Category Archives: Entertainment

Argument: the movie “42” ignores Jackie Robinson’s role in the larger Civil Rights Movement

Posted on by

Peter Drier argues that the new movie 42 fails to properly put Jackie Robinson in a larger context: as part of a larger social movement.

The film portrays baseball’s integration as the tale of two trailblazers—Robinson, the combative athlete and Rickey, the shrewd strategist—battling baseball’s, and society’s, bigotry. But the truth is that it was a political victory brought about by a social protest movement. As an activist himself, Robinson would likely have been disappointed by a film that ignored the centrality of the broader civil rights struggle…

42 is the fourth Hollywood film about Robinson. All of them suffer from what might be called movement myopia. We may prefer our heroes to be rugged individualists, but the reality doesn’t conform to the myth embedded in Hollywood’s version of the Robinson story…

Starting in the 1930s, reporters for African-American papers (especially Wendell Smith of the Pittsburgh Courier, Fay Young of the Chicago Defender, Joe Bostic of the People’s Voice in New York, and Sam Lacy of the Baltimore Afro-American), and Lester Rodney, sports editor of the Communist paper, the Daily Worker, took the lead in pushing baseball’s establishment to hire black players. They published open letters to owners, polled white managers and players (some of whom were threatened by the prospect of losing their jobs to blacks, but most of whom said that they had no objections to playing with African Americans), brought black players to unscheduled tryouts at spring training centers, and kept the issue before the public. Several white journalists for mainstream papers joined the chorus for baseball integration.

Progressive unions and civil rights groups picketed outside Yankee Stadium the Polo Grounds, and Ebbets Field in New York City, and Comiskey Park and Wrigley Field in Chicago. They gathered more than a million signatures on petitions, demanding that baseball tear down the color barrier erected by team owners and Commissioner Kennesaw Mountain Landis. In July 1940, the Trade Union Athletic Association held an “End Jim Crow in Baseball” demonstration at the New York World’s Fair. The next year, liberal unions sent a delegation to meet with Landis to demand that major league baseball recruit black players. In December 1943, Paul Robeson, the prominent black actor, singer, and activist, addressed baseball’s owners at their annual winter meeting in New York, urging them to integrate their teams. Under orders from Landis, they ignored Robeson and didn’t ask him a single question…

Robinson recognized that the dismantling of baseball’s color line was a triumph of both a man and a movement. During and after his playing days, he joined the civil rights crusade, speaking out—in speeches, interviews, and his column—against racial injustice. In 1949, testifying before Congress, he said: “I’m not fooled because I’ve had a chance open to very few Negro Americans.”

Fascinating. Robinson can be applauded for his individual efforts and we can also recognize that he was part of a larger movement – it doesn’t have to be one or the other. But, our narratives, now prominently told in biopic movies, love to emphasize the individual. This is part of a larger American issue regarding an inability to recognize and discuss larger social structures, forces, and movements.

Many Americans might assume the Civil Rights Movement begins in the mid-1950s with Brown vs. Board of Education or the actions of Rosa Parks (this is where the Wikipedia article on the subject starts) but things were stirring in Robinson’s day. While baseball was America’s sport (pro football didn’t start its meteoric rise until a decade or so later) and Robinson’s play was influential, there were other efforts going on. In 1948 the military was integrated via an order from President Truman. After World War II, blacks tried to move into better housing, often found in white neighborhoods, but faced serious (sometimes violent) opposition in a number of locations.

I’ve been conflicted about whether I should see this movie as a big baseball fans. Sports movies are a little too mawkish for me and don’t ever really reflect how the game is played. This argument is not helping the movie’s cause…

Study shows 15 minutes of fame isn’t the case; once someone is famous, they tend to stay famous

Posted on by

A new study in the American Sociological Review contradicts folk wisdom regarding people having 15 minutes of fame:

Researchers led by Eran Shor from McGill University’s department of Sociology and Arnout van de Rijt of Stony Brook University studied all the names mentioned in over 2,000 English-language newspapers from the US, Canada and the UK over a period of several decades…

Temporary celebrity is highly unusual and is to be found primarily in the bottom tiers of the fame hierarchy, such as when people like whistle blowers become famous for a limited time for participating in particular events.

This is even true of entertainment, where it might appear that fame is likely to be most ephemeral.

For example, in a random sample of 100,000 names appearing in the entertainment sections of newspapers during the period 2004-2009, the ten names that appeared most frequently were Jamie Foxx, Bill Murray, Natalie Portman, Tommy Lee Jones, Naomi Watts, Howard Hughes, Phil Spector, John Malkovich, Adrien Brody, and Steve Buscemi…

Indeed, the annual turnover in the group of famous names is very low. Ninety-six per cent of those whose names were mentioned over 100 times in the newspapers in a given year were already in the news at least three years before.

