Category Archives: Entertainment

Dreaming of pres. candidates competing in other TV formats

Posted on by

As the presidential candidate debates continue, I thought of some other TV formats that might be both entertaining and tell us more than the repeated talking points. Americans like the drama of multiple candidates and they like TV so why not try some other options?

  1. A game show format. Want to see who is smarter? Jeopardy. How well they know Americans based on survey results? Family Feud. Want to see them all live together and who can form alliances? Big Brother or Survivor. Want to see some physical competitions? American Ninja Warrior. In any game show, we would see their competitive side and a particular ability.
  2. A reality TV format. How would they each get along with the Dance Moms? Or on The Biggest Catch? Or tracking down online personas in Catfish? Or looking for homes on a HGTV show? Though the show has particular setup, the candidates could act “natural.”
  3. A hidden camera show. The show could try to catch candidates in situations that push them to respond – like What Would You Do? – or it could be more of a comedy like Candid Camera. This could give viewers some idea of how candidates would react in particular situations.
  4. Some sort of presidential simulation. Lock them in a sound stage that mimics the White House or some other government facility. What would they do after two or three nights with little sleep in reaction to a military threat against the United States? How would they act toward a set of Congressional leaders who are tough negotiators? How would they treat their staff after weeks of tension?

I get why most candidates would be very hesitant about many of these. At the same time, debates where the candidates stand around talk/interrupt/respond to questions aren’t necessarily favorable to everyone. Additionally, we know what debates can tell us but these other TV options could offer very interesting (and entertaining) insights into the candidates. These don’t have to be a joke if they are well-designed and the candidates take them seriously.

My public library is also a free video store

Posted on by

I recently saw my public library’s latest annual report with these figures on items borrowed:

WarrenvilleLibraryBorrowing2015

While books are still the largest category, it isn’t much of a drop to the next category of DVDs. One interpretation of this data? The DVDs are nearly as important to the library’s patrons as DVDs. This makes the library one of the best video stores around with free prices and a decent selection.

Here is the stated mission of the library:

It is the mission of the Warrenville Public Library District to collect, organize and make available the representative records of humanity’s actions, concerns and aspirations. It exists for the common good to support a literate and informed citizenry.

I know this trend has been underway for a while now as the DVDs might help keep people coming to the library and we certainly live in a visual culture. But, it would be interesting to think about how all those DVDs contribute to supporting a “literate and informed citizenry.” Of course, some could argue not all or even many books meet this guideline.

“The Sociology of Harry Potter” course about culture

Posted on by

Taking advantage of student’s knowledge of the Harry Potter series, one sociology instructor is using “The Sociology of Harry Potter” to teach about culture:

“The basic idea is to have students use sociology to analyze the society of the wizardly world to be able to understand and compare and contrast between the Muggle world and the witching world,” Vandivier said.

About 30 students are taking the course, which Vandivier said is a large number for an online course, but she is glad for the active participation.

“Many of them are big Harry Potter fans. They get into arguments — not online, but when I’ve talked to some on campus — who’s the good guy and who’s the bad guy and who’s the Hufflepuff, and what that’s got to do with anything. It’s just so fun listening to them, and they are really emotionally invested in the different houses, in the different characters, in the different circumstances that happened and where they think things came from. Just all the ideology; it’s almost like a religion,” she said…

“If I were to teach a class on say, the cultures of India, I would first have to educate them on what the culture of India is. But in this situation, they already know, they already have it down,” she said. “And I’m just facilitating a compare and contrast, what’s the theme, what’s the difference, and what does that mean for each society? So that’s the great thing about Harry Potter.”

Why not use what students already know in order to demonstrate sociological concepts? And with the new Harry Potter play in the works, this might be a good time to capitalize on continued interest.

While the sociological study of pop culture may have been taboo decades ago, it is increasingly common today. The impact of such narratives are hard to deny, even as other traditional institutions (nations, families, race and class structures, education systems, etc.) draw ongoing attention.

The misspelled band name intended to enhance Internet searches

Posted on by

The Scottish band Chvrches spelled their name in such a way to help separate themselves online:

Chvrches, deliberately misspelled to maximize Google-search recognition, formed after Mayberry, Cook and Doherty were slogging through indie-rock bands and day jobs.

