Reality Trumping Satire

April 23, 2016
Posted by Jay Livingston

It’s hard to do political satire when reality keeps catching up with you. I don’t know who first made this observation – Mort Sahl, maybe. Tom Lehrer said that political satire became obsolete when Henry Kissinger was awarded the Nobel Peace Prize.

In the issue of the The New Yorker that came out earlier this week, all the cartoons were about Donald Trump. Roz Chast imagined the Trump campaign saying that the Trump we’ve been seeing for the last months or perhaps years was just an act.

Two days ago, Trump’s campaign manager announced that the Trump’s performance as a candidate was just what the Chast said – all a big put-on.

Speaking at a private meeting of Republican Party leaders, Paul Manafort, who was recently hired as Trump’s campaign chief, acknowledged the billionaire businessman has been  “projecting an image” in order to energize voters in the primary election campaign.  “When he’s out on the stage, when he’s talking about the kinds of things he’s talking about on the stump, he's projecting an image that's for that purpose,” Manafort said. [source]

Then it gets really meta. Roz Chast’s cartoon on page 49 anticipated the reality. Later in the magazine, on page 88 Robert Leighton’s cartoon anticipates the anticipation.

Of course, the best example of the reality-overtaking-satire problem remains the Onion headline a day or two before the 2001 inauguration of George W. Bush.

Linda Tischler

Linda Tischler died on April 11. She was a wonderful woman, intelligent and gracious, and an excellent journalist. In January 2007, an evening with her and her husband Henry (a sometime colleague of mine at Montclair) provided me with material for a blogpost in the early months of the Socioblog. As a sort of Flashback Friday, I'm reposting it. The title of the post was “Little Miss Raincloud” (the movie “Little Miss Sunshine” had recently been released, and I had blogged about it.) I still think the post is pretty good, mostly thanks to Linda. (Tributes by her colleagues are here.)

January 31, 2007
Posted by Jay Livingston

Optimism, hard work, success. They’re part of the culture, and we drink it into our consciousness just like Coca-Cola. If you have the right, positive attitude, and you work hard at your idea, you’ll be a winner.

Even if you personally don’t live by these basic American values, they are such a dominant part of the culture that you probably think you should live by them. Values are ideas and principles that are intrinsically good. You can’t argue with them. As my friend Linda Tischler found out.

Linda (wife of sociologist Henry Tischler) is a journalist, and she has been writing about business for a long time. As a senior writer at Fast Company magazine, she was invited to be on a panel at a conference of the N.A.F.E., the National Association for Female Executives. They couldn’t pay her, but they’d cover her expenses. The name Laguna Niguel, California had a nice ring to it. So did the name Ritz Carlton, so she took the offer.

The audience was full of hopeful female entrepreneurs —“momtrepreneurs” as they liked to call themselves— women who had started up a business during naptimes. What they wanted to hear from the journalists was how to get their product into an article in Fast Company, Business Week, or similar magazines.

Linda told them frankly that the odds were very much against them. “I get seventy-five e-mails every day pitching story ideas like that, plus the phone calls and snail mail. And a lot of those pitches are from well-paid PR people at GE, Apple, etc.” She was telling them, in effect, it’s very unlikely that we’re going to do a story about you.

This was definitely not what the audience wanted to hear, and from the comments and reactions, she thought the momtrepreneurs at Laguna Niguel might wind up dumping her in the laguna. After all, these were women who had paid $400 for a conference that promised

Featured business sessions include “A View From the Top” with the country's leading female CEOs; building your brand; effective networking; balancing work, relationships and family; conversation with leading journalists. Attendees will be able to connect with Fortune 500 companies and present their products and services through exclusive invitation-only matchmaking event.

They wanted a pep talk, a “motivational speaker,” someone who would tell them how they could get on the cover of Fortune. And she gave them reality.

She also told them how she screens the pitches. “If your e-mail is bigger than two megabytes, it’s going to get deleted unread. If it doesn’t tell me in the first short paragraph or two what the idea is, out it goes,” and so on. I think her mistake was that she put her advice in the negative, what not to do. That along with her basic message made her a raincloud spoiling the sunny clime of Laguna Niguel.

Linda and Henry recounted her sad tale at dinner last night. It’s not all we talked about. Conversation turned, as it often does, to Iraq. And now I wonder if there isn’t a parallel. The Bush administration sold the invasion on fear (remember those WMDs), but they also sold it on American optimism. We would oust Saddam, and all the Iraqis, just like the Munchkins when Dorothy liquidates the witch, would be free and happy and forever grateful to their liberators.

Of course, it didn’t work out that way— the optimism was more based on neo-conservative fantasies in the US rather than realities in Iraq— but Bush still frames the war in terms of winning and losing, as though international politics is some kind of game with only two outcomes— victory and defeat, success and failure. Since, in another phrase much beloved among motivational speakers, failure is not an option, he’s throwing in another 20,000 troops.

As I walked home after dinner, I passed the building of an acquaintance, Allen Seiden. Allen is a good poker player, and he’d been playing long before the current poker boom — a boom that has allowed him to go from smoky house games to lecturing and teaching. “The first thing you have to learn if you want to win money in poker,” he tells his audience, “is a four-letter word that begins with F. The word is fold. Use it early, use it often.”

The audience nods, but the chances are that most of them don’t really learn the lesson. Most poker players, the average pigeons, will call the bet just to see one more card rather than admit that the hand is a loser, optimistically hoping for the card that will fill their straight and bring them success  Which is why Allen has been able to make money playing poker. And which may also be why Bush just sent more troops to Baghdad.

