugs and alcohol could be part of it. And I didn't say anything specifically about gun-control legislation or the Second Amendment. I don't want to repeal the Second Amendment. I think we should have responsible gun control, but that wouldn't prohibit somebody from carrying a gun.”

Bill Carter writes about the television industry. Follow @wjcarter on Twitter.



When My Friend Ellen Grossman Met Jay-Z

I had seen the link circulating on Twitter Tuesday night. The many references to how gracious the rapper Jay-Z had been as he explained who he was to an unassuming “old lady” sitting next to him on the R train in October during a ride out to Brooklyn.

When I got into the office in the morning, I watched the clip that was embedded in a Gawker post with the headline, “Jay-Z Rides the Subway, Adorably Explains Who He Is to an Adorable Old Lady”

My immediate reaction? That's no “adorable old lady,” that's my dear friend Ellen Grossman. In an instant she had gone from being a largely anonymous New York artist, to Ellen Grossman, the Amiable New Yorker Who Asked Jay-Z if He Was Famous as He Was on the Way to Perf orming at the Barclays Center.

By Wednesday morning, Gawker had updated its post to let readers know that Ms. Grossman was also an artist and linked to her Web site. Readers joked that perhaps it was Jay-Z who should have asked who he was sitting next to, instead of the other way around.

My friend had become an overnight celebrity.

I e-mailed her the Gawker link, texted her to tell her she was “famous” and then called and left her a message letting her know about her impending fame, if she hadn't already been informed.

I was too late.

“I just got off the phone with The Washington Post,” she said when she called me back.

During our short conversation, she mentioned getting a flurry of friend requests on Facebook and a bit more traffic to her Web site. As she was telling me how the whole episode offered a great excuse for the two of us to catch up, because we h ad been trying to connect for a while, her second phone kept ringing and ringing.

Other reporters, who didn't know her as I did - as a museum buddy, a warm, kind and thoughtful friend, an artist, a mother, a former co-worker - were trying to get her on the phone. I felt a bit protective, knowing the media beast can be unkind at times.

Ellen, who lives in the East Village, is a visual artist who creates intricate drawings of metallic lines on paper as well as sculptures that use pliable sheets of aluminum mesh, spray paint and wire and chain link.

Blog posts sprouted up from Buzzfeed, The Wall Street Journal's Speakeasy, The Washington Post's Style blog and New York Magazine's Daily Intel.

But my concerns were unfounded.

Comments and posts to Twitter about the video were full of love for my friend.

While I was writing this post, I tried to get her back on the phone, but she was busy being interviewed by a local television station. “I was shaking,” she said of the experience. “I couldn't control it.” Sudden fame can take awhile to adjust to.

To what does she attribute this new found celebrity? Given the economy, the wars and talk of the end of the world, “I think the world is in the mood for a sweet, old lady,”she said.

Tanzina Vega writes about advertising and digital media. Follow @tanzinavega on Twitter.



In Speaking of \'Shiksas,\' Peeps Acknowledges Its Marketing Went a Bit Too Far

Just Born, the maker of Peeps, has decided to withdraw this e-card from a humorous campaign for its Christmas candies. The card uses the Yiddish word Just Born, the maker of Peeps, has decided to withdraw this e-card from a humorous campaign for its Christmas candies. The card uses the Yiddish word “shiksa” and shows a Peep wearing a yarmulke.

In another example of mishegas, Madison Avenue style, a marketer has withdrawn a humorous e-card that was part of an advertising campaign because the Yiddish-infused joke on the e-card ruffled a consumer's feathers.

The e-card is part of a lighthearted campaign from Just Born, the maker of Peeps candies, that promotes products like the new Peeps Candy Cane Flavored Dipped Marshmallow Chicks. The idea behind the campaign is that it would express what the company terms “Peepsonality,” reflecting the offbeat, sometimes wacky, interest in Peeps among consumers in their teens, 20s and 30s.

The campaign, by the New York agency Terri & Sandy Solution, offers consumers a chance to send the e-cards, called “Peeps Offerings,” to friends and family as part of efforts to acknowledge the holiday season as a time for “peace, love, joy and reconciliation.”

The e-card in question carries this message: “I'm sorry for bringing a shiksa to your Hanukkah party.” Shiksa is the Yiddish word for a woman who is not Jewish, and to some it carries negative connotations beyond that straightforward definition.

Next to the message is an illustration of a new Peeps candy wearing a yarmulke.

Among the messages on the other e-cards, which are to be available on the Peeps Facebook page and Peeps Web site, are “I'm sorry for singing along during your Christmas recital” and “I'm sorry for using mistletoe as an excuse for kissing your mom.”

In a statement, Matt Pye, a vice president at Just Born, said, “At a time when holidays can be stressful, the Peeps e-cards were designed to offer a bit of fun and comic relief.” He added, however, that “We are sensitive to the concern any consumer may share and will not include this e-card” as part of the campaign.

At the end of his statement, Mr. Pye reiterated that the e-cards “were meant to add joy to the season.”