The key here seems to be the status hierarchy. There is a lot of turnover at the bottom of celebrity circles, people who pop into the news for things like winning the lottery or being involved with a particular court case. But, once you get to the top of the status hierarchy, you tend to stay there. So perhaps it is true that most people can only have 15 minutes of fame while a certain number of people each year can break through to the top levels.

Another key appears to be the media scrum regarding fame and celebrity. Aren’t they generally the ones telling Americans who is famous and who they should pay attention to? How does one break into this media world of fame? In other words, there is a whole industry built around famous people and it pays off to have recognizable celebrities as well as the occasional new people who change things up a bit.

McMansions part of the “dark side” of the Midwest

Posted on by

A review of the work of author Gillian Flynn suggests McMansions help fill in the scene for the darker side of Midwest life:

But the novel – like the 41-year-old Flynn herself – is a deeply felt product of the midwest. The real place, not the idly dismissed fantasy image held in the minds of those too lazy to venture out into what really goes on in the American heartland. The book is set in an ailing Missouri river town on the banks of the Mississippi – the same giant waterway that inspired Mark Twain. But the town is dying, its mall crushed by an ailing economy and its McMansions crumbling at the seams. Beneath the surface glitter of the marriage of Nick and Amy Dunne, dark things lurk: secrets, hidden plans and desperation.

To anyone who knows the midwest for real, this is no surprise. This is the same region that gave us Truman Capote’s exploration of random, empty Kansas murderers in his masterful In Cold Blood. This is a place founded on the old grass prairies, whose Native American inhabitants were butchered and displaced, and whose soil was ripped up. The midwest is the Indian Creek massacre and the “dust bowl” as much as Little House on the Prairie.

Who knew the Midwest was so dark? Actually, this sort of portrayal sounds very similar to a common genre of work about suburbs that arose after World War II. Both the Midwest and suburbs might be viewed as the “heartland” or where “average” Americans go to live. (At the same time, the Midwest can’t claim the same sort of population proportions as the suburbs – now over 50% of Americans live in suburbs.) But, authors, filmmakers, artists, and musicians have frequently “exposed” the seemy underside of these places. There is no doubt that there are bad things lurking below the surface in all places so perhaps the issue here is the facade that cultural producers think too often gets portrayed as “the truth” about the Midwest and suburbs.

Overall, certain places tend to get a more noir treatment compared to others. For example, the Los Angeles School of urban scholars has argued that Los Angeles also is presented in this way – it may look like a glamorous, sunny place but there is a lot of crime and cruelty below the surface. (See the revered movie Chinatown or the TV show Dragnet.) From the perspective of the LA School, this noir treatment tells the truth as it exposes the capitalistic underpinnings that make Los Angeles both glittering and a hotbed of inequality. Should we take a similar perspective about the Midwest – it really is a place with problems that need to be revealed to the world?

“Russian Easter Festival Overture” by Rimsky-Korsakov

Posted on by

The “Russian Easter Festival Overture” by Rimsky-Korsakov suggests Easter celebrations can be both ethereal and boisterous. Watch and listen here.

I first heard this a few years ago when at the Chicago Symphony Orchestra to hear Dvorak’s 9th Symphony. I know, this symphony is a war horse but Dvorak is my favorite composer and the Overture was one of the first half pieces. I immediately had to go out and purchase it.

Sad: newest version of SimCity causing a large outcry

Posted on by

As a longtime fan of SimCity, I have not enjoyed how the changes to the newest version have turned off many fans:

Electronic Arts’ long-awaited release of SimCity on Tuesday should have been an occasion for a worldwide collective all-nighter of urban planning, a nonstop bacchanal of factory building, endless intricate min-maxing of grids of pavement. 12 a.m. Eastern Tuesday morning should have been SimCity’s finest hour.

Instead, the whole operation seized up and shit the bed. EA, a technology company with a market capitalization of over $5 billion, could not muster the online servers necessary to handle an influx of players looking to build their cities. This was entirely a problem of EA’s own making, as SimCity was not designed with an offline mode. Even if you don’t want to team up with others and join your cities together, you can’t just build your personal metropolitan layouts in peace: Every player must be constantly connected online, as a draconian step to crack down on piracy of this PC-only game.

