Category Archives: Entertainment

Popular music has become more narcissistic in recent decades

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Several psychologists argue that pop music has become increasingly narcissistic over recent decades:

Now, after a computer analysis of three decades of hit songs, Dr. DeWall and other psychologists report finding what they were looking for: a statistically significant trend toward narcissism and hostility in popular music. As they hypothesized, the words “I” and “me” appear more frequently along with anger-related words, while there’s been a corresponding decline in “we” and “us” and the expression of positive emotions…

His study covered song lyrics from 1980 to 2007 and controlled for genre to prevent the results from being skewed by the growing popularity of, say, rap and hip-hop…

Today’s songs, according to the researchers’ linguistic analysis, are more likely be about one very special person: the singer. “I’m bringing sexy back,” Justin Timberlake proclaimed in 2006. The year before, Beyoncé exulted in how hot she looked while dancing — “It’s blazin’, you watch me in amazement.” And Fergie, who boasted about her “humps” while singing with the Black Eyed Peas, subsequently released a solo album in which she told her lover that she needed quality time alone: “It’s personal, myself and I.”

The majority of this article is about how narcissism is measured and how it shows up in younger generations.

But I would prefer to see more thinking about why music has changed in this way. A broad question could be asked: does or should pop music reflect culture or change culture? I would suggest that it does both but it would be interesting to see data on this: is music more narcissistic because people are more narcissistic or are people more narcissistic because music is more narcissistic? Answering this broad question also requires figuring out what music really means to people. For younger people, listening to music is an important activity and is an integral part of adolescence and emerging adulthood.

This recent study also tries to get at this question and can’t say much about the direction of causality:

With each level increase in music use, teens had an 80% higher risk of depression, the study found.

The study didn’t measure total listening times, but based on previous data, the study authors estimated that teens in the highest-use group were likely listening to music for at least four or five hours a day…

“At this point, it is not clear whether depressed people begin to listen to more music to escape, or whether listening to large amounts of music can lead to depression, or both,” said Primack in a statement.

By contrast, researchers found that reading books had the opposite association: with each level increase in time spent reading, teens’ risk of depression dropped 50%. “This is worth emphasizing because overall in the U.S., reading books is decreasing, while nearly all other forms of media use are increasing,” Primack said.

This contrast to reading is interesting. Does this suggest that listening to music is more self-indulgent while reading is not?

Overall, it sounds like we need more research to sort out this issue. Music is more narcissistic, the culture may be more narcissistic, this has an effect on people, but it is a bit unclear which direction the causal arrows go. If only we could design some sort of controlled experiment that could isolate the effect of more narcissistic music…

Companies still willing to pay for product placement, even in a film criticizing product placement

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Watch television or movies and it is not hard to find examples of product placement (some more obvious than others). But even with the negative attention this draws, companies are still willing to pay for it even when their placement is in a film criticizing product placement:

Though the film takes an all-out jab at this advertising trend, advertisers are on board. Morgan Spurlock’s “POM Wonderful Presents: The Greatest Movie Ever Sold,” opens Friday, and it’s the real deal.

Among the companies that participated, Chicago-based Hyatt Hotels Corp. paid $700,000 to “sponsor” the film, knowing it was buying into a documentary devoted to how stupid and awkward product placement can be. (Nearly every interview in the movie takes place at a Sheetz gas station where every beverage other than POM Wonderful is blurred.)…

“There are more and more attempts to avoid the commercial break,” said James Pokrywczynski, associate professor at the Diederich College of Communication at Marquette University in Milwaukee. “We use the remote control to change channels, we DVR shows or edit out the commercials or fast-forward through them.”

As a result, spending for product placements in TV, film, Internet and video games more than tripled between 2004 and 2009, from $1.1 billion to $3.6 billion, according to Stamford, Conn.-based media research firm PQ Media.

In the long run, the companies will take the negative attention as long as a media outlet puts their product in front of people. This seems to go along with the idea that “all publicity is good publicity.” And with more organizations looking for money, like Chicago being willing to have corporate sponsors for CTA stops, even this new film won’t be able to stop the trend.

Just out of curiosity, I would be interested in knowing the sales figures of the new Kindle with a cheaper price due to “special offers.”

