Inspired by the publication of Check the Technique V.2, journalist Brian Coleman's second volume of "Liner Notes for Hip-Hop Junkies," this will be a discussion of hip hop production practices and the hip hop creative process as both musical techniques and social techniques. What is the history behind the making of some of hip hop's greatest albums and songs? How are tracks made? How can the process of assembling a track be applied to larger social and cultural practices?
Participants: Brian Coleman, journalist and author of Check the Technique Vols 1 & 2, and Rakim Told Me: Wax Facts Straight From The Original Artists Adrian Younge, composer, arranger, producer (Venice Dawn, Souls of Mischief, Ghostface Killah) Brother J, from legendary Hip Hop crew X Clan Brian 'B+' Cross, photographer, filmmaker, UCSD professor, and author of It's Not About a Salary, It's About a Reality: Rap, Race, and Resistance in Los Angeles Oliver Wang, CSULB sociologist, DJ, journalist, and author of Classic Material: The Hip Hop Album Guide Monalisa Murray, DJ, hip hop record label and promotion veteran
Is it possible drones might, uh, entertain us in the future? Cirque du Soleil already has the answer. more>>
CGI (computer-generated imagery) rules in Hollywood, right? Not for everything, it turns out. Several top filmmakers got together with neuroscientists and cognitive psychologists to compare notes on where audience members direct their gaze and what sort of tricks directors use to focus and hold onto that attention. Can you guess the two elements in action films for which CGI just doesn't cut it? (Link opens in new window; scroll down for clip of Iron Man 2 with an overlay of eye-tracking software) more>>
Afraid your new infographic-intensive presentation will bore people? What if it were turned into a game? A Dutch company has developed Metrico, which replaces traditional game narrative with infographics. more>>
Mourning Becomes Collective
The tragic passing of actor Robin Williams becomes a case-study in how social media is changing how we grieve. more>>
Museum-quality digital art...coming soon to a screen in your home. more>>
Who appear to be the new kings of Twitter, social media strategy and branding? ISIS, the Islamic State of Iraq and Syria, currently terrorizing large swaths of the Middle East. They've even built their own app. Where's the fail whale when you really need him? more>>
The jury is still out on the relationship between violent video games and real world violence ...but that may be about to change. A new study due later this summer finds that areas of teens' brains linked to empathy become muted by violent images when exposed to them over long periods of time. Another study, from Canada's Brock University, found that children who played violent video games for significant lengths of time were not as morally mature as other children their age. more>>
Fashion flip: designers have long been thrilled to get their clothes into movies (think Ralph Lauren and Annie Hall), but now a filmmaker is preparing to market the clothes from his new film directly to customers. Matthew Vaughn (Kick-Ass, X-Men: First Class) hopes viewers of his James Bond spoof Kingsman: The Secret Service will admire the Savile Row look of the suits in the movie enough to pay Gucci-level dollars. more>>
Who can protect Los Angeles from the next big earthquake? How about this woman? And revisit the Lear Center'sstudy about the first Great Shakeout, a mass earthquake drill which has since become an annual event. And just in case, remember it's duck, cover, and hold!
A new UPenn Annenberg Public Policy Center and Pew Research Centerstudy shows that regular viewers of the Colbert Report during the 2012 election were better educated about campaign finance law after the "Citizens United" decision than viewers of traditional news shows. Read it and weep....or laugh.
Care for an artistic interpretation of what climate change might feel like? You're welcome!
More blurring of the line between real life and entertainment: Thai protesters angry at the recent military coup are borrowing a three-fingered salute from the science-fiction hit The Hunger Games to express their resistance. Military leaders are monitoring the movement closely.
What's the relationship between science and telling ourselves stories? Closer than you think. Read this terrific article from Nautilus. about the long, complex link between scientific progress and stories we make up.
We're awash in big data now, even as we try to clearly visualize it graphically. Perhaps a look at old data visulizations can inspire us. Take a look at this absolutely beautiful Erie Railroad organizational chart from 1855. Wow.