Hey, launch hiccups happen, right? Everybody all tries to connect at once, servers get throttled, and you figure out a way to make it work. Trouble is, as of this writing EA hasn’t figured out a thing. SimCityis still totally busted. It’s difficult to log in: Nearly all of the servers are full, and when a player does find one that’s available, attempting to log in usually throws back an error. And you can’t try again until a 20-minute counter finishes ticking down…

In other words, SimCity is currently in the midst of a disaster that makes zombie attacks and nuclear meltdowns seem tame. Electronic Arts’ attempts to fix the problem have not only been unsuccessful, they’ve been making the SimCity blackout even worse, at least from a public relations standpoint: EA said Thursday that it would actually begin removing features from the game in an attempt to get it to run. At first it was non-core features like achievements and high score leaderboards. By the end of the day EA had ripped out the “Cheetah” gameplay mode, which speeds up the passage of time so you can develop your city more quickly…

In response to Wired’s request for comment, an EA spokesperson referred us to a blog post by SimCity senior producer Kip Katsarelis, who wrote that Electronic Arts would be adding new servers until the player base could be fully accommodated, and that it would prioritize stabilizing this situation before it turned the game’s features back on. She did not give a timeframe for the resolution.

It sounds like a bad situation from all that I have read. For example, check out the overwhelmingly negative reviews on Amazon. This is too bad as the pictures of the graphics I’ve seen look beautiful and some of the interactive elements between cities and within regions sound really interesting. But, I agree there should be a one-player mode so a city builder is not always dependent on other players.

In the end, I hope SimCity is redeemed. One thing that has been noticeable in the online complaints is the number of gamers who have enjoyed SimCity for years. It is not flashy, doesn’t involve violence (though you might count destroying your own city by disaster), and might even give you some insights into urban life. People want to play the game but under certain conditions.

Sad: creator of Diplomacy board game dies

Posted on by

I was not aware that the founder of the Diplomacy board game was a Chicago area resident but after his death last Monday, both Chicago newspapers ran interesting bits. Here is a little from the Chicago Tribune obituary about how the game came to be:

The final inspiration came when Mr. Calhamer was at Harvard and, in a class on 19th century Europe, taught by Sidney Bradshaw Fay, he read his professor’s book, “The Origins of the World War.”

“That brought everything together,” Mr. Calhamer told Chicago magazine in 2009. “I thought, ‘What a board game that would make!'”

After being rejected by several game companies, Mr. Calhamer in 1959 published on his own 500 copies of Diplomacy, and the game came to develop a relatively small but extremely devoted following…

Mr. Calhamer dropped out of law school after a year and a half, then took the foreign-service exam and spent three months on a temporary assignment in Africa. When he returned, he continued to work on perfecting the game and joined Sylvania’s Applied Research Laboratory in Waltham, Mass., where he did operations research, a scientific approach to military problem-solving.

“He was hired because of the game,” Richard Turyn, a mathematician who worked at Sylvania, told the Washington Post in a 2004 feature on Diplomacy.

And here is more from the Chicago Sun-Times:

With its shifting alliances, deception and backstabbing, Diplomacy resembled a Fortran-era version of TV’s “Survivor” — set in pre-World War I Europe. Reportedly, it was popular with President Kennedy, broadcaster Walter Cronkite, and Nixon-era Secretary of State Henry Kissinger. It’s in the Hall of Fame of both Games Magazine, and boardgamegeek.com, where fans worldwide are mourning his passing…

“In many ways, the hobby game industry as we know it owes its existence to Allan Calhamer,” Webb said. Diplomacy “moved away from pure strategy games like chess and from straightforward die rolls for conflict resolution, and introduced bluffing, lying and manipulation. . . . Diplomacy opened up entirely new dimensions to gaming, truly bringing a new level of social interaction into gaming, a legacy that can be seen today in hundreds of hobby games.”

“It sort of started a new genre of games, because you’re playing up to seven players, and making secret deals, and then coming back to the board and making your moves,” said Wayne Schmittberger, a game designer and editor in chief of Games Magazine, who used to stay up all night to play it at Yale University…

One fan, Jim Burgess, wrote about how he reconciled his religion and the game’s treachery in an article on diplomacy-archive.com: “Why I am a Christian” and a Diplomacy player.

My own thoughts:

1. Diplomacy is a fantastic game and superior to Risk because it relies on conversation and negotiation. Its biggest drawback is that it takes forever to play. There is something about the interaction that is unique; impression management means a lot.

2. I played a number of times in person during college and then multiple games by email (though not for some years now). Of course, the outcome was often not what I wanted. Inevitably, the game hinges on backstabbing moments where one player is able to gain an upper hand over another. This often requires just getting one center more than another player.

3. I still prefer playing as Russia, one of the seven powers at the start of the game, which to me still has the most risk and reward.

