Short Con, Long Gain

December 7, 2015
Posted by Jay Livingston

Erving Goffman wasn’t much of a football fan, but he would have loved this play that the Patriots pulled off against the Eagles yesterday. It’s all about self-presentation.

(If YouTube prevents the embedded video from running, click here and watch it there.)

It’s a con basically, and Goffman loved con games. The con man:

• makes a presentation of self that . . .
• projects a definition of the situation. . . .
• so that others will act on that definition. . . .
• and behave towards him the way he wants them to.

Why do the Eagles leave Brady uncovered?  A guy I know who saw the play said, “At that point, Brady looks just like a running back in the slot position (in fact, that’s what he is), so there should have been a linebacker covering him.”

But  “what he is” is what people define him to be, and at first, he projects the definition of himself as the quarterback. He goes down the line yelling at the linemen as though he is calling an audible or shouting instructions. That’s what quarterbacks do, and there is no information to suggest that he is not the quarterback. Then he stops for at most a second. The announcer says that he looked confused. The ball is snapped, and even then Brady just stands there. He is no longer projecting a definition of himself as quarterback, but he is not acting like a slot receiver either. The Eagle defenders cover the usual suspects, a list which does not include Tom Brady the famous quarterback.

Finally, he runs his pass route without an Eagle anywhere near.*

Goffman liked con artists because they provide a clear example of what we all do. The main difference is that the con man is doing deliberately and consciously what the rest of us do unawares. In fact, most of us would deny that we are trying to manipulate others’ impressions of us. It’s only when some mistake happens and we fear that others might get the wrong impression that we can see how much work goes into making sure that they get the right impression.
                       
[A similarly Goffmanesque football deception, though at a less professional level (middle school), was the subject of this blogpost  of five years ago.]

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*This sneaky stratagem, unlike others in the Belichick-Brady book, has the virtue of not violating any NFL rules. With this reception Brady was making a good gain but not smashing any records, not even those on his cell phone.       

Whose Outrage?

December 6, 2015
Posted by Jay Livingston

Moral outrage is the stock in trade of tabloids. They love stories of the indefensible, the Inexcusable – stories that offer us the gift of  easy moral clarity.

In New York this week both tabloids, the Post and the Daily News, have focused on the same outrage – the San Bernardino shootings. But the two tabloids have been duking it out over how to frame the event. Do we focus on guns or on Muslims? What is the real outrage?

On the day of the shootings, it was religion that was taking it on the chin, and from both sides.

(Click on an image for a larger view.)

The Post headline reflected the idea, very popular on the right, that Islam is inherently a religion of terror and that all Muslims are potential terrorists. Or as Keith Ablow on Fox put it, “If somebody named Syed leaves your party, you know what, call the cops.”* In an early edition, the Post headline was “Murder Mission,” but the editors changed it to “Muslim Killers,” shining the beacon of blame on an entire faith.

While the Post might have been out to offend Muslims, the Daily News was jabbing if not at God Himself, at everyone who believes in God, or at least those who believe in a kind and beneficent God. More specifically, the news was sticking it to big-name Republican lawmakers (Paul Ryan, Ted Cruz, et al.) who refuse to make laws restricting guns and whose only response to each mass shooting is “thoughts and prayers.”

(In case the News print is too small to read, it says in part, “Cowards who could truly end gun scourge hide behind meaningless platitudes.”)

Two days later, both tabloids had the story about the woman in the San Bernardino shootings and her allegiance to ISIS.

The Post front page was all about Tashfeen Malik and ISIS. But the News gave pride of place to a local story about the serious weaponry that a Long Island man had stockpiled in his house. (I guess it’s just coincidence that both well-armed homes – in San Bernardino and in Syosset – are “lairs.”) If you read the Post, the danger to Americans is ISIS and by implication all of Islam. If you read the News, it’s guns and ammo.

A good front-page tabloid story paints the moral boundary line in bright unmistakable colors. We are one side, the evildoers on the other. What kind of story can do that? Sometimes the crime is so horrible that no defense is possible. The perpetrator is not even human – a “monster.” Sometimes, the crime may not be so horrible, but the perpetrator’s wealth, power, or privilege eliminates any defense. No mitigating factors for celebrities.

Then there is the derivative or secondary outrage – the failure of authorities to condemn or adequately punish the original outrage. That’s the gist of the News front page both on Thursday (“meaningless platitudes”) and Saturday (“and the cops say he ISN’T A THREAT.”)

Today’s front pages repeat this theme of the outrage of insufficient outrage.

The Post tells us that the ISIS is praising the killers – clearly outrageous. But the message in smaller print is that the president’s reluctance to use the language of moral condemnation is also a moral outrage. (“But Obama thinks it’s only ‘possible’ they were Islamic terrorists.”) For the News, the outrage is the refusal of the NRA to condemn weapons whose main virtue is that they can kill a lot of people quickly.

Today we have a divided New York – the Jets v. the Giants, the News v. the Post. The football game will have a clear winner. The tabloids are playing on a much larger field: the national debate over which is the greater threat in our midst – guns or Muslims.

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 * On his podcast “The Gist,” Mike Pesca does an excelllent takedown of Ablow. Go here  and start at about the 24:00 mark.

Smile Darn Ya Smile

December 1, 2015
Posted by Jay Livingston

Things change. Fashions come and go, some rapidly, some slowly. Some have economic forces behind them. With music and clothing, whole industries push us to regard last year’s songs or shoes as oldies to be replaced with something more current. But nobody is promoting Olivia and Noah as baby names or telling us not to give our daughter a name like Barbara. Nobody encouraged us to use the word “issue” where we once said “problem” (“Houston we have an issue”?) or “needs to” instead of “should.” (See this post from 2012.)  Most of us didn’t even notice those changes in language.