Much Ado About Moocs...a short two years after educators and techies embraced Massive Online Open Courses as the gateway to a new golden, egalitarian age of higher education, the cursor seems to be stuck, blinking, on the screen: a new study shows that only half of those who registered for a course ever watched a lecture, and then only 4 percent completed the courses. And a joint San Jose State University-Udacity experiment has failed completely. ThisNYTimes article explains the reboot.
There's a new tool in the struggle to get action on climate change on everyone's agenda: insurance company actuarial tables. more>>
There's no link between exposure to media violence and actual violent behavior, right? Not so fast. A new meta-analysis of 217 studies published between 1957 and 1990 suggests that exposure to media violence is a risk factor for violent behavior, much in the same way that second-hand smoke is a risk factor for cancer. more>>
Did you ever think chocolate could be entertaining, and compellingly so? Watch what some clever Germans have devised. more>>
Fox News seems to have discovered the science behind making people distrust science. A new study explains how. more>>
Do you tweet during television shows? A new study analyzes the interesting connections between Twitter and TV. more>>
Can puffs of air be the next big thing in online entertainment interactivity? Disney Research thinks so and their new tool, Aireal, is pretty dazzling. more>>
Are you still just playing Grand Theft Auto on your Kinect? Take a gander at what a dance company and engineering firm in France have been doing with the gaming device. more>>
Since the NSA leaks were revealed, "meta data" has been all the buzz. Find out what it means and what it looks like here.
If all you've got in your paintbox are pixels, can you still be an artist? The exhibit "Into the Pixel" offers some interesting answers. more>>
"Even This I Get to Experience" - Norman Lear's Autobiography Is Out
Our namesake and founding benefactor, Norman Lear, the man who captivated 120 million weekly TV viewers and changed the face of American television, has at last written his memoir. In "Even This I Get to Experience," out today from Penguin Press, Lear recounts how his Depression-era childhood, struggles with his father and his colorful life influenced such characters as Archie Bunker, Maude, George Jefferson and Mary Hartman. As part of the book launch, Norman sat down for an extended interview with Katie Couric of Yahoo News.
The book is already getting rave reviews:
"Fantastic stories from one of the wisest, most subversive, and most beautiful human beings the comedy world has ever known. Like the man himself, this book is charming, awe-inspiring, and hilarious."
- Trey Parker, Co-Creator of South Park
2014 Sentinel Awards Presented by Hollywood, Health & Society
NBC's hit series "Parenthood," now in its final season, received first place in the Drama category at the 2014 Sentinel Awards, presented by the Lear Center's Hollywood, Health & Society program.
The gala October event drew some of the top names in the entertainment industry. Producer Jerry Weintraub ("Ocean's Eleven," "Ocean's Twelve," "Behind the Candelabra") accepted the award for "Years of Living Dangerously," for which he served as executive producer. Alex Borstein, who plays Nurse Dawn on HBO's "Getting On," presented the award in the Comedy category, and executive producer and show runner Jason Katims represented "Parenthood." Also accepting awards were Dante Di Loreto, executive producer for "The Normal Heart," and Chris Nee, executive producer and creator of the Disney Junior hit show "Doc McStuffins."
"The Normal Heart" (HBO) won first place for Drama TV Movie with a powerful story about HIV/AIDS activism in the early 1980's. Mark Ruffalo, Jonathan Groff, and Frank De Julio starred in the film based on the original screenplay by Larry Kramer.
In the Climate Change category, "Years of Living Dangerously," Showtime's nine-part documentary television series, won first place for an episode featuring Matt Damon on how rising temperatures are becoming a public health emergency. "Parenthood" won for its storyline about Hank, played by Ray Romano, who learns he may have Asperger's Syndrome. "Doc McStuffins" won in the Children's Programming category for a storyline that stresses the importance of wearing a helmet when riding a bike. "Getting On" took top honors in the Comedy category for it's dark humor in dealing with the healthcare system in an extended care hospital ward.
