American adults had sex about nine fewer times per year in the early 2010s compared to the late 1990s in data from the nationally representative General Social Survey, N = 26,620, 1989–2014. This was partially due to the higher percentage of unpartnered individuals, who have sex less frequently on average. Sexual frequency declined among the partnered (married or living together) but stayed steady among the unpartnered, reducing the marital/partnered advantage for sexual frequency. Declines in sexual frequency were similar across gender, race, region, educational level, and work status and were largest among those in their 50s, those with school-age children, and those who did not watch pornography. In analyses separating the effects of age, time period, and cohort, the decline was primarily due to birth cohort (year of birth, also known as generation). With age and time period controlled, those born in the 1930s (Silent generation) had sex the most often, whereas those born in the 1990s (Millennials and iGen) had sex the least often. The decline was not linked to longer working hours or increased pornography use. Age had a strong effect on sexual frequency: Americans in their 20s had sex an average of about 80 times per year, compared to about 20 times per year for those in their 60s. The results suggest that Americans are having sex less frequently due to two primary factors: An increasing number of individuals without a steady or marital partner and a decline in sexual frequency among those with partners.
What makes one song, TV show, or consumer product a hit, and the other not? Derek’s new book is probably the very best exploration of this question. Perhaps not surprisingly, I interpret much of his answer in terms of complacency: people want something that appears a bit different, but actually is deeply conservative and keeps them running in place (my take, not exactly his). In any case, what is the right blend of new and old to captivate an audience?
That is the new and excellent book by Jonathan Buchsbaum, offering the first comprehensive history of the debates over free trade and the “cultural exception,” as it has been called. It is thorough, readable, and goes well beyond the other sources on this topic.
To be sure, I disagree with Buchsbaum’s basic stance. He views “advertising dollars” as something attached to Hollywood movies like glue, giving them an unassailable competitive advantage, rather than an endogenous response to what viewers might wish to watch. The notion that French or other movie-makers could possibly thrive by innovating and exploring new quality dimensions seems too far from his thought. And he writes sentences such as: “France sought quickly to regulate multiplex development,” yet without wincing.
Perhaps his best sentence is the uncharacteristic: “Other commentators during the 1980s observed wryly that the only real European films were U.S. films, for only U.S. films succeeded in crossing borders in Europe.”
He spends a fair amount of time criticizing me, usually a positive feature in a book. Furthermore, he delivers very strongly on the basic history and narrative, and draws upon a wide variety of sources. So this one is definitely recommended to anyone with an interest in these topics.
The world’s largest exporter of roses is an Indian firm, Karuturi Global, which has leased 3,000 square kilometers of land in Ethiopia.
I talked today about globalization and the price system using Valentine’s Day and the rose market as a jumping off point. I spoke at the Sarla Anil Modi School of Economics at NMIMS in Mumbai. The students were excellent. Lots of well informed, enthusiastic questions, and debate.
Here is a bit of what I said:
Since no major English-language critic has made my major novel observation, can a flat-out wrong claim be considered a spoiler? I say the optimal time to read this post is in the middle of the movie, not before, not after. I’ll put the rest of under the fold…
First, Toni Erdmann is one of the most stimulating and multi-faceted movies I’ve seen in years, “utterly unique and wholly indefinable.” My non-spoiler plot summary is that an elite female German management consultant is called in to advise on outsourcing to Bucharest, and during the course of the movie she discovers she cannot get away from her father so easily.
Most of the core action unfolds after the woman’s father comes to visit her in Bucharest, and subjects her to an escalating series of escapades, mostly with co-workers. At least on the surface, the woman is efficient and worldly but emotionally stunted. Her father is rude and genuine and comic and self-destructive with his blundering interventions, unable to stop offending people, grabbing the attention, and repeatedly undercutting his daughter’s self-confidence. Everything has to be about him. As the movie progresses, however, the daughter learns she and her father are not so different after all.
What is this movie so good at?