A tactic only for the Google search result age. Bands can go through all sorts of hoops to select a good name that reflects who they are as well as attracts the attention of consumers. I’m reminded of how the Beatles selected a name – multiple name changes in the early years and resisting the influence of the day to be something like John Lennon and the Beatles (have the group name reflect the lead singer/personality) – versus how Blur selected theirs – off a list of potential names given to them by a label executive. (For a fun Wikipedia time, check out this page with hundreds of band name etymologies.) Today, you can add to the list the strategy of taking a common name or phrase and then tweaking it in such a way that no other Internet personality could overlap. Still, I can hear the conversations even among fans:

I like that song. Who is the artist.

Chvrches.

Great. Wait, I can’t find anything about them online.

Yeah, they have a v rather than a u in their name.

Oh, there they are…

Claim: Broadway brought NYC back from the 1975 brink

Posted on by

A New York journalist suggests Broadway helped revive the city and improve Times Square:

Much credit typically goes to mayors like Ed Koch and Rudy Giuliani, who cleaned up vice districts, pushed out undesirables and clamped down on nuisance crimes. Once the infrastructure was functioning and crime reduced, the argument usually goes, the natural asset of a great city, the draw of its history, the life-affirming force of its romance, its prestige and its pull, could all be trusted to work their magic. The politicians just had to make it possible for New York to be New York.

But Riedel argues that it was actually the theater and restaurant owners — people sick of plying their struggling trade in an environment that was collapsing all around them — who did the real work on the ground that transformed the fortunes of New York. The offices of Gotham City chugged along; people could head home right after work. But you can’t run an entertainment or dinner business if the police are telling people to get off the streets by 6 p.m.

So, in Riedel’s telling, the late Gerald Schoenfeld of the Shubert Organization went to work, back there in the mid-1970s. He harassed cops on the take to do their jobs and arrest the pimps and prostitutes; he organized all of the businesses in and around Times Square so that they had a collective voice; he found private cash to fill the potholes and empty the garbage cans that the city was leaving full; he waged war against corruption and vice. Retail-style.

With some well-chosen allies, he went about this mission block by block, nasty business by nasty business, sometimes resorting to unsavory, hardball tactics. This was controversial at the time — streetwalkers had rights — but Schoenfeld and his pals also were confronting a massive sex business with documented ties to the mafia — a sex business that dominated the very streets where kids now go to see “Aladdin.” Schoenfeld’s contribution was not least his figuring out that the one had to go before the other could arrive. Ergo, the circle of life.

This may be a popular argument these days about those in the arts and some urbanists: culture industries can help revive moribund cities or neighborhoods. The artists or creative types move in first and then others follow, drawn by the intriguing cultural experiences and economic opportunities.

The story above complicates the narrative a bit though. These theaters had been present for a while – they didn’t move in all the sudden in the mid 1970s. The theater industry also had resources in terms of social connections and money to use – poor artists they were not. The narrative told above may lend itself more to growth machine models of urban development rather than cultural ones. A collection of powerful business owners (probably with the aid of political leaders) were able to make things happen behind the scenes to clean up and revive Times Square.

How Nashville became a music center

Posted on by

Nashville wasn’t always a thriving place for music and a sociologist examined what led to the transformation:

Since 2005, he has conducted over 300 hours of in-depth interviews with over 75 music professionals in Nashville. He compiled the findings in his new book, “Beyond the Beat: Musician Building Community in Nashville,” released in September 2015…

In order to track the rapid evolution of Nashville, Cornfield examined the city before recording labels arrived. Regional artists — from across the state of Tennessee — had been gathering in Nashville to showcase their musical skills. This large amalgamation of talented local voices allowed Nashville to stand out amongst other Southern music cities.

When record labels sought opportunities in the south in the 1970s, they were pleased to stumble upon the world-class musical production talent harbored in this small city. Cornfield discovered that Nashville mixed opportunity with a rich history, making it attractive to hopeful musicians…

Music City exploded in the 1980s, becoming the country music metropolis that it is now famed to be. As the music industry both expanded and diversified throughout the decade, musicians sought smaller, more intimate audiences, rather than performing for an anonymous mass of a crowd. This way, they no longer had to rely on record labels and could manage the entire music production process themselves.