This year, the Reality category was expanded to include talk shows and documentaries. "Life According to Sam" (HBO) took first place in the category for the topic of progeria, a genetic condition where symptoms resembling aging appear at an early age.
The awards are presented in partnership with the Centers for Disease Control and Prevention.
The Great California Shakeout: Oct. 16, 2014
Are you really ready? It's time again for California's annual statewide earthquake preparedness drill, The Great Shakeout. Read the Lear Center's report on the impact of the first drill in 2008. And don't forget to drop, cover, and hold on!
Dreaming Sin Fronteras
Dreaming Without Borders, a special USC Visions & Voices multimedia event organized by PMP director Josh Kun, tells the stories of undocumented youth through music, visual art and testimony. Adapted and directed by Antonio Mercado, this unique production will feature student actors from USC and Jose Julian (A Better Life) along with "DREAMers" - undocumented students who would benefit from a federal Development, Relief and Education for Alien Minors (DREAM) Act - from across Los Angeles. With live music by Shawn King (DeVotchKa), Raul Pacheco (Ozomatli), Ceci Bastida (Tijuana NO!) and Stephen Brackett (The Flobots) along with visual designs by activist-artist Favianna Rodriguez, this performance will powerfully communicate the narratives of young people whose lives are deeply and devastatingly defined by international borders and immigration laws.
Thursday, October 16, 2014 :: 7:30-9:00PM
USC Bovard Auditorium
Admission is FREE; Reservation required. Please RSVP here.
Co-sponsored by USC Center for the Study of Immigrant Integration and El Centro Chicano.
Investigating Power and the Future of Truth with Charles Lewis
Mortally consequential lies by those in power can take months, years or even decades to discover. That means a public deluded about some of the most important issues of the day until it's too late to do anything meaningful about them. What are the implications for journalism and democracy if citizens don't have timely, accurate information?
The Encyclopedia of Journalism called American University Professor Charles Lewis "one of the 30 most notable investigative reporters in the U.S. since World War I." Founder of the Center for Public Integrity, and winner of the PEN USA First Amendment Award for his courage in expanding the reach of investigative journalism, American University professor Charles Lewis is author most recently of 935 Lies: The Future of Truth and the Decline of America's Moral Integrity.
Thursday, October 30, 2014 :: 12 Noon
Wallace Annenberg Hall, Room 106
USC University Campus
Book signing to follow. This USC Annenberg Dean's Forum is co-sponsored by the School of Journalism and the Norman Lear Center.
What's So Funny About Climate Change?
The Lear Center's Hollywood, Health & Society program, in conjunction with WGA East, helped kick off Climate Week NYC via a unique discussion, with special guest Norman Lear, about the need for and uses of comedy in mobilizing citizen action on climate change. Other panelists included Rory Albanese (Showrunner, The Minority Report with Larry Wilmore; former showrunner, The Daily Show with Jon Stewart), Chris Albers (Writer, Borgia; writer/producer, Late Night, The Tonight Show with Conan O'Brien and Late Show with David Letterman), Sidney Harris (Cartoonist, The New Yorker, The Wall Street Journal ), Lyn Lear (Environmental activist/producer) and Anthony Leiserowitz, Ph.D (Yale Project on Climate Change Communication). The conversation was co-moderated by Michael Winship (President, WGAE; senior writer, Moyers & Company ) and Marty Kaplan (Director, The Norman Lear Center).
Clemente Ladrido Earns USC Staff Monthly Recognition Award
Everyone at the Lear Center knows how brilliant, fast and thorough Clemente Ladrido, our Director, Finance and Administration, is and now the whole world knows our secret. Clemente was presented with October's USC Staff Monthly Recognition at a small ceremony with staff and friends. We couldn't be happier for him or more proud. Congratulations, Clemente!
