The big idea in this episode that there is a bigger divide in America that falls along musical lines more than political ones is quite intriguing and fits in with my general experience living in South Carolina, Georgia, Connecticut, Maryland, Kentucky, and California. Having been raised by a Catholic family with one parent from the city, another from the countryside, and having lived in many blue/red states surrounded by people of various different musical tastes, I do have to wonder if there isn’t a lot of value in this thesis. It could make an interesting information theoretic political-related question for research. This might be the type of thing that could be teased out with some big data sets from Facebook.
Beauty and authenticity can create a mood. They set the stage, but I think the thing that pushes us over the top into tears is details. We cry when melancholy collides with specificity.
—Malcolm Gladwell in The King of Tears
He then goes on into a nice example about the Rolling Stones’ Wild Horses:
And specificity is not something that every genre does well.
This reminds me of a great quote in Made to Stick from Mother Theresa about specificity.
Mother Teresa once said, “If I look at the mass, I will never act. If I look at the one, I will.”
There’s something very interesting about this idea of specificity and its uses in creating both ideas as well as storytelling and creating emotion.
There is one related old country music joke I’m surprised not to have seen mentioned here, possibly for length, tangential appropriateness, or perhaps because it’s so well known most may call it to mind. It plays off of the days of rock and roll when people played records backwards to find hidden (often satanic) messages.
Q: What do you get when you play a country music song backwards?
A: You get your job back, your wife back, your house back, and your dog back.
The episode finally rounds out with:
If you aren’t crying right now I can’t help you…
Thanks Malcolm, I was crying…
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