Two really excellent and thoughtful reviews in the NYT today. The new TV show Black. White. and a performance by Hasidic rapper Matisyahu. Both articles are insightful and funny and deal with entertainment and culture and race. Read the excerpts below for most (but not all) of the good stuff.

Black. White. is a show where two families (one black, one white) are made up and go out into the world as white and black, respectively. And there the hilarity er um I mean cultural insights ensue.

If reality television can be said to be about anything at all, it seems to be about impersonation and the odd and increasingly tenacious hold it has on the American psyche. The crooked-nosed are made over and play the genetically good-looking. Heiresses get out of their $200,000 sports cars and enact the habits of the agriculturally inclined. A vegan mother from Boulder trades houses with an evangelical wife in Mobile, is encouraged to care about scripture and breakfast sausage, and essentially tries to pass.

Reality television, as we know it, in fact, could exist only in a culture infatuated with passing – a world where white suburban boys dress to look more like Nelly and Punjabi girls from Queens wear blue contact lenses to link them closer in appearance to someone who might trace her lineage four generations in Laguna
….
The problem with “Black.White.” is the extent to which it inadvertently supports the foundations of Bruno’s reasoning, searching for examples of racial discrimination, as it does, almost entirely within the world of the consumer marketplace. The participants are too often sent out to stores to take the measure of race relations in America. “Black. White.” would have felt far more substantive had it sent Brian and Bruno, in their racial guises, out on a mission to procure high-end medical care or mortgages, say, rather than trousers and shoes.

When Rose and her mother, as black women, go out with an African-American friend, all pretending to look for jobs, they do so not in the offices of a small insurance company but in clothing stores in a swanky shopping district on the West Side of Los Angeles. The women are told that managers are absent or applications not in stock. (Leaving aside the possibility, however remote, that the responses were honest ones, it might have been faintly interesting then had the producers sent Carmen and Rose, as themselves, out to look for jobs in hair extension salons in Compton.) At any rate, the suggestion you’re left with – one similar to a point made some years ago in a controversial essay by Patricia Williams, an African-American law professor – is that the worst injustice a black person can suffer is to be denied the best treatment at department stores or the chance to sell expensive jeans in Santa Monica.

I thought Hasids doing “black” music were a joke (Rapping Rabbis) as old as Night Court (and we’re talking fifth season of Night Court lame), but there’s a big NYC/Brooklyn Jewish hipster thing going on and reggae singer Matisyahu is increasingly hot (and presumably not as hip at the same time). But no one ever talks about the rapper Curly Oxide (profiled a while back on This American Life).

The record is dull, and the concert was often worse.

Still, once you hear Matisyahu’s music, you may wonder why someone didn’t think of this sooner. The plaintive, minor-key melodies of reggae aren’t so far removed from the melodies Matisyahu would have heard, and sung, when he attended the Carlebach Shul, on the Upper West Side. And the imagery of Rastafarianism borrows heavily from Jewish tradition: Matisyahu is by no means the first reggae star to sing of Mount Zion, although he might be the first one who has had a chance to go there.

Matisyahu’s black hat also helps obscure something that might otherwise be more obvious: his race. He is a student of the Chabad-Lubavitch philosophy, but he is also a white reggae singer with an all-white band, playing (on Monday night, anyway) to an almost all-white crowd. Yet he has mainly avoided thorny questions about cultural appropriation. He looks like an anomaly, but if you think of him as a white pop star drawing from a black musical tradition, then he may seem like a more familiar figure.
…
Perhaps Matisyahu’s fans aren’t familiar with a little-known group of performers who still make great reggae records: Jamaicans. Maybe they are waiting for a shopping list of the best recent reggae CD’s from Jamaica. So here’s a start: Richie Spice, “Spice in Your Life” (Fifth Element); Luciano, “Lessons of Life” (Shanachie); Sizzla, “Da Real Thing” (VP).

Matisyahu has built a following by bypassing reggae fanatics (many of his fans come from the jam-band world). That explains why he outsells and outdraws his Jamaican counterparts. And it may also explain why some listeners find his music so exciting. Certainly no one seemed disappointed after Monday’s concert. And as the crowd filed out, a wry young black woman working the door could be overheard singing to herself. It was a line from an older reggae song: “Could You Be Loved,” by Bob Marley. “Don’t let them fool you,” she sang.

swearingfestival is some event in SF to look at and experience swearing, of course. But lately I’ve been thinking about the silly words that we create to let us swear with out swearing.

Gosh instead of God
Gee whiz instead of Jesus Christ
Durn/dang instead of damn
Shucks or shoot instead of shit

And now we’ve got the network TV versions. My fave is jagoff (jagov?) for jackoff, appearing on NYPD, Law and Order (I presume), Third Watch, and the like. Anyplace you’ve got cops talking tough about the scum on the street.

It’s just so silly; you can say jagoff, but you can’t say jackoff?

I’m sure there are others I can’t think of right now.