Intervention: Contemporary Artists & the Modern House
Lear Center Managing Director and Director of Research Johanna Blakley joins artists, critics and curators for a two-day conference investigating the power of experimental art installations to remake the spatial and social realities of modernist house museums. "Invention: Contemporary Artists and the Modern House" responds to the curatorial shift in the maintenance of house museums, in which directors are supporting increasingly transformative art installations that both challenge and celebrate the modernist landmarks. These collaborations with artists point to alternative preservation strategies, which move away from the conservation of historic homes as static objects and instead affirm the importance of human occupation and transformation. The conference will host a series of conversations between house museum directors, curators, artists and architects to reveal the curatorial motivations and artistic processes behind these interventions.
Blakley joins Mark Allen of Machine Project, Los Angeles and Ted Bosleey, Director of the Pasadena Gamble House for a panel discussion addressing the role of social practice in animating house museums, in particular, the transformation of the Gamble House. All events are free to the public.
Saturday October 4th, 2014, 1pm-5pm
Schindler's Kings Road House/MAK Center
835 North Kings Road, West Hollywood, CA 90069
Veronica Jauriqui is Project Lead at the Lear Center.
It's a good time to be a cord cutter.
First HBO, then CBS announced plans to offer stand-alone streaming services to those without cable subscriptions. It was called a watershed moment for cable TV and sent a strong signal that the mythical a-la-carte model for the industry was a real possibility.
As most other media industries - from newspapers to music - can attest, the Internet is a disruptive force and will eventually compel you to rethink your business model. And the cable industry was in desperate need of a makeover. Why it didn't happen sooner is the real question. Pay TV subscriptions have been on the decline since 2011, hitting an all-time low of 40 million subscribers in 2013. And according to ComScore, among the coveted 18- to 34-year-olds, 24 percent don't subscribe to cable TV at all.
Cable companies seemed to react by forcing even more channels on their subscribers. In fact, in a May 2014 Nielsen report, as offerings grew, audiences tuned into the same 17-ish channels year after year.
Content creators can now be emboldened by the slow but steady progress of low-cost providers-turned-producers like Netflix, Hulu, iTunes and most recently Amazon Prime. You can be part of the cultural conversation and watch Orange is the New Black without being saddled with a cable bill and an unnecessary bundle of unwatched channels.
It is a game changer for television, but not in the way many people hope. As much as we hate the monopolies imposed by cable companies and the forced bundled packages in order to get a few of our favorite channels, cable companies are not going away. CBS announced, for example, that the NFL will not be included in its online offerings. So sports fans are out of luck. Additionally, cable broadband will be in high demand as more and more viewers look for high-speed service. Their monopolies will be dismantled, however, as audiences can choose between cable providers and services provided by telecommunications companies like Verizon and AT&T.
Who will really suffer will be the content creators for less resource-rich companies who don't have the heft of more popular channels like HBO. The Internet democratized a lot of content, allowing for niche voices to find a place to be seen or heard. But within television programming, those niche stations and independent voices - like those on LOGO or Ovation, consistently ranked as channels with the lowest viewerships - will struggle to find an audience willing to pay for it. Or they'll have to look to alternate modes of distribution to survive.
There is still a lot up in the air, and who survives and much less thrives in this new landscape is yet to be determined. But one thing is for certain, if you look to cable TV in two to five years, you probably won't recognize what you see.
In 1967, my mother, who had been raised in the suburbs of Atlanta, in a lifestyle that shielded her from any memory of the Depression; who was educated at a premiere women's college; who for twenty-two years was a doctor's wife; found herself divorced, having to find a job, and raise two young girls alone. She rose to the occasion, and then some.
My sister and I became latch-key kids, walking home from school and spending several hours alone with the TV until our mother returned home from her job at the local YMCA. The characters on the Dick Van Dyke Show, Leave it to Beaver, I Love Lucy and Father Knows Best re-runs were my afternoon friends. I can still recite entire episodes and sometimes do at parties.
