Music and Lyrics and Success

March 3, 2007
Posted by Jay Livingston

“All British films are about the class system,” said Melissa in her perfect British accent. This was a long time ago when we were in graduate school, and we’d just seen some classic British film, maybe This Sporting Life, and I’d offered some brilliant bit of analysis like, “It was sort of about the class system.”

She didn’t say, “Duhhh.” We didn’t have “duh” back then, and she wouldn’t have said it anyway; she was too nice. But that would have been the appropriate response. Instead, she made that statement about all British films being about the class system. She said it as if she were reminding me of something so obvious that any child would have known it.

“No they’re not,” I said defensively, continuing my moment of brilliance. “What about . . . .” But I was stumped. I had seen a few British films, but as I went through them in my mind, I could see that just as she had said, they were all about the class system. Or maybe it would be more accurate to say that the class system was such a pervasive presence in British life that it inevitably played an important part in any movie.

Now I’m wondering if all American films are about success.

I saw Music and Lyrics yesterday, the new film with Drew Barrymore and Hugh Grant. It’s billed as a romantic comedy, but the romance seemed, to me at least, secondary and not intrinsic to the story. Yes, it’s nice that Hugh and Drew finally wind up together, but that’s not really what the story is about. Typically, in a comedy about the romantic relationship, the plot throws all sorts of conflicts and obstacles at the couple — rivals, misunderstandings, deceptions, diversions, etc. — obstacles which they eventually overcome.

But in Music and Lyrics, the struggle is not for the lovers to finally come together but for each of them to overcome obstacles to writing a hit song. Their stories are less about love and more about success. Drew has the talent to write, but devastated by the publishing success of a former lover, she’s reluctant to write anything, especially song lyrics. When she does write the winning song, she’s unwilling to allow Cora, the airhead Britney Spears-type rock star, to give it her hit treatment rather than do it the way Drew intended it to be sung. (Of course, this being a Hollywood comedy, she has it both ways: Cora sings the song the way Drew wanted it, and it becomes a hit.)

Hugh is a 1980s has-been, coasting along on his faded fame, writing songs that pander to an imagined audience rather than trying to do serious musical work. Will Drew finish the lyric, will Hugh write worthwhile music? That’s what the story is about.

The happy ending is not that they wind up together (though of course they do). Instead, the high point is that they finish the song and have it performed by Cora before twenty thousand screaming fans at Madison Square Garden. And even the success of their romance at the end seems to depend on their implied career success as a songwriting team.

How different this all is from the British romantic comedies that Hugh Grant has been in — Four Weddings and a Funeral and Notting Hill come to mind. These may have Americans as love interests (Andie McDowell and Julia Roberts, respectively), but the films are absolutely unconcerned with career success.

Which is not to say that I didn’t enjoy Music and Lyrics. It’s pleasant, with good-looking people in good-looking places, and the Hugh Grant character lives in a building one block from my own, which can be seen in some of the shots. The film has several funny lines and wonderful send-ups of 1980s and 2000s rock music and videos. Go see for yourself.

As for Melissa (see the first sentence of this post), she went back to London, became a documentary filmmaker, and made several excellent ethnographic films — none of them, so far as I know, about the class system.

Look Who's (Not) Talking

March 1, 2007

Posted by Jay Livingston

Here’s this morning’s headline from CNN

White House: U.S. won't talk to Syria, Iran directly

It’s obvious that the US has big problems with Iran and its nuclear program. The White House is recycling its pre-Iraq-war script, but Iran, like Saddam, refuses to cave. For one thing, they probably don’t think the US can really launch another war right now (there are reports, though not in the mainstream press, that several generals have threatened to resign if the Bush administration declares war on Iran). For another, as apparently, even the Bush White House has discovered, the US can’t force other nations to do what it wants — not by threatening invasion, not by waving fistfuls of dollars in their faces.