A basic sociological take on The Smurfs

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In a piece that could be a  Sociology 101 analysis, here is the conclusion regarding Smurf society:

The Smurfs society is unusually strong. Many times their status quo has been challenged, most notably with the introduction of Smurfette, with the community prevailing. The identity roles of each member of the society are well-defined which creates a symbiotic bond between each member and their chosen paths. In relation to humanity and childhood, this translates into cooperative theory and play. When a group of kids gets together on a “mission” they choose a leader (or usually the strongest personality volunteers him or herself) and from there roles are assigned.

Where other cartoons focused on individual efforts, The Smurfs focused on the society functioning as a whole, with individual roles each playing a part in the machine. This is a great example of a small society functioning effectively, even if they lived in mushrooms.

Just invoke the name of Durkheim and perhaps we have a functionalist analysis.

Before the start of the analysis, here is how the author describes sociology:

In Part One of the Psychology of cartoons, I focused more on the individual psychology of certain cartoon characters. This is something that I will return to, but for the purpose of this post I’m switching gears and instead focusing on a large scale (or small scale) sociological study. As you may or may not know — the implication is in its name — sociology is the study of society. It’s a very broad psychological discipline, and there are many conflicting theories surrounding any hypothesis. Since I have no degree in psychology or sociology, and I’m just a geek that likes to pretend I know what I’m talking about, this is going to be one of the broader studies performed.

This could use some work, particularly the bit about sociology being a “very broad psychological discipline.”

The “sonic sociologist”

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It can often to be interesting to see how people describe sociology in the non-academic realm. How about a “sonic sociologist“?

DJ Ms Thang is a relative “novelty’’ (her word) in the nightlife business: a sought-after female DJ who can get a room pumping whether she’s spinning for 20-something club kids or a ballroom full of gala-goers. Those skills, as well as her runway-model good looks (she’s sometimes been booked on those alone, she acknowledges), make it clear that “I can hold my own with the boys,’’ she added slyly.

To those who groove or merely toe-tap to the selected beats she puts out, the allure is in her perceptive crowd-reading, and her soulful style, a melange of genres…

“You’re like a sociologist,’’ she said, in her case, one in stilettos, jeans, and lace fingerless gloves. On a Tuesday night at Minibar, the sonic sociologist spins some mellow tracks for a reserved sampling of clubgoers. She starts with the Revenge Rework of Marvin Gaye’s “Heavy Love Affair.’’

It would be interesting to read a study as to how DJs develop these people-watching and perception skills. Similar to some other culture industry insiders, would DJs describe their abilities as “intuition” or “innate abilities”? If so, I suspect a sociologist might find that DJs acquire and develop these skills as they get more opportunities and hone their craft.

The mystery church that opens to Buckingham Fountain in “Happy Endings”

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After seeing the end of Modern Family, I saw the opening scene to ABC’s new show Happy Endings. As the bride left the groom at the altar and ran out of the church, we were treated to a shot of Chicago outside the church’s front door. There was only one problem: right outside the church’s door was Buckingham Fountain. Where exactly is this church?

The New York Times review of the show says the show is “Set in Chicago — by which I mean a soundstage somewhere like Burbank, Calif., that looks like New York but is called Chicago…” While I know movies and TV shows have a long history of such wrong shots (and establishing shots), this one seems just plain odd and obvious.

Sociologist looks at 80 years of love songs

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Musical styles might change a bit as time passes but an ever-present feature of rock or pop music is the love song. One sociology professor has a new book looking at such songs and they messages they send:

UC Santa Barbara professor of sociology Thomas Scheff’s new book, What’s Love Got to Do With It? Emotions and Relationships in Pop Songs, reveals why love songs may actually be negative representations of love and relationships for romantics both hopeless and otherwise.

“Music informs our ideas about emotions, and love in particular, but most love songs are terrible models. Lyrics maintain the mystery of love, but they reveal next to nothing about the look and feel of actual love,” asserts Scheff in his book.

Scheff, who studied 80 year’s worth of American song lyrics, reprimands the machine of pop love songs for setting unrealistic expectations about love for listeners. He questions the disconnect between real world expectations and actual outcomes in relationships that listeners formulate from growing up with their favorite love songs, from George and Ira Gershwin’s “They Can’t Take That Away From Me” to N’Sync and Backstreet Boy ballads. Scheff also discusses the pitfalls of pop culture influences.

On the one hand, I can imagine people suggesting that Scheff is simply writing about common sense: of course we know that love songs don’t actually reflect reality. On the other hand, I also imagine there could be some rich ground to cover here, particularly in thinking about how people readily consume such things and then go out and live more complicated relationships. How might Scheff’s thoughts about love songs fit with Ann Swidler’s look at the two dominant motifs regarding love in the United States in Talk of Love? (And in the middle, perhaps there are disc jockeys/radio hosts who will comment that this book is validation for playing love songs. This one’s for you Delilah.)