We lived in rural Indiana, a small town smack in the middle of the Christian Bible Belt, where the strong presence of the Ku Klux Klan and the John Birch Society wafted from the closets of my school friends' homes.
My mom, going against all her good southern upbringing, in her own way, took a stand on civil rights. She was not the indignant protester type. She was a southern lady, well versed in proper entertaining, polite conversation and warm hospitality. But behind her sweet, unassuming, southern smile lurked a pensive, logical, wise mind.
She made a point of meeting and knowing people of all races - perhaps a slight southern guilt tingeing her ambitions. We had black friends, Native American friends, Asian friends, Jewish friends, all who regularly came to visit us at our home - stirring up anxieties and suspicions among our neighbors. My older sister's boyfriend at the time happened to be African American, causing the neighbors across the street to sit on their front porch with shotguns across their laps. "Just in case," they would say to each other. Gossip and controversy spread across town about how we were "N-word lovers." My mother was fired - from the Young Men's Christian Association - my sister was fired from her teaching job at a local dance studio, my elementary schoolmates shunned me.
My mother would say to me, "My goal is to help raise a generation of people who are not blemished by racial prejudice. Imagine how the world will be without this nonsense."
In 1971, when I was thirteen, my uncle raved about a new TV show called All in the Family, which featured a lovable curmudgeon named Archie Bunker. "Why is everyone yelling?" I asked one evening, as my uncle roared with laughter. "Why is that guy so mad?" "This," said my uncle - another ardent civil rights advocate - "is going to change everything. Norman Lear is a genius."
Flash forward to 1998. My husband and I took our two children on a winter vacation. After a day of skiing and playing in the snow, my kids and some of their friends, (ages ranging from 5 - 10) flopped on the couch and turned on the TV to behold a rerun of - you guessed it - All in the Family. It was an episode in which Lionel, the Bunker's black neighbor, angry with his parents, asks to sleep on Archie's living room couch. As Gloria and Meathead arrange the sheets and pillow, Archie makes awkward, frustrated faces into the camera. I remembered this episode and how my uncle had laughed and laughed. The children watched for a moment and then looked up at me declaring, "This is dumb. Why is he acting so weird just because Lionel wants to sleep on his couch?"
Thanks to Norman Lear, that generation my mother referred to is beginning to emerge.
When I attended the Evolving Culture of Science Engagement workshop last fall, I was truly inspired by all the talent, technology and pure chutzpa being funneled into creative efforts to engage broader audiences in science. I'm based at the Norman Lear Center, a think tank at the University of Southern California which is devoted to understanding how the power of media, entertainment and storytelling can be used to educate citizens and elevate civic discourse. And so, of course, I love the idea of using rap music, comic books, stand-up comedy - anything that'll grab and hold attention - to get people hooked on science.
And I love it not only because I think it's fun. I also know it works.
Our research has demonstrated again and again that great storytelling is an incredibly effective way to educate broad audiences about things they thought were boring. That's one reason that we've partnered with the Centers for Disease Control and Prevention for over a decade to improve the accuracy of health information in entertainment TV programming: it turns out, a majority of Americans already believe that information is accurate and a quarter say that entertainment TV shows are a primary source for health information for them.
Obviously, great storytelling not only reflects the world, it helps shape it.
A crucial part of our work with the CDC involves evaluating how audiences receive a health storyline; whether they learned something from it; if their attitudes shifted, and the ultimate coup de grace, if they made a healthy behavior change in their lives. (You can see lots of the results of our research here.)