Humor and comic set pieces. Staging a scene and subverting your expectations. Creating its own world, spread across a large and sprawling canvas (it’s almost three hours long). Expat life. The new German nationalism. Showing the multiple ways that women are condescended to or debased in the corporate world. Toadying. Rebelling by joining the establishment. The relationship between Germany and the economically colonized parts of Eastern Europe. The new principles of sex (and food). The emotionally unrewarding nature of contemporary cosmopolitan life, but also the limits of rootedness. And of course father-daughter dynamics and their persistence.
One rewarding way to watch the film is simply to track how many ways the German protagonist — in terms of her groveling, her rhetoric, and finally her complete nudity — is reduced to the status of her obsequious Romanian assistant. That’s factor price equalization with a vengeance.
OK, so what is the catch and major spoiler? I say this film uses a Fight Club-like trick, though unlike Hollywood it doesn’t feel the need to tell its viewers outright.
Most of the father’s Bucharest visit to his daughter never actually takes place (some of it probably does, though we cannot quite be sure). The father leaves Bucharest, and when the daughter supposedly runs into him again at a city bar, in his disguise, while she is talking about him to her friends, he isn’t really there. The coincidence of the encounter is too extreme and no attempt is made to explain it. And, after the conversation, when he leaves and climbs into the largest limousine you ever have seen (he’s a music teacher back home, not a CEO), that too is a sign this isn’t really happening. The unreality of his continuing visit also explains the succeeding odd medley of coincidences, and that she simply doesn’t tell him to cut it out and stop ruining her career. He is haunting her imagination, and no simple physical remedy will do.
If you do not understand this point, much of the movie will seem obnoxious and overstated, or even nonsensical. In fact a few reviewers have made this complaint (some reviews here); if your critic is employing the word “preposterous,” beware!
In my reading of the film, the handcuffs sequence is the key scene. The father comes along and handcuffs himself to the daughter, without having a key to open them up. That’s how she feels about her station in life. Eventually they find someone to pick the lock, but if you’re wondering why she tolerates this behavior, and immediately afterwards takes him to a bunch of work meetings and interviews…well, think Fight Club. She truly does carry him with her, no matter where she goes.
Also, for further clues, listen to the lyrics of the Whitney Houston song she sings at the Romanian party.
The now-famous nude party scene reflects how the daughter feels exposed and naked out in her job, much as she feels she never can escape her father. The appearance of the “furry creature” at the party then shows that her father — as a figment — will keep on coming back, in whatever extreme manifestations might be required.
Recall in the opening scene how the father is hiring/installing an imaginary daughter? She is mirroring this same behavior — also in a destructive way — by installing an imaginary father. The movie’s title, Toni Erdmann, of course refers to the father’s (supposed) alter ego, not to the father himself; that should be another clue.
People, no one gets this movie. It does have very positive reviews, but the American and British critics are missing the boat.
Canadiana Village, about an hour north of Montreal near Rawdon, Que., has been on the market since the fall. The nearly 60 hectares of land and 45 buildings are going for $2.8 million.
The village is designed to resemble a pioneer settlement from the 19th century, and includes a church, a general store, a mill, a cemetery, a saloon and 22 houses.
However, most of the buildings are just for show.
…”There’s only one livable home.”
Kaija said most of the buildings were shipped to the village over the years.
In its heyday, the village welcomed close to 30,000 tourists per year and was a popular destination for school field trips.
It was also featured in more than 110 film and TV productions, including Radio-Canada’s Pays d’en haut and I’m Not There, a Bob Dylan biographical drama.
Chuck Norris Versus Communism is a great documentary about art, the power of heroes, and the end of communism in Romania. After the communist regime was established in 1948, travel was restricted, the media were censored and the secret police watched everyone. Romania was cut off from the rest of the world. In the mid-1980s, however, smuggled VHS tapes of American movies began to circulate. Underground groups would gather together to watch samizdat movies like Rocky and Lone Wolf McQuade.
For many of the young boys (now men) featured in the documentary the West’s action heroes became role models of endurance, independence and fortitude. I too remember running home filled with enthusiasm after seeing Rocky but in Romania the message was all the more powerful because there was so little else to compete with Hollywood’s images and watching was itself a kind of heroic snubbing of the regime.
