Front yard, back yard, and housing policies

This description of civic discussion and decision-making uses the imagery of front yards and back yards:

Photo by Chris F on Pexels.com

This dynamic—front-yard proclamations contradicted by backyard policies—extends well beyond refugee policy, and helps explain American 21st-century dysfunction.

The front yard is the realm of language. It is the space for messaging and talking to be seen. Social media and the internet are a kind of global front lawn, where we get to know a thousand strangers by their signage, even when we don’t know a thing about their private lives and virtues. The backyard is the seat of private behavior. This is where the real action lives, where the values of the family—and by extension, the nation—make contact with the real world.

Let’s stick with housing for a moment to see the front yard/backyard divide play out. The 2020 Democratic Party platform called housing a “right and not a privilege” and a “basic need … at the center of the American Dream.” Right on. But the U.S. has a severe housing-affordability crisis that is worst in blue states, where lawmakers have erected obstacle courses of zoning rules and regulations to block construction. In an interview with Slate, Senator Brian Schatz of Hawaii, a Democrat, took aim at his own side, saying progressives are “living in the contradiction that they are nominally liberal [but they] do not want other people to live next to them” if their neighbors are low-income workers. The five states with the highest rates of homelessness are New York, Hawaii, California, Oregon, and Washington; all are run by Democrats. Something very strange is going on when the zip codes with the best housing signs have some of the worst housing outcomes.

Housing scarcity pinches other Democratic priorities. Some people convincingly argue that it constricts all of them. High housing costs pervert “just about every facet of American life,” as The Atlantic’s Annie Lowrey has written, including what we eat, how many friends we keep, how many children we bear. “In much of San Francisco, you can’t walk 20 feet without seeing a multicolored sign declaring that Black lives matter, kindness is everything and no human being is illegal,” the New York Times columnist Ezra Klein wrote. But in part because those signs sit in front yards “zoned for single families, in communities that organize against efforts to add the new homes,” the city has built just one home for every eight new jobs in the past decade.

The image here is from a single-family home, a familiar symbol and sight in the United States. The front yard is visible to others. Homeowners put certain things in the front yard and do certain things in the front yards. Meanwhile, the back yard is a more private space, often out of sight from the front and even from others with fencing, plantings, and more blocking possibly blocking views.

Is the front yard just performative? For American homes, people put a lot of effort into a lawn, a facade, signs, and more to present a particular image to the world. It is not necessarily fake or inauthentic; it is just one angle available to the public. It can affect perceptions, interactions, conversations.

Perhaps this is similar to front-stage and back-stage from sociologist Erving Goffman? In public settings, we practice impression management and we play particular roles. We perform in ways that align with or resist social conventions. Back-stage allows for less of this.

In the area of housing, I have seen what is described above: when communities have opportunities to discuss and plan for affordable housing or denser housing or cheaper housing, they often throw up obstacles. They are not necessarily opposed to the need for such housing; they just do not want it near them. Housing as an issue ends up being a hyper-local concern as community by community debates development.

Perhaps it is less about front-yard, back-yard and more about general/national versus local. It is one thing to support policies at a national level or for others to follow. It is another to commit to one’s own actions as well. Could a growing YIMBY movement supersede all the NIMBY activity?

Lady Gaga mentions that she studies “the sociology of fame”

A recent course at the University of South Carolina titled “Lady Gaga and the Sociology of Fame” drew a lot of attention. But it appears that Lady Gaga herself has an interest in the sociology of fame. Here is part of the conversation Lady Gaga had with Anderson Cooper on 60 Minutes:

“You’ve studied the fame of other people, how they got it, how they kept it and how they lost it,” Cooper remarked.

“The sociology of fame and how to maintain a certain privacy without, feeling like you’re withholding anything from your fans. My philosophy is that if I am open with them about everything, and yet I art direct every moment of my life, I can maintain a sort of privacy in a way. I maintain a certain soulfulness that I have yet to give,” Lady Gaga said.

The pressures of maintaining fame and the deadly price other superstars have paid for it are frequent themes in Lady Gaga’s performances. At the MTV Video Music Awards she shocked the audience by the ending of her song “Paparazzi.” Drenched in blood and hanging above the stage, she resembled a blond icon dying before our eyes.

“That’s what everyone wants to know, right? ‘What’s she gonna look like when she dies? What’s she gonna look like when she’s overdosed?’ on whatever they think I’m overdosing on? Everybody wants to see the decay of the superstar,” Lady Gaga said.

“Do you think people wanna see your decay?” Cooper asked.

“What? Of course they do! They wanna see me fail, they wanna see me fall on stage, they wanna see me vomiting out of a nightclub. I mean, isn’t that the age that we live in? That we wanna see people who have it all lose it all? I mean, it’s dramatic,” she replied.

“And then climb their way back,” Cooper remarked.

“Right. It’s a movie. And yet I just am not like that on my own time. I’m not a vomit-in-the-club kind of girl,” she said.

A few questions come to mind:

1. Would sociologists agree that the cycle that celebrities go through (rise to stardom, decline, comeback attempt) is “the sociology of fame?”

2. Does this mean that Lady Gaga is simply playing a role for her fans and for others? If she is so aware of how the script goes, is she doing anything original or authentic? She suggests she “art direct[s] every moment of [her] life” but also claims she is still able to maintain a private side. A classic front-stage/back-stage Erving Goffman explanation.

2a. If she knows that the decay is coming, will she choose to initiate it herself or at least push in a certain direction to maintain some control over it?

2b. There could be some interesting material in thinking about the entertainment or spectacle that Lady Gaga offers and why this is attractive to people.

3. What did Lady Gaga think of having a sociology class named after her (even though the class was about popular music in general)? Is this when she started thinking about “the sociology of fame”?

Twitter as Goffmanian performance

Peggy Orenstein writes in the New York Times about her use of Twitter. Here is part of her commentary which references famous sociologist Erving Goffman:

Back in the 1950s, the sociologist Erving Goffman famously argued that all of life is performance: we act out a role in every interaction, adapting it based on the nature of the relationship or context at hand. Twitter has extended that metaphor to include aspects of our experience that used to be considered off-set: eating pizza in bed, reading a book in the tub, thinking a thought anywhere, flossing. Effectively, it makes the greasepaint permanent, blurring the lines not only between public and private but also between the authentic and contrived self. If all the world was once a stage, it has now become a reality TV show: we mere players are not just aware of the camera; we mug for it.

According to Goffman, every social interaction is actually like a theater drama as the individual actors look to play a role that ultimately saves them face. The advantage of Twitter, and other social software, is that it always a user to craft their performance at their own convenience. A user can reveal what they wish, when they wish.

Goffman was also interested in the divide between this performance and when an individual could be their true self. Individuals travel between these front-stage and back-stage worlds. Some users might feel they are revealing their true self in software like Twitter but I think this is unlikely. The act of tweeting or operating in front of a camera includes the knowledge that someone else is going to see what is revealed and this inevitably changes the action. Perhaps we can only truly be back-stage when we are in situations where they will be no human interaction. Goffman was also interested in these situations, such as when we are alone.