Image or Brand

April 22, 2016
Posted by Jay Livingston

One word in today’s headlines seemed like a throwback to an earlier era: image.

It was in the 1960s that politicians, their handlers, and the people who write about them discovered image. The word carries the cynical implication that voters, like shoppers, respond to the surface image rather than the substance – the picture on the box rather than what’s inside.  A presidential campaign was based on the same thing as an advertising campaign – image.  You sold a candidate the same way you sold cigarettes, at least according to the title and book jacket of Joe McGinnis’s book.

 (That pack of Nixon’s should have carried the Surgeon General’s warning.) 

 
Then, sometime around 1980, image began to fade. In its place we now have brand. I went to Google N-grams and looked at the ratio of image to brand in both the corporate and the political realm. The pattern is nearly identical.

The ratio rises steeply from 1960 to 1980 – lots more talk about image, no increase in brand. Then the trend reverses. Sightings of image were still rising, but nowhere nearly as rapidly as brand, which doubled from 1980 to 2000 in politics and quadrupled in the corporate world.

Image sounds too deceptive and manipulative; you can change it quickly according to the needs of the moment. Brand implies permanence and substance (not to mention Marlboro-man-like rugged independence and integrity.) No wonder people in the biz prefer brand.

Decades ago, when my son was in grade school, I met another parent who worked in the general area of public relations. On seeing him at the next school function a few weeks later, I said, “Oh right, you work in corporate image-mongering.” I thought I said it jokingly, but he seemed offended. He was, I quickly learned, a brand consultant. Image bad; brand good.

In later communications, he also said that a company’s attempt to brand itself as something it’s not will inevitably fail.  The same thing supposedly goes for politics

“One thing you learn very quickly in political consulting is the fruitlessness of trying to get a candidate to change who he or she fundamentally is at their core,” said Republican strategist Whit Ayres, who did polling for Rubio’s presidential campaign before he dropped out of the race. “So, is the snide, insulting, misogynistic guy we’ve seen really who Donald Trump is? Or is it the disciplined, respectful, unifying Trump we saw for seven minutes after the New York primary?

These consultants are saying what another Republican said a century and a half ago: “You can fool all the people some of the time, and some of the people all the time, but you cannot fool all the people all the time.”

This seems to argue that political image-mongers have to be honest about who their candidate really is. But there’s another way of reading Lincoln’s famous line: You only need to fool half the people every four years.

Miles Ahead

April 21, 2016
Posted by Jay Livingston

Don Cheadle didn’t want to do a biopic, and how can you blame him? As a person, Miles was not an attractive or sympathetic character. What he cared about was himself – his music, his painting, his drugs. He treated the women in his his life as though they were possessions, like his stylish clothes and cars, except that as far as we know he did not beat his suits or Ferraris. Besides, Cheadle probably wanted to avoid the biopic cliches – the significant childhood scene where the boy’s talent first becomes apparent, the early struggles, the success (fast montage of club posters with the hero’s name rising in the billing), the downfall, the redemption.

“I was born, I moved to New York, met some cats, made some music, did some dope, made some more music, then you showed up at my house.” Miles delivers this line, along with a right hook to the face, to a journalist who shows up at his door wanting to do a story. It’s as though Cheadle is saying to the audience, “You want biography? Here’s your biography.”

But the movie avoids only some of the biopic cliches. It keeps others.  That journalist who wants to track down the “real” person, for example, is a familiar movie device (“Citizen Kane”). At least the movie doesn’t end with him rolling a sheet of paper into his typewriter and tapping out the “The Real Miles” or some such.

Instead of biopic, Cheadle gives us a completely made-up story, complete with guns and high-speed
car chases – not exactly what comes to mind when you hear the name Miles Davis. The trailer, as usual, gives you the plot such as it is.



It’s another venerable plot line – the artist preserving his art from the  vultures who want it only because they can turn it into filthy lucre. The art in this case is that tape that Miles recorded privately and keeps locked in a drawer. (There may have been such a tape, but on it Miles plays organ, and from all reports, not very well. And nobody stole it.)

There’s even a song-origins scene hokey enough to be in a 1940s songwriting team “and then we wrote” movie. Miles, at home watching his wife Frances Taylor dance, picks up his horn and starts to play a melody that sounds like the children’s song “Put Your Little Foot.” Jazzers will get the reference: that melody turned up as “Fran-Dance” on the 1958 album “Jazz Track.”

Music was the best and most important thing about Miles, so the big disappointment (for me at least) is that so little of the film is about the making of music. The secondary role is logical given that Cheadle chose to set the film in the late 1970s when Miles stopped playing and disappeared from public view for five years. So it’s mostly in the flashbacks that we hear Miles’s music. Cheadle apparently learned to play trumpet, and he fingers accurately to Miles’s recorded solos from well-known albums like “Kind of Blue.” But these snatches rarely last more than about 15 seconds. There is one music-making scene: Miles and Gil Evans discuss some details in the arrangement of “Gone” during the recording session of “Porgy and Bess.”

Still, Cheadle carries the film. He captures an essential part of Miles’s character – the absolute confidence and the apparent indifference to what anyone else thinks. Miles, who, even in the 50s when jazz was struggling to be respectable, walked  off the set during his sidemen’s solos and literally turned his back on his audience, who then to the dismay of many turned his back on bebop for electric and rock (there’s a parallel here with Dylan and his audience). That’s the Miles we see. I just wish that we got to hear more of his music.