The action was exciting but perhaps even more revealing were the ordinary scenes of supermarkets stocked with food, at a time when Romania was racked with severe rationing. City lights, beautiful cars, and the ordinary freedoms of worship and belief casually portrayed, all impressed on the Romanian viewers the starkness of their own situation.
Almost all of the movies were dubbed (technically voice over translated) into Romanian by one woman who took on all the roles. Few people knew her name but her voice became entwined with that of the heroes she translated and she became a national symbol of freedom. Irina Nistor is revealed as a real hero who despite great personal risk continued to translate hundreds of movies because that is when she felt most free.
There’s also a mystery that the documentary discusses but does not fully answer. How did the mastermind of the smuggling operation, Teodor Zamfir, get away with it? At least some of the authorities had some idea of what he was doing but perhaps due to bribery, perhaps because there were no longer any true believers, perhaps because the authorities thought the movies would provide an escape valve from the harshness of Romanian life, they allowed the operation to continue. Zamfir also appears to have had immense personal charisma, so much so that he somehow turned an undercover operative to his side. It’s a remarkable story.
Chuck Norris Versus Communism is available on Netflix.
Hat tip: Dan Klein and also Emily Skarbek’s excellent post.
“Surge Pricing Solves the Wild Goose Chase” is the title of the new paper by Juan Camillo Castillo and E. Glen Weyl, here is the abstract:
Why is dynamic pricing more prevalent in ride-hailing apps than movies and restaurants? Arnott (1996) observed that an over-burdened taxi dispatch system may be forced to send cars on a wild goose chase to pick up distant customers when few taxis are free. These chases occupy taxis and reduce earnings, effectively removing cars from the road and exacerbating the problem. While Arnott dismissed this outcome as a Pareto-dominated equilibrium, we show that when prices are too low relative to demand it is the unique equilibrium of a system that uses a first-dispatch protocol (as many ride-hailing services have committed to). This effect dominates more traditional price theoretic considerations and implies that welfare and profits fall dramatically as price falls below a certain threshold and then decline only gradually move in price above this point. A platform forced to charge uniform prices over time will therefore have to set very high prices to avoid catastrophic chases. Dynamic “surge pricing” can avoid these high prices while maintaining system functioning when demand is high. We show that pooling can complicate and exacerbate these problems.
Perhaps it is an analogy to suggest movie theaters might use more surge pricing if a low valuation buyer took up the seat for several showings of the movie rather than just one.
He emails to me:
I thought it great. It brings something strikingly new to the Star Wars universe – new in a number of ways, good ways:
1. It’s a self-contained heroic tragedy. You know the new characters are doomed. A useful comparison is the Obi Wan-Anakin battle in III: The Rogue One feeling of tragedy is less powerful but more comprehensive.
2. The plot and the character development are based on dissension, conflict on the rebellion side. Even the “extremist” plays a vital role in the success.
3. The dedication of rebels to the rebellion is depicted as the best of bad options for making one’s life meaningful, and as something that one gets locked-in to.
4. Rebel activity appears brutal, as though the conventional IV-VI image of the rebellion is but the fanciful illusion of those caught in the day-to-day misery of prosecuting the rebellion. But still that illusion is sustained – in Rogue One we have the drama behind a piece of that larger story, a tragic, engrossing aside.
5. On the rebel side, the Force persuasion appears, not the sage wisdom of Alec Guinness, but more the religion of deplorables, a resort of desperation. Some of the rebels come across as fanatics.
Darth is sparse but still the heavy, more chilling than ever.
BTW, the “Pappa, pappa” scene was, I think, a tribute to the 1995 Cuarón masterpiece A Little Princess.
Yup, I’m here. I made this list before setting off:
1. Popular music: Few from any country come close to Fela Kuti, the main question is how many you should buy, not which ones. Most of them! On the CD medium, that old series of “two albums on one CD” was the best way to consume Fela. On streaming, you can probably just let it rip. And rip. And rip. Other favorites are King Sunny Ade and I.K. Dairo, I don’t love Fema Kuti. You also might try Nigerian psychedelic funk rock from the late 60s and early 70s, for instance found here. Most of all, there are thousands of wonderful local performers in Nigeria, you can watch a few of them on the Netflix documentary on the Nigerian music scene, titled Konkombe, recommended and only an hour long.