So talk seems to be the best place to start. But the Bush policy has long been that one cannot talk with evildoers. Such talk would sully our moral purity and reward bad behavior (as though speaking with a Bush administration official were some kind of prize).

How to reconcile the need to talk with the stated policy of not talking? Look closely at the headline, especially the last word: “directly.” Four months ago, I posted here that this “We won’t talk to him” game reminded me of quarreling children, usually siblings, who refuse to talk to each other. At the dinner table, they address remarks to intermediaries (parents) though in full hearing of the enemy (i.e., brother or sister).

And so it is with the US. The CNN story continues that Tony Snow, the White House press secretary, “said U.S. and Iranian officials have been ‘seated at the same table in multilateral negotiations’ several times in the past few years, during aid conferences and in meetings at the United Nations.”

So the US will sit at the table in Baghdad; so will Iran and Syria. But several other countries from the region and from the UN Security Council will also be “seated at the same table.” The US will talk to these others, not to Syria and Iran. But it’s just possible that as at the family dinner table, the representatives from Iran and Syria will overhear.

As I said in my earlier post, when people use this “I’m not talking to him” charade, we call it childish and silly. When nations do it, we call it foreign policy. (Apologies for recycling my garbage. I’m doing it only because the White House is also recycling its own.)

Moral Nostalgia and the Myth of the Authoritarian Past

February 27, 2007
Posted by Jay Livingston

Brad Wright, on his Christian sociologist blog, talks about “moral nostalgia.” Great coinage. It might even join those few other terms that have crossed over from sociology into the general vocabulary — terms like role model and self-fulfilling prophesy. (Can anyone think of some others?)

The idea that people, especially young people, are less moral than the previous generation is apparently irresistible. Blogger (and Montclair State sociology alumna) Trrish P has a link to a version of moral nostalgia called “Take Me Back to the Sixties.” Ah yes, the moral paradise of the sixties. Of course, this guy’s counterpart in the 60s was complaining that society then represented a sharp decline from some earlier golden era. And in the fifties too, parents lamented the moral decline among youth— the sort of thing satirized in the song “Kids” from Bye-Bye Birdie. The show opened on Broadway in 1960, so its sensibility was pure 1950s. Paul Lynde sang the song, and he did a great job of mocking the moral nostalgia while pretending to espouse it. Here’s a link to him doing a brief version at the 1971 TONY awards.

Kids! I don't know what's wrong with these kids today!
Kids! Who can understand anything they say?
Kids! They are disobedient, disrespectful oafs!
Noisy, crazy, dirty, lazy, loafers!
And while we're on the subject:
Kids! You can talk and talk till your face is blue!
Kids! But they still just do what they want to do! . . . .

Kids! They are just impossible to control!
Kids! With their awful clothes and their rock an' roll!

(Music by Charles Strouse, lyrics by Lee Adams)

Sociologists are not immune from moral nostalgia. In class, I often use an essay from an intro text which explains the truly steep rise in juvenile homicide in the late 1980s by pinning the rap, in part, on the “decline in the moral authority of the family.”

When I read that phrase, in my mind’s ear I always hear Paul Lynde singing “Kids!” But students see the statement as an obvious truth, and most of them say that in the ten years since the essay was written, the moral authority of the family has continued its regrettable slide.

The essay presents absolutely no evidence that the decline has occurred (it’s a short essay, and the authors have many fish to fry), so I use it as an example of how difficult it is to operationalize a concept like “moral authority of the family” and get evidence about it, especially for comparing past eras with our own. But I also suspect that the decline in family authority, at least among middle-class families, is a myth.

Has there ever been a generation when parents said, “You know, kids today are a lot better behaved than we were”? I suspect that even the parents of the “Greatest Generation” didn’t think the kids were so great. At least in the US, the idea that morals are slipping and that kids are less respectful and obedient is as old as the Republic, and it may have to something to do with our relatively non-authoritarian family and our emphasis on independence even for children.