While such diversification presents opportunities for music professionals, it also made it more difficult for them to establish an occupational community and build a mutual support network. Cornfield makes a point to study this social trend.

Cultural centers and communities don’t just happen: they develop over time (and can also decline over time). Here, it sounds like Nashville was a regional music center that later attracted large actors in the music industry.

I would guess one thing other cities would want to know is how to replicate Nashville’s success in this area. Developing such a niche in a culture industry – whether music, movies, fashion, publishing, or something else – not only provides jobs and tax revenues but leads to visitors, tourists, and a reputation as a happening place. Yet, not every city can be a major player in a culture industry and even the best laid plans don’t necessarily come to fruition.

Where are the Latino families on HGTV?

Posted on by

After watching plenty of HGTV over the years, a question hit me: why don’t more of the shows feature Latino families and home buyers?

-According to recent figures from the Census, Latinos comprise 17.1% of the US population.

-According to the 2014 State of Hispanic Homeownership Report, the Latino homeownership rate is 45.4% (down from 2000), Latinos have the purchasing power of $1.5 trillion (comparable to all of Canada), and the number of Latino households is growing. In other words, there is a market here.

Put these two factors together and I would expect to see more Latinos. Actually, if I had to guess, whites are overrepresented on HGTV, particularly among hosts.

Making housing activism attractive on-screen

Posted on by

Fighting housing issues may be necessary but it is probably not the first topic viewers, producers, and networks think of for a good product. Until Show Me A Hero:

At its heart, Show Me a Hero is a wonk procedural, exploring all the seemingly impossible and impassable hurdles that policy has to traverse to become reality. But it’s brought to life by Nick Wasicsko (Oscar Isaac), the titular hero. In 1987, when the show begins, Nick, a former cop and lawyer, and current Springsteen superfan, is an eager and ambitious new member of the Yonkers City Council, which is already being roiled by a court ruling. A long-gestating lawsuit has finally found Yonkers, a working-class city just north of the New York City border, guilty of intentionally segregating its housing. The judge presiding over the case has ruled that 200 units of low-income housing must be built on the east, and white, side of the city. That is, more precisely, 200 units of housing, to be spread out over eight different locations, in the white part of a city of a couple hundred thousand people that has spent 40 years practicing systematic housing discrimination and segregation. That is, also, 200 units of housing greeted by white homeowners as an existential threat to their property values and way of life, visited upon them by liberal outsiders, to be fought viciously and rancorously, lest any of the “public housing people” come to live next door.

Nick is soon tapped to run against the Republican mayor in what is supposed to be a slam-dunk election for the incumbent but turns into an upset when the virulently anti-housing voters elect Nick simply because he is not the mayor, who has assented to the judge’s ruling in the case. Nick is happily swept into power by an incensed and racist cohort who expects Nick to fight the housing order, even though it is legal and will never be overturned, and disobeying it will bankrupt the city. Nick is not a simple, straightforward hero: He doesn’t come into office intent on doing the right thing, damn the consequences. He’s a cocky kid, tickled to be the county’s youngest big city mayor, who has to choose between being reasonable, responsible, and righteous or a recalcitrant, unrealistic bigot—when it is the latter choice that will let him keep his job. Nick does what is right. How he does this, and at what personal and professional expense, is the meat of Show Me a Hero, which, tellingly, gets its title from the F. Scott Fitzgerald quote, “Show me a hero, and I’ll write you a tragedy.” (A piece of advice: Don’t Wikipedia Nick Wasicsko if you want to avoid spoilers.)

Plenty of critics and viewers have echoed Newton Minnow’s claim that television will become a “vast wasteland” when it is bad. Yet, couldn’t a show like this be entertaining and provide a public good?

While I noted above that housing activism is an unlikely television topic, it is also an underdiscussed topic overall as many prefer to talk about the promises (and occasional perils, particularly after 2006) of the housing market without acknowledging the influence of residential segregation and the need for interventions to make affordable housing possible as well as to break down persistent clusters by race and class.