So when I attended the workshop at MIT, I came armed with one crucial question: How has all this burgeoning creativity in science communication affected audiences? It was clear from the outset of the workshop that we did not have adequate research in place to answer this question, but there was a strong appetite to do so (many of these people are scientists after all!). In the summary report from the workshop, I was thrilled to see that our conveners recognize the need for a research agenda that includes empirical research. I hope that some of those resources are devoted specifically to analyzing the impact of science engagement efforts on high-priority target audiences. Ultimately, we need to know what types of cultural content are most effective at doing things like
Increasing knowledge about scientific topics and issues
Inciting informed conversations and debates about science
Increasing interest in pursuing careers in scientific fields
Potentially, a handful of carefully selected case studies could help answer some of these questions and provide us with some much-needed benchmarks for future research. It would be terrific if at least one of those case studies included the collection of engagement metrics from a digital platform, combined with a targeted survey instrument like the one we use to evaluate the impact of documentary and feature films. This research method would enable us to find out quite a lot about patterns of online engagement and how they're related to knowledge, interest levels and behavior change in a target audience.
In order for this initiative to succeed, and to attract the funding that will fuel it, I believe we need to answer hard questions like this. But I have a sneaking suspicion that this incredibly clever and committed group of people will not only tackle this challenge but figure out what works pretty darn quick.
I was asked recently to speak at a symposium on Media Choices at Drexel University. The event drew a fascinating array of scholars who were studying things like Internet addiction, online dating, and political polarization in media consumption.
When someone mentions "media choice" to me, I automatically start thinking about the algorithms that have been developed to help shape that choice.
I have followed avidly the growing use of recommendation systems that you see on sites like Amazon, Netflix, YouTube and Pandora. I saw these mechanisms as a significant move away from demographic marketing (which I find deeply flawed) to marketing based on customer taste.
I did have my reservations though. I was very moved by Eli Pariser's TED talk about the danger of "filter bubbles," which effectively insulate us from opinions and content that we don't understand or like. His talk really resonated with me because of the deeply divided ideological and taste communities that the Lear Center found in a major survey research project on the correlation between entertainment preferences and political ideology (spoiler: they are even more deeply connected than you might think.)
But, when I conducted further research about collaborative filtering systems, I made some rather counter-intuitive discoveries. YouTube, for instance,
What brand doesn't belong on this list? Amazon, Uber, Yelp, Hillary.
It's a trick question. They all belong. In recent days, they've all been making it harder for their fans to love them.
I loved Amazon at first sight. Later, when it killed Borders, I forgave it, and called it creative destruction. I vowed to patronize independent bookstores more. I said I'd be glad to pay a premium for knowledgeable staff. Here's how that worked out: I'd call to see if they had something, and almost always they didn't, but said it sounds like a terrific book, they'd be more than happy to order it, shouldn't take much more than a week. And, meanwhile, there, on my screen, calling to me, was Amazon, one click and one day away. Almost always, I did click. It felt like a secret vice.
What's hurting my relationship with Amazon's brand now is its price war with publisher Hachette. In May, Jeff Bezos decided that only a few e-books would retail on Amazon for more than $9.99. Hachette said, sorry, you can't tell us what to do, we set our own e-book prices. Amazon retaliated by preventing pre-orders of books from Hachette authors such as J.K. Rowling and John Patterson, and by slow-walking fulfillment of orders for Hachette books. Suddenly, it's two weeks instead of tomorrow.
I want to make excuses for Amazon. I want to believe that tactics like these are ordinary in any modern market. Instead, I'm asking myself why I'm in a relationship with a bully.
I loved Uber at first, too. You tap, they come right away, you never have to reach for your wallet, calculate a tip or sign a slip, and compared to valet parking in Los Angeles, it can be a bargain. I didn't mind that Uber had the taxi industry in its crosshairs. How about the regulated taxi industry getting its own digital act together? Why not compete to deliver the best consumer experience instead of going after them in lawsuits and taxi commissions?
But reports about Uber's competition with Lyft have dampened my ardor. Lyft's systems have been gummed up by thousands of car requests from Uber minions who either don't show up or who ride for just a few blocks and try to recruit the Lyft driver to Uber for a $500-a-head bounty. So much for the romance of the sharing economy. I can't be the only fanboy wondering whether Uber is still cool.