What about fashions in faces? Here are four high school yearbook photos, two from the 1960s, two from the current decade. Guess which two are from each decade.

Not too hard, right? The hair is the giveaway, not the faces. B and C are from the 60s, A and D from the 2010s. 

A team of researchers – Shiry Ginosar and four others at Berkeley and Brown – has been looking at yearbooks to see how looks have changed over the years.* They’ve got big data – well, pretty big: 37,000 yearbook photos across the decades since 1905. (To make historical comparisons, they used only full-face pictures – they edited out the three-quarter views that became popular in later years.) They then created clusters of similar photos in each decade, and from those clusters created a sort of visual average. Of necessity, these composites – blended photos – look a bit fuzzy. Here are the clusters for the 60s and the 2010s. The left-most picture is the composite.

(Click on an image for a larger view.)

Even in the composite, the hairstyle is notably different. If I’d included the girls with glasses, the historical differences would be obvious. None of the 21st-century girls are wearing glasses. They prefer contacts. Or lousy vision.

But there’s another difference that you might not have looked for. Try another quiz. Here are four sets of pictures – girl-boy pairs from the 1960s, 1970s, 2000s, and 2010s. Put them in chronological order:

The answer is D, A, C, B. The order shown above is 1970s, 2010s, 2000s, 1960s.

The key is the smile.

You probably noticed that the girls smile more than do the boys. That’s true for all decades. But the researchers also found a nearly continuous increase in the amount of smiling by both sexes.  Here are the composites for each decade.

And here are actual photos that are most representative of each period.

The researchers quantified the degree of smiling. They created a measure based on the degree of curvature of the lips.

The graph makes things even clearer than do the photos. Smiles have been trending for over a century.

Ginosar et al. have only one explanation for the upward trend – technology. In the early 20th century, they say, photo portraiture was still under the influence of 19th century technology. Those old cameras required an exposure of several seconds, sometimes as long as half a minute. When you have to be motionless for that long, a neutral expression is easiest to maintain. Besides, photo portraiture began as a cheaper alternative to oil painting, and the convention in portrait painting, where subjects had to maintain a pose for a long time, was that people should look serious.

The trouble with this explanation is that the Kodak camera was introduced in 1888. By 1900, everyone was taking snapshots rather than posing solemnly for photographs taken by a man hiding under a black cloth with a large wooden box resting on a tripod. The snapshot was to 1903 what the selfie was to 2013. But perhaps old poses hang on even though they are no longer technologically necessary, and fashions in yearbook poses diffuse gradually.

But why the decline in smiles from 1950 to 1965? These were, by some accounts, the most contented years of the century, free of conflict and turmoil, even boring. And why did the trend turn upward again in the early 1960s as things were starting to go downhill? (“It all began in about 1963. That was the year, to overdramatize a bit, that a decade began to fall apart.” James Q. Wilson, Thinking About Crime).

I have no idea. You lovers of zeitgeist explanations, feel free to speculate. I’ll just add that the song and Disney cartoon that provide the title of this post (video here) were created in 1931 at the depths of the Depression, and the smiley face was invented in 1963.

Have a nice day.

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*The article, with many more yearbook photos, is here.)

Billy Strayhorn - b. Nov. 29, 1915

November 29, 2015
Posted by Jay Livingston

How does a small, gay, Black kid, raised and living in Homewood, a Black section of Pittsburgh, come to write, at age 19 in 1934

The girls I knew had sad and sullen gray faces
With distingué traces. . .*

and over the chord sequence D♭ / B7 / D♭?

Billy Strayhorn was born 100 years ago today. “Lush Life” is deservedly his most frequently recorded song. Lady Gaga and Linda Ronstadt have done it. Sinatra never got more than a few bars into it on a few takes at a 1958 recording session. On the tape you can hear someone suggest that they “put it aside for a minute.” “Put it aside for about a year,” says Sinatra. Even years later, when his accompanist suggest that Sinatra sing it saloon style, “just you and me and a piano,” Frank shook his head.

The lyrics and music have a sophistication that rivals even the best of Tin Pan Alley – Gershwin, Kern, Porter, et al. I sometimes play piano – not well, but enough to fool some people for a short while – and I would never try playing “Lush Life” with anyone else in the room.

Strayhorn’s best known tune is “Take the A Train,” often attributed to Duke Ellington – it was, after all, his theme song – and Duke may have had a hand in writing it.  The two worked together so closely that with many of the songs, it’s impossible to know who wrote what. “Billy Strayhorn was my right arm, my left arm, all the eyes in the back of my head, my brain waves in his head, and his in mine,” Duke wrote in Music is My Mistress.

Even among jazzers, Strayhorn’s presence faded along with the big band era. Then in the late 60s he was gradually rediscovered, and people started playing some of his lesser known tunes. Here is Joe Henderson playing “Isfahan” from his 1992 Strayhorn tribute album “Lush Life.” The bassist is Christian McBride.



Composers and arrangers remain largely unknown; it’s the musicians on stage that get the recognition. Band leaders even used to claim composer credit on tunes written by musicians in their band. (Cootie Williams is listed as one of the composers of “Round Midnight,” which, as everyone knows, was written by Thelonius Monk.) Duke was more generous. “Strayhorn does a lot of the work but I get to take the bows.”

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* The lyric may be too sophisticated. Some singers have turned “distingué traces” into “distant gay traces.”