But I think there’s a more general source for this myth of the authoritarian past. It’s common to hear parents say something like, “The things kids say and do today — I could never have gotten away with that with my old man.” (I usually imagine a man saying this, perhaps because authority is not so much an issue for women.) The man who says this pictures his own father as much more powerful than he, the speaker, is now. But that’s only because he is remembering his father from the perspective of a child. When he was a child, his father really was much more powerful than he was — so much bigger and stronger, it seemed the father could do whatever he wanted. But when that child grows up and thinks about himself today, he is not looking up from the viewpoint of his own small children. Instead, he sees himself from his own place in the larger world. He knows that he is certainly not the biggest or strongest person around, he knows that his actions are limited by all sorts of constraints that are largely invisible to children. He sees that he cannot control all aspects of his children’s lives.

It’s a short and obvious step from this perception — my father was more powerful when I was a kid than I am today — to the general idea that kids these days are disobedient, disrespectful, and impossible to control. And no doubt, his children will grow up remembering their own childhood as relatively authoritarian, and on and on through the generations.

Wisdom and Crowds Go to Hollywood

February 23, 2007 
Posted by Jay Livingston

The Wisdom of Crowds crowd loves to cite the ability of “prediction markets” to pick the Oscar winners. But this year, you don't need a prediction market to know which way the wind blows. All the major awards seem to be sure things, except perhaps Best Picture. Here, for example, are the prices on Best Actress nominees. You get 100 points if your choice wins. Here's what you pay.

Helen Mirren (The Queen) 94
Judi Dench (Notes on a Scandal) 2
Penelope Cruz (Volver) 2
Meryl Streep (The Devil Wears Prada) 4
Kate Winslet (Little Children) 1

In other words, people are willing to risk 94 points to win 6 on Ms. Mirren. If Judi Dench wins, her backers will get back 98 points of house money along with the two they paid.
Other consensus choices and current prices.

Director - Martin Scorsese (The Departed) 88
Supporting Actor - Eddie Murphy (Dreamgirls) 61 
Supporting Actress - Jennifer Hudson (Dreamgirls) 76 
Actor - Forest Whitaker (The Last King of Scotland) 82 
Documentary - An Inconvenient Truth 85

On Best Picture, the crowd’s wisdom is less obvious. Since Picture and Director usually go to the same movie, The Departed has an edge, but not much of one considering the consensus on its director.

The Departed 44
Letters from Iwo Jima 7
The Queen 4
Babel 22
Little Miss Sunshine 22

Unfortunately, the major prediction marketplace for the Oscars, Hollywood Stock Exchange doesn’t have markets for the lesser categories— the ones that seem as arcane as baseball records. Best sound design in a foreign documentary by a left-handed shortstop on a Wednesday. But one English bookmaker does have some of these. For the record, and to see how wise the crowd turns out to be, are some of them with the equivalent prices. The numbers show that the crowd is not so nearly in agreement as it is on the major awards:

Animated Short Film - The Little Matchgirl 58 
Art Direction - The Prestige 40
Cinematography - Children Of Men 29
Costume Design - Marie Antoinette 38
Original Score - Babel 47
Visual Effects - Pirates Of The Caribbean DMC 80


I just hope Ellen DeGeneres is at the top of her game, because if the crowd is wise, there won’t be much suspense about the winners. In reminds me of March 1992. I was teaching a Monday night class, and the date I had scheduled the midterm turned out to be Oscar night (it was still on a Monday back them). As a final multiple-choice question, just for fun, I had put, “The winner for best picture in tonight’s Oscars will be . . .” and listed the five nominees.

I had intended the question to lighten things up. What a miscalculation. What happened was that several students, after turning in their tests, complained that the question was unfair. How could they possibly be expected to know what was going to happen in the future, and besides what did any of this have to do with the criminal justice system, and so on. I assured them that I had no intention of including it in their test score.

When I marked the exams the next day, it turned out that of the 35 multiple-choice questions, that was the only one that everybody in the class had gotten right.

The Wisdom of Crowds. The Silence of the Lambs.