I had a crush on Yelp, too. I liked how it gave independent consumers a voice and opened up word-of-mouth to everyone. Everyone knows to take Yelp ratings with a grain of salt. Friends, family and employees are always trying to rig the comments. I thought Yelp's algorithms would intercept some of that, and that my personal jerk detector would help me figure out the real wisdom of the crowd. I'd heard charges that rigging was being done by Yelp itself -- that it shakes down the businesses it rates to buy ads on their site, threating that their reviews will tank if they balk. But I'd dismissed those complaints as sour grapes and paranoia.
On Sept. 4, a federal appeals court threw out a case against Yelp alleging economic extortion. When I heard one of the plaintiffs on the radio, my gut told me he was the real deal. The more I heard from him and others, the more I believed them. In my ruling, Yelp runs a pay-to-play shop. But in her ruling, Judge Marsha S. Berzon said the plaintiffs hadn't proven economic extortion. Here's the killer in the ruling: Even if owners who refused to buy ads had actually proven that Yelp withheld positive reviews, it wouldn't matter, because Yelp "has no obligation" to publish them. "It is not unlawful for Yelp to post and sequence ... reviews." Yelp is a business. It has no greater obligation to live up to my fantasies about fairness and accuracy than does Fox News.
The same day the Yelp decision came down, the Washington Post published Hillary Rodham Clinton's review of Henry Kissinger's new book, "World Order." In it she calls him "a friend," vouches for his "astute observations" and notes that they share "a belief in the indispensability of continued American leadership in service of a just and liberal order."
I have been her fan since she was the first lady of Arkansas. This tribute to Kissinger won't be the only test of my fidelity, but I'm not ready to write this one off as a one-off. Actually, I can think of a few different words to describe him than she did. Gasbag, narcissist and war criminal come to mind.
We now know that when Kissinger was Lyndon Johnson's adviser to Vietnam peace talks, he secretly leaked to Richard Nixon that a truce was imminent. This enabled Nixon to torpedo the treaty, telling the Thieu government of South Vietnam that Nixon would give him a better deal than Johnson. Thieu pulled out of the talks, and Nixon, running as the peace candidate, arguably won the 1968 presidential election because of Kissinger's sabotage. Before the war would end, 20,000 more American troops would die, 100,000 would be wounded, and more than a million Vietnamese would be killed. We also now know that the "just and liberal order" that Clinton and Kissinger agree on didn't prevent him from backing the military coup that overthrew the democratically elected but inconveniently socialist president of Chile, or from making common cause with murderous despots from Argentina to East Timor.
I get why she calls him a friend. They were both secretaries of state. Members of that club don't blow the whistle on one another. I also get that the book review is meant to burnish her hawk credentials. It does. Unfortunately, what it also does is remind us that she is, after all, a politician.
By now we should know better than to believe any politician is driven more by ideals than by interests. Even so, there are plenty of competing interests for a candidate to pick from. I'd like to believe that if Clinton becomes a candidate for president, when she weighs plutocrats' interests against the human costs of their wealth, the exigencies of fundraising won't have a thumb on that scale, just as I'd like to believe that her valentine to Kissinger is just an effort to pre-empt whining from John McCain and Lindsay Graham. But if recent years have taught us anything, it's that loving any brand is a losing proposition, in politics no less than in commerce. Unfortunately, the business that brands are in is persuading us to confuse their power with our love.
Though the size of Warren Bennis's obituary in the New York Times was epic - all six columns across, filling most of the space above the fold on the back page of the A section - its text made no mention of something about him I always thought inextricable from who he was and the success he achieved.
There was room in the obit to note some of the top business executives he had mentored, and the four U.S. presidents who sought his advice. There was space to call him the father of leadership studies, with an influence comparable to Peter Drucker's on management. There were generous quotes from his books, articles and interviews, and there were telling details about his own leadership, like this: At age 19, when he was shipped off to Europe toward the end of the Battle of the Bulge, he was commissioned as a second lieutenant and was one of the youngest platoon leaders in the Army.
