Musical Clusters

March 9, 2011
Posted by Jay Livingston


I took the Jeopardy test two weekends ago. They were giving it during the New York Times Travel Expo at the Javits Center. This was one of the questions, and definitely not my category. I guessed Jay-Z. Go ahead, laugh.

That guess, as I later discovered, was off. But I didn’t realize how far off. Now I know.

(Click on the image for a larger, legible view.)

You are looking at a section of a map of clustering created by Emden Gansner, Yifan Hu, Stephen Kobourov, and Chris Volinsky of AT&T Labs. It’s based on data from last.fm, a website that allows you to create, in effect, your own radio station, one that plays only the music you like. The clustering and connecting lines are based on the data set of listener preferences (the equivalent of Amazon’s “people who liked X also liked Y”). Jay-Z clusters near Kanye and OutKast, with links to several other rappers as well. No surprises there. But Eminem is something of a loner, down near the Jazzland border, divorced not just from Kim but from everyone except D12.

The entire map looks like this.


That gray archiplelago in the southeast corner is Classical (mostly composers rather than performers). The island in the Northeast is international, mostly Reggae. Neither has a link to the mainland.

Last July, I posted graphic of music performers arrayed on the London Underground map (here). That one was fun but idiosyncratic. This one is based on data. Some of the results are curious – Eminem’s isolation, or Solange apparently a more nodal figure than Beyoncé.

The full map is here. It’s a pdf, and you can search for a musician the way you would search for text in a document. You can also expand the map without losing resolution. But be warned, you can spend a lot more time there than you might have intended.

Scandal for School

March 8, 2011
Posted by Jay Livingston

Two headlines about candidate Jim Doyle:

• Doyle Calls for City to “Get Tough on Illegal Immigration”
• Doyle Admits to Extra-Marital Affair with One Time Aide

Which story are you going to read first? And which one are you likely to remember?

If you do want to read them, they are here. But you should know first that Jim Doyle is a fictional candidate, created by Beth Miller for an experimental study. The control group read five news stories on Jim’s policy positions. For the experimentals, Miller ditched a homeland security story and switched in a story about the affair (the story omitted any mention of positions that might have been involved).


John Sides summarized the results over at The Monkey Cage.

Unsurprisingly, subjects who read about the affair were more likely to remember the story -- 47% did so, compared to 32% of those who read the fourth policy-related story.

Perhaps more surprisingly, subjects who read about the affair were, at the end of the experiment, better able to recall what issues the candidate talked about and what positions the candidate took on these issues.

I wasn’t surprised. And I don’t think that what really matters is the scandal. Instead, what’s important about the scandal story is that it humanizes Jim Doyle. It makes him a real person rather than a purveyor of policies. And for some reason, we assimilate ideas more easily when they come from people. (I wish Miller had included a third condition – with Story #4 as something humanizing but not scandalous.)

I wasn’t surprised because in teaching, it has long seemed to me that students were better able to understand a book or article once I could convince them that it was written by a real human being, a person. As I blogged two years ago, my students seem to think that all readings assigned in college are written by some anonymous consortium created for the sole purpose of making their lives difficult. In the students’ minds, the author of all these readings is They.

Here’s how I put it in that post (apologies for recycling my garbage here, but I do like this anecdote).

I was teaching criminology, using the textbook I myself had written. It was listed on the syllabus that way, and the book had my name on the cover. Several weeks into the semester, a student had a question about some point I was making in class or some data I was presenting. I don’t remember the topic or the issue. All I remember is that the student said, “But didn’t they say . . .” and she went on to offer some bit of information.

“They?” I asked, “What they?”

“In the book. Didn’t they say that . . . .” she started to repeat her question.

“They is me,” I said. “I wrote that book.”

She seemed genuinely stunned, and I sensed that many in the class shared her confusion. The book was a school textbook; therefore it must have been written by the same “They” that churned out all textbooks. Yet here was someone they knew, a very ordinary person they saw two or three days a week, claiming to have written the book, and the evidence on the cover seemed to support his claim.