4. My favorite website for the game is diplomacy-archive.com.

5. This game has a sort of cult status. It is difficult to find in stores and is not a well-known board game. I think more people should learn how to play.

Nielsen changes the definition of watching TV to include streaming

Posted on by

When people starting watching TV in new ways, companies have to adjust and collect better data:

The decisions made by the [What Nielsen Measures] committee are not binding but a source at one of the big four networks was ecstatic at the prospect of expanded measurement tools. The networks for years have complained that total viewing of their shows isn’t being captured by traditional ratings measurements. This is a move to correct that.

By September 2013, when the next TV season begins, Nielsen expects to have in place new hardware and software tools in the nearly 23,000 TV homes it samples. Those measurement systems will capture viewership not just from the 75 percent of homes that rely on cable, satellite and over the air broadcasts but also viewing via devices that deliver video from streaming services such as Netflix and Amazon, from so-called over-the-top services and from TV enabled game systems like the X-Box and PlayStation.

While some use of iPads and other tablets that receive broadband in the home will be included in the first phase of measurement improvements, a second phase is envisioned to include such devices in a more comprehensive fashion. The second phase is envisioned to roll out on a slower timetable, according to sources, will the overall goal to attempt to capture video viewing of any kind from any source.

Nielsen is said to have an internal goal of being able to measure video viewing on an iPad by the end of this year, a process in which the company will work closely with its clients.

This is a good example of how operationalization and measurement are not just for scientists. Here, possibly millions of dollars are at stake in advertising. It would be interesting to hear the advertisers’ side of the story; higher numbers could mean they pay more but it would also mean that they can reach bigger audiences.

So can we assume that better measurement means we will find that Americans watch more TV than we currently think?

Quick Review: Julius Caesar at the Chicago Shakespeare Theater

Posted on by

Shakespeare’s Julius Caesar is currently running at the Chicago Shakespeare Theater at Navy Pier in Chicago. Here are a few thoughts after watching the show this past weekend:

1. For me, the primary appeal of the play was in the modern retelling of the story. Several parts stood out. First, before the play started, there were a number of characters from the crowd out and about on the stage doing everything from running a hot dog stand, trying to get people to sign a petition, to holding pro-Caesar signs, to trying out a skateboard. This helped foreshadow the important role of the crowd in the play but also added some levity. Second, the comparisons to the United States of today are intriguing. The play was set in Washington, Marc Antony was cast as a prizefighter, and the battle scenes in the end looked like urban warfare you might see on the nightly news. Actually, the themes of power, honor, and the line between being a popular leader and a tyrant would resonant in many nations today. I don’t envy artists who have to freshen up plays and other cultural works that many people are familiar with but

2. The second act, which mainly consists of running conflict between Antony and Octavius versus Brutus and Cassius, was more like a war movie than a play. The scenes effectively looked like American military encampments, fighting in the streets looked like Modern Warfare (complete with a burned out and flipped over car on the stage as well as a defaced Caesar poster where he was made to look like the devil), and there was a real edge to the action. It is hard to pick up this kind of tension from simply reading the play (though this may be simply my recollection from first reading this in high school) and this kind of quick moving action can be hard to reproduce on the stage.

3. The favorable review in the Chicago Tribune suggested Brutus should have been played with a more tortured approach:

Brutus here is played by a very capable British actor named John Light, a handsome, hyperarticulate, brooding fellow whose speeches are filled with smarts and context. Light is making his American debut in an Americanized concept with a pretty pathetic American accent. That, one can forgive him. He could be doing a political Piers Morgan (a redundancy?). But it’s harder to see past the deeper problem: Light seems to miss one of the most fundamental aspects of Brutus: a good and decent man who loves his country. Light’s Brutus is certainly tortured by what is and is not expedient, fair enough, but tortured ain’t the whole picture of Mr. B.

Light doesn’t let you feel in your gut that requisite inherent decency and thus when J.C asks that famous question, one’s mind goes to, “Really? What makes him different from all the others? Where did we see that?”

However, I wonder if this doesn’t also feed into the modern interpretation of this play. Do our conflicted heroes of today really reflect on their emotions? Or do we expect them to grimly move forward and finish the job? I’m thinking of James Bond here and his more resolute nature. Tortured modern heroes may not have the time to be tortured; there are often more immediate concerns and the next action scene awaits.

4. There was a lot of blood in the killing of Caesar. Enough blood that most of the intermission involved several stagehands disinfecting the stage, scrubbing the blood out of the floor, and wiping things clean. (Note: there were no splash zone seats but it felt really really close in the third row.)