As of this week, Just Born had received only one complaint about the shiksa e-card. The consumer, in an e-mail to this reporter after she shared her opinion with Just Born, said she was grateful for companies that “actually return calls and appreciate feedback.”

In advertising, there is a lively debate about how to respond to consumer complaints in an era when it is so much easier for consumers to share complaints with marketers as well as to share those complaints with other consumers.

Some say they believe an outstanding ad campaign is somewhat polarizing by definition and negative reaction is a sign the ads are working. Others say that antagonizing consumers is not an effective strategy, no matter how few complaints there may be.

Stuart Elliott has been the advertising columnist at The New York Times since 1991. Follow @stuartenyt on Twitter and sign up for In Advertising, his weekly e-mail newsletter.



Cosmopolitan and Harlequin to Team Up for Steamy E-Fiction

What took so long?

Harlequin, the book publisher that made its name on steamy bodice-rippers for women, announced on Wednesday that it would team up with Cosmopolitan, the magazine for women who aspire to the low bodice-look, to produce steamy new digital fiction.

Obviously looking to get a piece of the overheated erotica market generated by the mega-best-selling “50 Shades” trilogy, the publishers promise that their series entitled “Cosmo Red Hot Reads” will feature “free-spirited women” committed to an “outgoing lifestyle.”

Harlequin will publish two original titles a month, beginning in May. The novels will be by Harlequin writers but have the Cosmo name on the imprint as well. The novels will distinguish themselves by being short in length (about 30,000 words a title) so they may be discreetly appreciated on mobile devices.

“Cosmo readers love fabulous fiction and if you picked up '50 Shades of Grey' then this is the book serie s for you,” Cosmopolitan's editor-in-chief, Joanna Coles, said in a written statement. “This is fiction for the modern girl negotiating modern love - with all its unpredictability and complications!”

Leslie Kaufman writes about the publishing industry. Follow @leslieNYT on Twitter.



Train Wreck: The New York Post\'s Subway Cover

“It all happened so fast.”

That's what R. Umar Abbasi, a freelance photographer for The New York Post, said of the fatal subway incident on Monday that he caught with his camera. One man threw another into harm's way, causing him to be run over by an oncoming train. This last part happened in the blink of a shutter.

But the decision to put the image on the The Post's cover and frame it with a lurid headline that said “this man is about to die”? That part didn't happen quickly. The treatment of the photo was driven by a moral and commercial calculus that was sickening to behold. (If the image is not already burned into your skull, it can be found all over the Web. Tut-tutting about a salacious photo while enjoying the benefits of its replication seems inappropriate.)

And it's not just the media commentators who ar e weighing in. Twitter crackled with invective and recriminations. Every once in a while a journalism ethics question actually engages the public, and so it was with the brutally documented death of Ki-Suck Han, 58, of Elmhurst, Queens. Here are some guesses why.

1. Within its four corners, The Post cover treatment neatly embodies everything people hate and suspect about the news media business: not only are journalists bystanders, moral and ethical eunuchs who don't intervene when danger or evil presents itself, but perhaps they secretly root for its culmination.

2. We are all implicated by this photo, not just the man who took it. The ensuing coverage talked about how “graphic” the image was, but there is nothing graphic about it. Photographs of the dead are graphic, but they are of people on the other side, the ones that are beyond hope. Here there was no blood, no carnage, only someone who is doomed, but still among us. (The photographs of the jumpers from the Sept. 11, 2001, attack on the World Trade Center are considered tasteless for the same reason.)

The picture of a man alone on a track in one of the most crowded cities in the world is a reminder that when bad things happen, we are often very much alone. The photographer did not put down his camera and attempt to intervene, but no one else on that platform set aside their fears and chose to act, either. And that indifference to the misery and peril of others is not restricted to that platform, or this city, or this country. It is widespread and endemic, an ugly fact about much of the world.

3. The fear evoked by the photo is primal, the stuff of horrid fairy tales. New Yorkers will s ee it in acutely personal ways. Subways are a quotidian aspect of life here, but with their close quarters and hurtling trains, the platforms are also potential kill boxes. Does that big scary homeless guy want a quarter or does he want to push me off this platform? More generally, out in the world, public spaces have become fraught. Movie theaters, workplaces and college campuses are common areas that can, and do, become wholesale crime scenes.

4. The image is a kind of crucible of self-analysis. Never mind what the photographer did, what would we do? In that sudden moment, our base impulses emerge. Photographers shoot, heroes declare, and most of us cower. We are not soldiers, expected to engage in selfless acts that trump survival instincts. We are civilians and if called to duty, who among us will accept? (I couldn't help but think of the four friends who perished in the roiling waters of upstate New York's Split Rock Falls in 2003, after one slipped in and the others, one by one, tried to save him.)

In the Aurora, Colo., movie shooting incident, some died while shielding others. And it is highly likely that others scrambled over smaller or slower people to flee. The other reason people can't resist looking (and wish to unsee once they do)? That train is coming for all of us, one way or another. Death comes on its own schedule and we won't know our time is up until the light of an oncoming train manifests itself.