Once students see that these readings are not handed down like sacred texts from a distant oracle, they can more easily engage themselves with the ideas. If I were teaching theory, I would try to knock the big guys off their pedestals – Weber, Marx, Durkheim, and the others. If it takes scandal to do it, fine. But I would use any stories that make them fallible human beings

Tally's Corner - Then and Now

March 3, 2011
Posted by Jay Livingston

EXTERIOR, GHETTO NEIGHBORHOOD, MORNING. Long shot from above. The film is in black and white, sepia toned. We hear nothing except the music soundtrack, a muted trumpet. Small clusters of men stand at the corners talking. A truck crawls up the street and stops. We see the truck driver, a white man, lean his head out the window and say something. The men shake their heads, and the truck moves on, stopping at each corner with the same result. The truck moves away growing smaller till it’s almost out of the frame.

Cut to: INT. TRUCK CAB

TRUCK DRIVER
Lazy bastards. They wouldn’t take a job
if it was handed to ’em on a platter.

It’s the opening of Tally’s Corner, by Elliot Liebow. I loved teaching that book, and each semester, when I would reread it, I would imagine that opening scene as a movie. The sepia tone must have seeped into my imagination from the cover photo.

Last week, the Washington Post (here) finally revealed where Tally’s Corner was – 11th and M Streets NW, Washington, DC. Less than a mile from the White House.


Liebow went to the corner every day for a year and a half in 1962-63. He came home every evening and wrote up his field notes. And in 1967, he published one of the great books in sociology.

He knew the men and their lives in a way the truck driver never could or would. After that opening scene, Liebow takes us back to the corner for a closer look. Most of the men have reasons for turning down a day’s work, reasons that even the truck driver would consider legitimate.

But then Liebow turns his and our attention to those few that might fit with the truck driver’s views. They are the ones we have to understand if we are to understand this world.

Despite their small numbers, the don’t-work-and-don’t-want-to-work minority is especially significant in that they represent the strongest and clearest expression of those values and attitudes associated with making a living which, to varying degrees, are found throughout the streetcorner world. These men . . . are carrying out the implications of their values and experiences to their logical, inevitable conclusions. In this sense, the others have yet to come to terms with themselves and the world they live in.

The book is about the realities of that world, realities (“experiences”) that make not wanting to work logical and inevitable. But it’s also about the men as individuals and as part of the streetcorner culture that attenuates their relation to conventional work and family roles. As Liebow says about the problem of work,

Some of the [reasons for not working] are objective and reside principally in the job; some are subjective and reside principally in the man. The line between them, however, is not a clear one.

That was then, nearly a half century ago. Now, Tally’s Corner looks like this.


The book is about race and income and poverty and social class and labor markets. How much those have changed is still an open question. But even if they had been completely transformed, I would still use and reread Tally’s Corner because it is also about the self and identity and micro-cultures, about how we construct these out of the ephemeral materials of social interaction, and how these intersect with the dominant social institutions of work and family.

UPDATE (March 4, 8 a.m.): If I were a college teacher, I would certainly have busted the above post as plagiarism. As Baptiste’s comment says, Mike3550 at Scatterplot posted about Tally’s Corner a day before I posted this. I unwittingly used exactly the same title for my post, and I used a photo from the same Google view that Mike links to. But honest, professor, I had not looked at Scatterplot when I wrote this. I got the idea from some other blog (which one I don’t remember, but it wasn’t Scatterplot) that had the link to the WaPo article.

Mike’s post is much better – more thorough and informative. Unlike my post, he provides real data – about the corner itself and about the gentrification of that whole neighborhood. Read it here.

Tom Hanks - “Toddlers & Tiaras”

March 1, 2011
Posted by Jay Livingston

“Look at this.” I was on the train to work, and a colleague in the Education department was tapping his finger on this picture on the front page of the New York Times “Styles” section.



The Times had printed the picture so large that it did not completely fit above the fold.

The article was not about the sexualization of pre-teen girls. It was about kids who are fashion designers. Still, as my colleague pointed out, this 11-year-old seems to be going for a look that is far from kid innocence.

How do we respond to the sexualization of children, especially girls? It seems like a particularly American idea, though I’m not familiar enough with other cultures to know. Do other countries have beauty pageants for girls who still count their ages in single digits?

“Little Miss Sunshine” was one response, though it seems more a satire of the American success ethic than of kiddie beauty contests (my post on it is here). Those contests seem like parodies or satires of themselves. But in case not, here’s Tom Hanks (on Jimmy Kimmel’s show Sunday night after the Oscars) with his home movie.