Update: frigging, freaking, fricking all for fucking

We’ve lived in this area called The Coastside for two years now, and I’m amazed and appalled at the lack of infrastructure. I’m not talking about roads and plumbing (though I’m sure those are issues; I just don’t know enough to complain about them). We don’t have sidewalks and we don’t have home delivery of mail. That may be seen as charming; but it’s getting a bit old for me.

We have no cell coverage. I can’t imagine that will change at any point.

Our Comcast cable television is terrible: image quality is consistently bad (with over-the-air artifacts like ghosting common on some very low channels) and audio is low volume and filled with hiss on higher channels. Recently, channel 3 went out completely. Comcast told many residents who called that they wouldn’t regard it as a real issue until they had reached a minimum number of service complaints that resulted in a scheduled technician visit. In other words, if you called in and told them about the problem, they would treat it as a local-to-you problem that didn’t require any action on their part until someone came and looked at YOUR house and eliminated that as the specific cause. It takes several days to get someone to come out and so it took a few days for Comcast to even acknowledge that they had a problem and to take any action to fix it. We pay the same as everyone else (if not more) for cable, and we get lousy service (both the product itself and the customer service).

Our power goes out many times each winter. For an hour, or for 7 hours. You never know, of course. It’s dangerous, inconvenient, stressful. We aren’t supposed to use the water when the power is out. There’s obviously some non-redundant connection that is very vulnerable to wind, wet soil, trees, or whatever. But PG&E is not investing in any infrastructure to develop a robust solution, so we’re stuck with frequent outages that leave a big section of Montara without power. Our power bills in Montara are ridiculously higher than other places we’ve lived.

Our telephone service is sub-par. Caller-ID information is often not received. A year or so ago I found that I would get a busy signal when calling the voice mail number – and that my own callers would often not be able to leave voice mail; instead having it ring and ring. It took a great deal of effort to get someone at SBC to acknowledge and fix the problem (they were out of circuits or something arcane). Last week we encountered terrible static when calling to Montara from outside of Montara. Calls to either of our home numbers from a cell phone or land line located elsewhere would be at best scratchy and at worst, unlistenable. I have reported this to SBC as have many other local residents. As with the cable, it’s being treated like a problem local to our own service, despite the fact that it’s not, but of course, we can only report our own problem. I was informed by SBC that they’ve checked and everything is fine. It’s not fine; my phone service is only semi-usable (I have to shout at my callers that I’ll return their call), and SBC has decided not to act. Of course, we pay the same fees to SBC that everyone else does.

Can you tell I’m fed up?

In an article in the SF Chronicle, describing how Indian call-center workers suffer abuse, comes mention of

a new sitcom called ‘The Call Center,’ scheduled to air this winter on the leading channel NDTV, depict Westerners as arrogant, immoral and comically rude.

The show’s villain, the Indian manager of a call center, is an India-bashing blowhard, a disposition he picked up at an Ivy League business school in the United States.

Pretty good Wired interview with Jon Stewart and Ben Karlin. Wired, being Wired, is pushing these guys to say brilliant stuff about the future, about technology, business models being revamped, distribution channels being introduced, utter changes in how we watch and how they make. But Stewart and Karlin continue to resist, falling back on their stance of hey, we just make a show; we’re show makers. But they get them to give up this quote

Karlin: From a creative standpoint, there used to be this idea that network was the holy grail and that cable was where people went who couldn’t work on network. That’s the old model. And now that there’s just as many quality shows coming out of cable – on FX there’s good shows, Comedy Central has good shows, HBO Ôø? I think the audience is going to cease noticing, “Oh, that’s got the NBC logo on it.”
Stewart: It’s the idea that the content is no longer valued by where it stands, in what neighborhood it lives. What matters is what you put out there, not its location. I think that’s what people have come to learn from the Internet – it doesn’t matter where it comes from. If it’s good, it’s good. Just because our channel is after HGTV and right before Spanish people playing soccer doesn’t make it any less valuable than something that exists in the single digits on your television set.

which just struck me as untrue. I think the networks (and by that I mean cable networks as well as network networks) have built pretty strong brands that attract people. HBO, especially. On one hand, I guess they’re saying that the network (ABC CBS NBC) is not the purest endorser of quality any more, that’s absolutely true, but the statement the location of the content has no meaning and the show is judged on its own merit, well, that doesn’t seem true at all.

Reminds me of some recent ethnographic work with consumers about food and groceries. Without revealing anything confidential, I think I can mention that I was surprised by how strong the grocery store brand was in conveying positive meaning about food choices. Far stronger than any indvidual food producer brand. Perhaps an analogy for HBO (the place you get Sopranos and Six Feet Under). Perhaps not.

via Boing Boing

Wife Swap is part of ABC’s primetime line-up and we are currently casting families for its second season. The premise of Wife Swap, which generated a lot of buzz in its inaugural season, is that one parent from each household swaps places for ten days to experience how another family runs their lives. It is an incredible family experience and opportunity to both learn and teach different family values. Wife Swap is a fascinating story of what happens when two married couples see themselves, and their spouses, in a whole new light.