There is now a good deal of hit Nigerian and Nigerian-American music, such as Wizkid. It is enjoyable but does not compare to Fela in terms of staying power.
2. Basketball player: The Dream is one of my three or four favorite players of all time. My favorite Hakeem was watching him pick apart David Robinson play after play after play…see the final clip on the immediately preceding link.
3. Novel: Chinua Achebe, Things Fall Apart. Honorable mentions go to Wole Soyinka, Ben Okri, and my colleague Helon Habila. There are also the Nigerian-American writers, such as Chimamanda Ngozi Adichie. Teju Cole is worth reading, including his non-fiction.
4. Movie: Well, I’ve seen parts of some of them, and you should at least sample some Nollywood if you haven’t already. It’s kinetic. The documentary “Nollywood Babylon” (Netflix) gives you some background. As for “Movie, set in,” I draw a blank. “Album, set in and recorded in” would be Band on the Run, Paul McCartney and Wings.
5. Actor: Chiwetal Ejiofor, he starred in “Twelve Years a Slave,” and is from a Nigerian family in Britain.
6. Presidential name: Goodluck Jonathan.
7. Artist: Prince Twins Seven Seven, or more formally Prince Taiwo Olaniyi Wyewale-Toyeje Oyekale Osuntoki. He received his nickname because he was the only surviving child from seven distinct sets of twins.
8. Food dish: At least for now I have to say jollof rice, a precursor dish to jambalaya, further reports to come however!
The bottom line: Lots of talent here, plenty more on the way.
The New English Bible, Oxford Study Edition
Guantanamo Diary, by Mohamedou Ould Slahi
Petinal Gappah, The Book of Memory
Glaspell’s Trifles, available on-line.
Year’s Best SF 9, edited by David G. Hartwell and Kathryn Cramer, used or Kindle edition is recommended
The Metamorphosis, In the Penal Colony, and Other Stories, by Franz Kafka, edited and translated by Joachim Neugroschel.
In the Belly of the Beast, by Jack Henry Abbott.
Primo Levi, If This is a Man
Sherlock Holmes, The Complete Novels and Stories, Sir Arthur Conan Doyle, volume 1, also on-line.
I, Robot, by Isaac Asimov.
Death and the Maiden, Ariel Dorfman.
Juan Gabriel Vasquez, Reputations
Graeme Macrae Burnet, His Bloody Project
The Pledge, Friedrich Durrenmatt.
Ian McEwan, The Children Act
Movies: Difret, Court, The Chinese Mayor, A Separation
I was watching the excellent Rogue One when suddenly I thought “Wow, they sure found an actor who looks just like Peter Cushing.” As the scene, progressed my thoughts changed to “Tyler, are you sure that Peter Cushing passed away?” As I watching the credits, I saw a thanks to the “Estate of Peter Cushing, OBE,” and so I went back to wondering about the actor, but then why did they thank the estate?
…the face of Peter Cushing, the imposing British actor who died in 1994, lends an especially memorable presence to “Rogue One” by helping to “reprise” his “Star Wars” character, Grand Moff Tarkin, the Imperial governor who practically rules by force of glare, intonation and cheekbone.
…Under director Gareth Edwards, “Rogue One” represents another marker in the decades-long quest for the best CGI-fashioned human replicas. The filmmakers auditioned actors to “play” Cushing’s Tarkin, settling on BBC soap actor Guy Henry. This Tarkin is thus free of the dreaded “dead eye” effect. Lo, though the effects wizards walk through the “uncanny valley,” Tarkin registers as quite alive — even if his facial proportions sometimes read as ever so slightly off from the Original Trilogy. We are nearing the reality of a fully fleshed-out, CGI-enhanced performance long after an actor has passed.
If “Rogue One” wins an Oscar for effects, Cushing should be in no small part why.
When will the slope start where amateur video becomes significantly less trustworthy as well? Or even just “But Mom, I saw him do it on TV!” While we’re at it, how about a symphony orchestra conducted by “Beethoven”?