No “musical ensemble that was more sociological” than the Beatles

Posted on by

Looking back at the Beatles playing Shea Stadium in 1965, one radio personality the group was a sociological phenomena:

Fifty years ago, the Beatles changed the way America witnessed live music by performing the first stadium show of its size and scope. On Aug. 15, 1965, the boys from Liverpool played a record-shattering concert at New York’s Shea Stadium, which would be televised on BBC and ABC, immortalized in a documentary, and further the massive reach of Beatlemania in the ’60s. Legendary radio personality Cousin Brucie served as the announcer, and now, 50 years later, he says it still stands as the tipping point for turning concerts into must-see live spectacles…

The Shea Stadium show broke records in terms of profits and attendance; promoter Sid Bernstein said the event made $304,000, and 55,000 fans were at the stadium. Ed Sullivan’s iconic documentary about the event, The Beatles at Shea Stadium, culled footage from 12 cameras that documented the day, and captures the band at their peak of fame…

1965 was a pivotal year in both music history and American history, and Brucie remembers the Shea Stadium performance being one of biggest events that brought young people together for something that was pure enjoyment. “At that time in our nation, we needed something desperately to get our minds off some of the tragedy that was happening, the assassinations, racial strife and political problems,” he said. “Anybody who was at Shea Stadium, it’s like someone who was at Woodstock. You have to have been there.”

Experiencing live music has changed nearly completely since the Beatles took over Shea Stadium, and Brucie attests today’s music festivals and arena tours would not have existed without that one day in New York. “The [show] was really the beginning of major events that we we have today at stadiums. It was a precursor of everything. It was an experiment that worked very, very well. Today when people go to concerts, they go to listen to the music. There has never been a musical ensemble that was more sociological and garnered the emotion than this particular group, the Beatles,” he said.

Similar arguments have been made by many: the Beatles came about at the right time, the group was more than the sum of their parts and was able to amplify the hoopla (which also burned them out as they stopped touring one summer after the Shea Stadium concerts), and concerts in the 1960s were the place to be (from Shea Stadium to Woodstock).

But, the statement that “There has never been a musical ensemble that was more sociological” is interesting. What exactly does it mean? That they shaped broader society more than any other group? They are more fascinating to study and ponder than other groups? Everywhere they went was an interesting social scene? Their innovations were way ahead of other artists? Not too many groups could claim similar things and perhaps the time is past when a single music act or musical/social experience could truly get the attention of the world.

Listen to the full Shea Stadium concert here.

Claim: nightclubs closing due to new Millenial social patterns

Posted on by

The number of nightclubs in the UK has declined in the last decade and here is one possible reason why:

Even famous London dance-music clubs such as Turnmills, Bagley’s and The End have succumbed to a process that has seen the UK’s total portfolio of nightclubs shrink by almost half from 3,144 in 2005 to 1,733 a decade later.

The statistic from the Association of Licensed Multiple Retailers (ALMR) is a signal not just of the effect of the smoking ban and the imposition of student loans but of a fundamental shift in the way a new generation chooses to spend its entertainment budget…

A night out at a pop-up restaurant or a secret cinema feels more adventurous than yet another club night, which will only drain finances needed for that ambitious summer holiday trip. According to Yakob, nightclubbing has become for many young people a “couple of times a year” experience, hearing the best DJs on the best sound systems…

Twice a year punters aren’t going to pay a nightclub’s bills. But even for some dedicated music fans, the lure of a night of House music could be reduced by their long hours of listening to playlists on a premium streaming service during daily commutes. The UK is among Spotify’s strongest markets. Felim McGrath, analyst at market research company GlobalWebIndex, says: “In years gone by you would go to a nightclub at the weekend to discover music played by a top DJ. Now you can do that online via a curated playlist.”

While this isn’t good news for the nightclub economy, the social ramifications are interesting. For pre-teens to young adults, music is often an essential part of the social experience. It is part of creating an identity, burn off steam and/or transgress boundaries, and unite with other people. All of this can be done with music online – it just takes different forms. For example, instead of going to nightclubs or as many concerts, users can post in forums and comment sections about their favorite artists. Instead of interacting with strangers (who may share the same music interests) at venues, the music is now more privatized as users can select what they want wherever they want. Like many experiences with the web, users get more choice in more places but lose embodied experiences with others.

At the worst, in the future no one will emerge from their headphones and personalized experiences. At the best, perhaps the music listened to and discussed online can lead to new kinds of unique experiences outside of the typical nightclub and concert experiences.