5. The tabloid values that mark modern news media existence work fine when a celebrity tips over or a rich perpetrator is caught red-handed, but not so much when death is imminent. I'm not immune to the blunt, dirty pleasure of a well-executed tabloid cover, but there were many other images to choose from. Never mind the agency of the photo - it doesn't matter whether the phot ographer was using his flash to warn, as he suggested, or documenting the death of a man - once it is the can, it should have stayed there.

Instead, The New York Post milked the death of someone for maximum commercial effect, with a full-page photo inside of his frozen helplessness, replete with helpful pointers to show the train bearing down and, on the Web, a video about the photographer's experience that was a kind of slow-motion deconstruction. The marginal civic good served by the story - watch yourself on the subway platform - could have been performed in far more honorable ways. He ended up run over twice.

  •  It's not always simple. When a colleague at The New York Times jumped from our old building in 2002, The Post ran a photo of the building with a dotted line indicating his descent. People at our shop were appalled, but I found myself in the minority. His act was a very public one, he apparently wanted to send a message, and The Post was merely ser ving as a conduit. And when The New York Times came under fire in August for running on our Web site an extremely graphic photo of a victim in the Empire State Building shooting, I thought it was appropriate at the time. The victim was not recognizable and the blood that ran from him was a reminder that, unlike the way it is portrayed on television, gun crime is extremely violent. But his family was livid and I wonder how I would have felt if I had known him.

Soon enough, new boundaries will be tested. In an era when most people have a camera in their hand or pocket, mass shootings will be memorialized on cellphone videos and ubiquitous security cameras will dish up fresh horrors. I'd like to think that the people's right to know will be leavened by the people's right to live in a world where mayhem is not a commodity.



The Breakfast Meeting: A New Venture for Seacrest, Pandora Earnings, Disney on Netflix, and a Photo Controversy

Ryan Seacrest announced Wednesday that he has taken a controlling stake in Civic Entertainment Group, a strategic marketing agency specializing in so-called experiential marketing. The company, with 45 employees, has been behind high-profile campaigns for clients like CNN, NBC, HBO, A&E and the N.F.L. Financial terms of the transaction, which was conducted through Mr. Seacrest's new personal investment arm, the Seacrest Global Group, were not disclosed. Mr. Seacrest said the groups' co-founders Stuart Ruderfer and David Cohn would continue to run the company independently in New York. As Brian Stelter reports, Mr. Seacrest said:

“They'll do what they do best. I'll hopefully be able to leverage some access.” Mr. Seacrest could theoretically line up some of the celebrities he interviews on the radio, or some of the reality stars whose shows he produces for the E! channel, for a future brand event put together by the group.

Pandora Media reported its third-quarter earnings on Tuesday, with revenue of $120 million - up 60 percent from the same period last year - and net income matching analyst expectations at 1 cent a share. But the company also lowered its expectations for the fourth quarter and the fiscal year, warning that it would face a loss of 6 to 9 cents per share, greater than it had earlier expected. That news led to a steep decline in the company's stock price in after-hours trading. Ben Sisario writes:

Pandora's stock, which had closed up 5.5 percent on Tuesday, at $9.45, fell 18 percent in after-hour trading, once its earnings were released. The stock is down almost 41 percent from its initial offering in June 2011. The company also faces looming competition from Microsoft, which recently introduced a new digital service, Xbox Music; and from Apple, which is said to be preparing an Internet radio service for imminent release, although Apple has not commented on those reports. Spotify and other digital music services also offer competing radio features.

Walt Disney Studios said on Tuesday that it had completed a deal to show films from its Disney, Pixar, Marvel and Lucasfilm banners on Netflix, the first time that one of Hollywood's Big Six studios has chosen Web streaming over pay television. Netflix, as Brooks Barnes reports, has made similar deals with smaller movie suppliers like DreamWorks Animation and the Weinstein Company. But all of the majors â€" Disney, Paramount, Universal, Warner Brothers, Sony and 20th Century Fox â€" have stayed with Starz, HBO or Showtime until now.

In the past, Starz, HBO and Showtime paid about $20 million a picture for exclusive rights a few months after films arrive on DVD. But Netflix - capitalizing on a consumer shift to streaming content on computers, tablets and Internet-connected televisions - has been aggressively going after the business by offering more lucrative terms. With the Disney deal, Netflix will be able to offer customers exclusive access to a pipeline of films that are reliably some of the year's biggest box-office successes. Netflix has also made it a priority to strengthen its children's and family offerings.

A front page photograph of a man about to be struck and kill ed by a subway train sparked an online debate Tuesday over the The New York Post's decision to publish the picture, and the actions of the photographer who took it. The online news site Capital New York talked to four veteran tabloid photographers who vigorously defended the photographer. One stated, in part:

There's at least a dozen other people on that platform, any able-bodied person could have tried (assuming we actually knew how much time the victim had between the fall, and impact) to try and help him. So anyone who's going to cry, “Why didn't he help?,” really needs to ask that of any of the other people there. Monday-morning QB-ing this is kind of pointless. The guy is dead. They're ei ther all guilty of turning their back on this guy, or they're not. Can't lay blame on this guy alone.