Potential families can live anywhere in the United States, but we ask that families who apply consist of two parents that have at least two children, over the age of 5, living at home.

All participating families receieve a $20,000 honorarium fee too!

Wow, $20K – I wonder if this begins to set the bar a little too high for the ordinary incentives we pay households for user research!!!

In some ways, it’s amazing that TV Guide has hung on this long; I can’t remember the last time I used any sort of printed television guide, and I’ve never paid for one, going back to when they’d come free with the weekly paper (I guess they still do, but that goes right into the recycling in our house). The story is interesting, if not particularly shocking, because it marks a sharp transition point in a slow and inexorable change in technology and associated consumer behavior.

full story

TV Guide is slashing the circulation it guarantees advertisers by about two-thirds and relaunching itself as a large format magazine with far fewer TV listings and more emphasis on lifestyle and entertainment, the magazine announced Tuesday.

The radical changes to TV Guide come as it struggles to remain relevant in an age where many TV viewers get their listings from on-screen guides provided by their cable companies or online.

The new TV Guide, which will launch with the Oct. 17 issue, will contain just 25 percent listings and 75 percent stories, versus the 75 percent listings and 25 percent stories it has now, the company said early Tuesday.

Rich Battista, the CEO of TV Guide’s parent company, Gemstar-TV Guide International Inc., said in an interview that the company’s research found that readers would be more interested in reading a magazine with fewer listings and more stories about TV shows and their stars.

Plus, we get the standard PR-speak where the company explains that their business decision was purely informed by research about consumer preference. These things write themselves!

HBO’s The Comeback got some unkind press when it launched, but I finally checked it out. The show is a mock documentary about a semi-faded sitcom star who is cast in a new sitcom (“Room and Bored”) but struggles to get respect. Kudrow’s character is making a reality show (which is the same as a documentary, sometimes, isn’t it?) about her career, and calling it The Comeback (which is also the name of the show that we are watching – how PoMo).

Kudrow is amazing – you almost won’t recognize her. She has twitches and tics and hair and smile and nose that seem light years away from Phoebe. The show is funny and excruciatingly uncomfortable. And gives absolutely no credit to the very similarly-toned Lisa Picard Is Famous (a mock documentary about a never-say-die up and coming young actress who is dealt near-fatal blow after near-fatal blow). (note: there was an actual movie site for LisaPicardIsFamous but they let the domain registration lapse – guess there was no budget a few years post-release).

NYT op-ed piece relates what happens when a near-emergency on a flight turns into fodder for reality TV

Flight 1004 made its careful descent. Later, a Southwest official would explain to me that after takeoff, the control stick in the cockpit had begun to shake violently – the universal warning to pilots that a plane is about to stall. To the captain, the jetliner seemed to be flying fine. But the shaking stick would not stop. We had reversed our course; it would turn out that an angle-of-attack measurement vane on the exterior of the plane had broken, and the pilots were receiving a false indication of the impending stall. But neither the crew nor the passengers knew that at the time.

We landed, to the audible relief of those on board, pulled up to the gate, and – before the captain could tell us what had gone wrong – four people entered through a jetway. One held a television camera; another began handing out release-permission forms.

The captain – referring to the camera crew – told us: ‘They’re ours.’

The television people were from an entertainment series called ‘Airline,’ which runs on the A&E cable network. The program is one of the many so-called reality shows – nonfiction. Highly stylized, accompanied by a soundtrack of guitars and percussion instruments, ‘Airline’ weaves in and out of several stories at Southwest Airlines each week.

Five minutes earlier, we had been holding our breaths. Now the camera was rolling; as the captain stood in the aisle and explained to us about the aborted flight, the lens pointed over his shoulder, catching our expressions.

We had already become a plot point – it had happened just that swiftly. The realness of the trepidation we had felt in the air had seamlessly been turned into reality, that parallel but separate new state. The clammy uncertainty that had filled the plane was even now being packaged as entertainment, with a beginning, a middle and an end.

We hadn’t been given permission to stand up yet, and no one had aspired to be a part of this, but the production had commenced. It felt oddly familiar, and it was, because permutations of it have been around us for a while now: 911-call audiotapes with the anguished sounds of people in the worst moments of their lives, their recorded voices involuntarily played on TV and radio for the divertissement of strangers; surveillance videotapes from brutal convenience store robberies and shootings, routinely televised for all to watch; children being beaten by school-bus bullies, caught on video, broadcast nationwide if the images are gripping enough. Life as a carnival sideshow.

Back in my younger days of television watching, this was Richard Hatch on Battlestar Galactica.

But now this is who they mean by Richard Hatch.

And this is what they mean by Battlestar Galactica.

I’m sure there’s something clever and French I could cite here (la plus ca change, etc.). Isn’t cultural reverse engineering a lonely game?