5. The setting for the Chicago Shakespeare Theater is hard to beat. Even on a cold February day, Navy Pier was an enjoyable place to be with a decent crowd all throughout, places to eat, and good views of the city. (Note: parking in the off-season is noticeably cheaper and plentiful.) Here is a picture of the view out of the southwest corner of the theater (apologies for the glare):

ChicagoShakespeareTheaterViewtotheSouthwest

In my opinion, this theater is one of the best things Navy Pier has going for it so I hope it does well and even expands its offerings.

People in mosh pits act predictably like gas molecules

Posted on by

A graduate student in physics argues the behavior of people in mosh pits is similar to that of gas molecules:

Being a physicist first and a mosher second (“fieldwork was independently funded”), the student, Jesse Silverberg, can’t help but notice curious patterns in what had always felt like the epitome of chaos. “Being on the outside for the first time, I was absolutely amazed at what I saw — there were all sorts of collective behaviors emerging that I never would have noticed from the inside.” So for an even better perspective, he turns to YouTube, to figure out what happens to people under the “extreme conditions” borne of a combination of “loud, fast music (130 dB, 350 beats per minute) … bright, flashing lights, and frequent intoxication.”

What he found, of course, was the “collective phenomenon consisting of 10^1 to 10^2 participants commonly referred to as a mosh pit.” And he was able to prove his initial observation: While the individual movements of moshers may be random, their collective behavior follows a few simple rules…

Look familiar? Moshers, as they “move randomly, colliding with one another in an undirected fashion,” seem a lot like gas particles, the researchers note. Or, as Silverberg explained to me: “It turns out that the statistical description we use for gasses matches the behavior of people in mosh pits. In other words, people bounce around like the molecules in a gas.” And they can be understood using the same basic principles we use to study those molecules.

Using videos of heavy metal concerts, write the authors, allows them to study crowd behavior in a way that staged experiments haven’t been able to. According to Silverberg, the unique circumstances (re: loud music and intoxication) of mosh pits are applicable to other instances of collective motion, like riots or emergency situations, where panicked crowds tend to break into random, slightly hysterical motion. Better understanding their dynamics might serve to improve safety measures in buildings or stadiums. If nothing else, they may serve as a useful reference to EMTs in the very pits where the research originated (per one study, 37 percent of injuries that took place over the course of a four-day music festival were “related to moshing activity”).

Interesting research. While many may not typically think of physics providing insights into social interaction, a lot of good work has emerged from physics in recent decades on social networks.

This is a funny statement: “the fieldwork was independently funded.” It could be even better if an independent granting agency was willing to fund such research with mosh pits to develop insights into collective behavior. If the project was pitched at looking for insights into safety with such crowds, I imagine some funding could be found.

Could a new Chicago casino be a cultural hub?

Posted on by

Chicago Tribune critic Chris Jones argues that the inevitable Chicago casino should be more of a cultural hub than a gaming paradise:

Instead, it should be viewed as a major new cultural hub, which happens to have a little gambling going on alongside its many other attractions.

And that won’t happen unless Chicago’s creative professionals — its architects, entertainment executives, chefs, artists, actors, music promoters, cultural officials — hold their noses and overcome, as did the former street performers of the Cirque du Soleil more than two decades ago, whatever qualms they may have about becoming involved with gambling, which will arrive with or without them. They must grab hold of this civic debate right now, before the chance is lost for good.

The main energy of a Chicago casino should have everything to do with experiencing architecture, watching spectacular shows, eating at world-class restaurants, interacting with thrilling technological art and the like, and as little as possible to do with gambling. When winners are few, the core activity, experience elsewhere has shown, is more frequently depressive than ecstatic. The casinos’ commercials showing constant excitement at the slots are, as anyone who has spent time in a casino late at night will attest, illusions.

The only thing the actual gambling would bring to the table is the revenue that will make other great things possible in what could be an intensely creative building, one of the few big-ticket cultural developments that actually could pay for itself and get built in a barely recovering economy, rather than languishing as a costly, unfunded dream.

This is an intriguing idea – and one that might be too aspirational. The conversation about casinos in Illinois has been primarily about money as state and local governments are in desperate need of cash. My primary question to Jones would be whether there are actual models to follow here – are there urban casinos, outside of Las Vegas, that meet the goals he suggests or would Chicago be doing a whole new thing here? What would it take to have both a profitable casino as well as one that could be a cultural center? Where would such a cultural casino be located that could build upon existing tourist flows while also attracting new crowds that would be drawn to a casino? Historically, casinos tend not to have the best reputation as they attract certain kinds of crowds so building a world-class casino and cultural hub would be a big coup if done well in Chicago.