That is how I felt watching Rogue One, which the audience seemed largely indifferent to. But contrary to what many of the reviews suggest, the plot is not especially muddled, the drama is legitimate, and the ending more than satisfactory. The visuals are spectacular, with the digital work supplemented by on-site filming in the Hashemite Kingdom of Jordan, Iceland, and the Maldives. If you have a good memory for visual images, you will notice many parallels, including homages to Kurosawa and a number of classic war movies. From the Star Wars franchise itself, episodes 1-3 are treated as iconic as are 4-6. It’s much more of a Star Wars movie than the marketing has been letting on, and indeed this is the real Star Wars movie that many of you have been waiting for. (Maybe the worse the “sequence” movies get, the better the “knock-offs” become, a’la Frank Ramsey, a nice trick they are playing here.) It’s not perfect, but had they made this instead of Return of the Jedi, at the time I would have been “happy enough.”
Donald Trump has drawn ‘first blood’ in the search for his incoming administration’s senior arts role – by tapping up Rambo legend Sylvester Stallone.
Sources have told DailyMail.com the president-elect sees Hollywood icon Stallone as the perfect choice to make art great again.
The likely position would be Chairman of the National Endowment for the Arts, a federal agency that doles out funds to aspiring artists and creative projects.
Here are my earlier suggestions for how Trump could improve government support for the arts. Here is an article on Stallone as painter, with photos. Furthermore, Raphael once painted Stallone. His favorite perfume is Bijan for Men by Bijan. I say this is probably a good pick, as it would bring glamor and attention to a much-neglected agency.
Addendum: Judge Dredd is an excellent movie!
45 Years, British drama about a creaky marriage.
The Boy & the World. A Brazilian animated movie, it actually fits the cliche “unlike any movie you’ve seen before.” Preview here, other links here, good for niños but not only. Excellent soundtrack by Nana Vasconcelos.
The Second Mother. A Brazilian comedy of manners about social and economic inequality, as reflected in the relations between a maid, her visiting daughter, and the maid’s employer family. Now, to my and maybe your ears that sounds like poison, because “X is about inequality” correlates strongly with “X is not very good,” I am sorry to say. This movie is the exception, subtle throughout, and you can watch and enjoy it from any political point of view. It helps to know a bit about Brazil, and it takes about twenty minutes for the core plot to get off the ground. Links here.
Cemetery of Splendor, Thai movie by Apichatpong Weerasethakul, here is a good review.
City of Gold, a documentary with Jonathan Gold doing the ethnic food thing in Los Angeles.
Hunt for the Wilderpeople is an original movie, mostly about race, full of cinematic allusions (LOTR, First Blood, Smash Palace, classic Westerns, Butch Cassidy, Thelma and Louise, so many more) and Kiwi finery as well. None of the reviews I read seem to get it and I don’t want to send you to any of them.
The Innocents, how did those Polish nuns get pregnant?
Maggie’s Plan, a fun comedy, not at the top of this list but intelligent comedies are a dwindling species.
Ixcanul, a Mayan movie from Guatemala, might this story of an unwanted pregnancy be this year’s best movie? Here is one useful review.
Sausage Party, beyond politically incorrect, I kept on thinking I would get sick of the stupid animation and yet I never did. I remain surprised they let this one play in mainstream theaters.
Sully. He should have turned the plane around immediately under any plausible calculus, and he didn’t, so you have to give this movie the Straussian reading.
Weiner is a splendid movie with many subtle points, including in the philosophical direction. In another life, Huma Abedin could have been a movie star. She has exactly the right mix of distance and involvement, and she dominates every scene she is in, even when just sitting quietly in the background. Um…I guess she is a movie star. Starlet. Whatever.
Difret, an Ethiopian legal drama.
Andrei Tarkovsky, Ivan’s Childhood (reissue). This is one of Tarkovsky’s worst movies, and yet one of the best movies in virtually any year.
The Handmaiden, by Park Chan-wook. Imperfectly eroticized violence, but beautiful nonetheless.
Elle, by Paul Verhoeven.
Nocturnal Animals, by Tom Ford.
The bottom line
My top picks are Ixcanul, American Honey, Hunt for the Wilderpeople, Cemetery of Splendor, and Sky Ladder, with Arrival being the best mainstream Hollywood movie.