But there was one word - one outstanding quality he possessed - that apparently dared not be spoken in the obit of record.
Was it too shallow to acknowledge? A couple of weeks earlier, in James Garner's Times obituary, the word was right up there in the headline. If it could be said about an actor, why not also say it about an academic?
The word is handsome. Warren Bennis was one handsome dude.
I guess there's a taboo about admitting that this matters for a man unless his profession involves paying to look at him or running for office. Fortunately, the Times obit included two recent pictures of Warren. Until the very end, age didn't take away his dash.
When I visited Warren a couple of weeks before he died, at 89, he was busy planning. What he most wanted to talk about was a book he was going to write -- not his next book, but the book after that, which would be his 37th -- about political courage. His body was clearly failing. I knew this was likely to be the last time I'd see him, and I think he knew it, too, yet our conversation contained no goodbyes. I know: Men are stupid about feelings. But both of us were less afraid to talk about one kind of courage than another.
He told me how bothersome it was that he'd fallen behind on his three-newspapers-a-day regime, but I still found him as current on Washington as anyone. He played with the idea that President Obama's troubles with Congress originated in his life as a young man, which he thought might make a good case study for the book. He confided that he was thinking about retiring from his professorship at the University of Southern California when he turned 90 next March, and cutting back a bit then on his calendar, but he said that wouldn't preclude him from spending a couple of days a week on campus with students. He asked me to consider writing the book with him, and co-teaching a course based on it. I didn't have to answer on the spot - it was just something to tuck away.
The reason all this talk about the future didn't break my heart was Warren's undiminished charm, and his coltish take on the topic, and the autumnal persistence of a matinee-idol handsomeness that disarmed any reservations about his powers. Over the 40 years I'd known him, his looks had made him pop out of every picture and room he appeared in. I knew this from personal experience. When I met him, I was a Stanford graduate student spending the summer interning at the Aspen Institute in Colorado, and he was president of the University of Cincinnati. The first time I laid eyes on him, his white hair and blue eyes were set off by a deep tan (we didn't know any better then), and the tennis whites and gleaming smile he wore made him almost impossibly dazzling.
He appreciated, and wore well, subtly beautiful clothes. He knew what a good blue shirt could do for him. Warren was the only man who ever looked me up and down, appraising my wardrobe and grooming, neither of which much interested me back then, but a couple of decades later, when he was still grading me on how I was turned out, it finally dawned on me that he was patiently trying to teach me that a dollop of vanity could help anyone go a long way.
Warren knew how good he looked, which I loved him for, and he understood the authority it lent to his own leadership. Men and women alike wanted him to notice them, befriend them, to bask in his vitality. Movie stars can make people a little crazy like that. But it never went to Warren's head. He was warm and kind, and he had an enduring empathy for - as Philo of Alexandria, whom he loved to cite, put it - the great drama going on within every person we meet on our journey.
Fifteen years after I met him, Warren floored me by turning my career transition from Washington to Hollywood into a case study in what became his best-selling and still classic work, "On Becoming a Leader." To this day, if someone I meet says they know who I am, chances are it's from that. I never did get to collaborate with him on a book or a course, but three years ago, I interviewed him for an hour on the topic of creativity and collaboration in front of a packed house at USC. I was sometimes challenged to keep him on topic - in his ninth decade, his anecdotes could be discursive, and nested like the tales of Sheherazade - but I needn't have worried about holding the audience. What he said about everyone from Stephen Sondheim to Steve Jobs held the audience rapt, but as an insurance policy he'd also worn some awesome striped cashmere socks that kept any listener's attention from wandering.
His daughter Kate told me that after he died, she sat at his desk, surrounded by his stuff, looking through his glasses, wrapping herself in his cardigan, trying to imagine being him. She saw that his calendar was open to July, and it was packed with appointments, visitors, reminders and deadlines. One of those visits was mine, when all he wanted to talk about was the future. He died on July 31. When she turned the page to August, it was blank.