I will be interested to see if Scheff’s book looks at how love songs have changed over this 80 year period. Are the Gershwins and Adele covering the same ground?

Documenting fair use

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Documentary.org has a wonderful write-up by Tamsin Rawady and Alex Buono about fair use in the documentary film setting.  As the writers/producers of Bigger Stronger Faster, a documentary about pop cultural influences driving performance-enhancing drug use, they grappled with how to tell their story legally:

The first problem we encountered is that it seemed like Fair Use was sort of an urban legend: Does it really exist? Can you really use archival clips without licensing them? And does anyone understand how this all works?

Fortunately, Rawady and Buono retained excellent legal counsel who were able to walk them through the issues and get them a highly defensible final cut, though even that wasn’t easy:

After the film has been released, expect to get calls from copyright holders upset about your use of their footage. Most copyright holders have never heard of Fair Use, and you should allow some money in your budget to have your attorney call and talk through the evidence you have. If you have been responsible in your Fair Use decisions, most complaints will only require one phone call from your attorney to make them go away. We encountered a handful of copyright holders from some very large corporations who were not pleased that their clips had been used in our film, but we were well prepared by our attorneys and had no problem avoiding any legal claims. [emphasis added]

I’m certainly happy that it worked out better for Bigger Faster Stronger than it did for Slaying the Dragon:  Reloaded.  Rawady and Buono’s story reminds us that, in law as in life, (1) an ounce of prevention is often worth a pound of cure and (2) the best (fair use) defense is a good (proactive) offense.

Further resources and reading:

It’s Friday, I’m in Love (With Copyright Law)

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You’re no doubt one of the multi-millions who’ve seen Rebecca Black’s viral video Friday.  Or the “Bob Dylan” cover.  Or the Colbert-Fallon cover.

Anyway, you’ve probably seen it in one form or another.

Writing for The Hollywood Reporter, Aaron Moss (partner at Greenberg Glusker) provides a thorough analysis of the copyright issues surrounding the song itself and a brewing legal dispute between Black’s family and Ark Music Factory.  Over the course of the article, Moss cites the following rights/licenses implicated by Black’s viral video and its subsequent marketing:

  • copyright in the sound recording
  • copyright in the composition
  • mechanical license
  • digital phonograph delivery license
  • synchronization license
  • master use license
  • public performance license (in the composition)
  • digital public performance license (in the sound recording)

Confused yet?  You’re probably supposed to be.  As Moss puts it in the section explaining that the copyright in the sound recording and the copyright in the composition are two completely separate rights:

This rather unintuitive concept, by itself, has been enough to pay countless lawyers’ salaries over the years.

Or as Moss notes as an aside when explaining the concept of digital performance licenses:

As a result of the way copyright law has developed — which is to say, ad hoc, aimlessly, in fits and starts, and with plenty of lobbyist influence…

I highly recommend reading Moss’ entire piece.  It’s a good reminder of just how convoluted contemporary copyright law is and just how many actors (artists, session musicians, engineers, label personnel, etc.) may have to agree in order to exploit an existing song in a new way.

Tenenbaum oral arguments on YouTube

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Having attended the oral arguments before the 1st Circuit Court of Appeals in Sony BMG Music Entertainment et al v. Tenenbaum yesterday and analyzed my initial impression here, I was pleased to see that the court posted (MP3) the audio of the oral arguments on its website.

Unfortunately, it is often difficult to tell who is speaking given the bare audio.  Therefore, I have decided to post the audio on YouTube and annotate it so that listeners can know who is speaking when.  I hope many find this helpful.

Here are the links, in 5 parts:

The argument was before a panel of three First Circuit judges:

  • Sandra L. Lynch, Chief Appellate Judge
  • Juan R. Torruella, Appellate Judge
  • Rogeriee Thompson, Appellate Judge

For even more fun, you can download the briefs here to follow along with the audio.  Happy analysis!

Covering file-sharing appeal

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I’m going to be attending oral arguments here in Boston before the First Circuit Court of Appeals in the Sony BMG Music Entertainment v. Tenenbaum case (Wikipedia backgrounder) later this morning.  Appellate briefs are available here, summary from the defendant’s perspective here.

Check back later today for more commentary and analysis.