Malcolm Gladwell: The tipping point I got wrong @ TEDNext 2024

During the week of October 21, 2024 I had the pleasure of attending TEDNext, held in Atlanta. The event is a new initiative from the folks who produce the TED Conference. There were enlightening talks, insightful discussions and revealing discovery sessions. This post is the fourth in a series highlighting some of my favorite talks.

TED Talks are one of the best know source of true personal stories. At least as true as a story can be when it’s told by a human with a faulty memory system, which includes all of us. The point being, we don’t intentionally include a false statement in such stories. But what about saying something we feel certain is true? We may do our research and verify the facts, but down the road it turns out that what we presented to the world as fact was actually false.

Malcolm Gladwell became a household name after his book, The Tipping Point, was published in 2000. In this talk, Malcolm refers to a particular point made in the book, one connected to the infamous Stop-and-Frisk policy that was used in New York City as a way to reduce crime. But it turned out, this policy didn’t have any effect on crime, none at all. And now, some 25 years later, Malcolm stepped onto the stage to admit that he got it wrong. While I applaud his making such an admission in public, there was something missing…

Statistically, no relationship between stop-and-frisk and crime seems apparent. New York remains safer than it was 5, 10, or 25 years ago. ~ Brennan Center for Justice at NYU Law

…there was a critical piece of the story he left out — the effects of stop-and-frisk on the victims of this illegal and immoral policing policy. Without mentioning any details of the program — how hundreds of thousands of innocent people were harassed and traumatized, their basic rights violated, how they became victims of racial profiling and suffered both verbal and physical abuse — Malcolm’s talk fell short regarding the impact it could have had.

If you’re wondering about what happened, The Center for Constitutional Rights published a report — Stop and Frisk: The Human Impact — on the practice, and the stories captured highlight the cost to innocent citizens of New York City. I’ve listened to some of the interviews and tried to put myself in their shoes.

Imagine walking down the street and being stopped by the police for no reason other than you’re a person of color. Then having those police officers accuse you of crimes you didn’t commit, sticking their hands in your pockets, and possibly arresting you without probable cause. I wish Malcolm had talked about this.

But Malcolm’s talk brought to light one of the most important aspects of telling personal stories — that everything we say that’s represented as truth is nothing more than what we believe to be true. And if you find out at a later date that you misspoke in some way, hopefully you’ll have a chance to correct your story, and say you’re sorry.

I wrote, “I know this is what happened,” and what I should have said is “This is what I believe happened now,” right? And those words “I believe happened now” have to be at the center of any understanding of how the world works. ~ Malcolm Gladwell

Watch Malcolm’s talk and read through the transcript. I’ve offered up my opinion — which you may or may not agree with — but what matters is what you think. Notice how he opens with a personal experience that sets the stage and lets you know his mindset at the start. The narrative shifts to explaining his research and how he formulated his theory. Ultimately, however, he comes to realize the fault in his logic and concludes with an apology. Overall, a brilliant talk.

Transcript

I want to tell you a story about when I moved to New York City in 1993. I was 30 years old, and I was moving to what was known as one of the most dangerous big cities in the United States. And every night, I would go out with my friends on a Friday or Saturday night, and at the end of every night we would have a little conference and we would pool all of our money, and we would figure out how everyone was going to get home, because you couldn’t go home on the subway by yourself and you couldn’t walk home, and if you were a woman, you definitely were not allowed to go home by yourself at one o’clock in the morning on a Saturday night. That’s what it meant to be in this very scary city called New York.

I used to live in the sixth floor of a walk-up in the West Village, and my bedroom faced the fire escape. And even in the summer, I had no air conditioning, I had to keep my window closed because I was scared that somebody would come down the fire escape into my apartment.

And then one day I woke up and I realized that I wasn’t scared anymore. And I kept the window open. And I realized that when I was going out with my friends, we weren’t having that conference at the end of the evening anymore. We were just going home. This city that I had thought, we all thought, was one of the scariest in the United States wasn’t scary anymore. And I remember at the time I was absolutely transfixed by this transformation. I couldn’t understand it. It was the same city full of the same weird, screwed up people, same buildings, same institutions. Only nobody was murdering each other anymore.

And I would call up criminologists and I would ask them, “What’s your explanation?” And no one could give me a good explanation. And I remember one day — I used to go to the NYU, New York University has a library called Bobst Library. I used to go to Bobst to look for ideas. And I remember one day I was on the sixth floor in the sociology section, HM-1A6, and I was reading back issues, yes, I was, back issues of the American Journal of Sociology, and I ran across an article from 1991 by a guy named Jonathan Crane called “The Epidemic Theory of Ghetto Life.”

And I’m going to read to you how it began. “The word epidemic is commonly used to describe the high incidence of social problems in ghettos. The news is filled with feature stories on crack epidemics, epidemics of gang violence, and epidemics of teenage childbearing. The term is used loosely in popular parlance, but turns out to be remarkably apt.”

And what Crane was saying is that if you look at these kinds of social problems, they behave, they come and they go, they rise and they fall exactly like viruses do. He was saying that that term epidemic is not a metaphor. It’s a literal description. And I’ll never forget when I read that little paragraph and I was standing in this aisle in Bobst Library, and, you know, it’s a library. It’s got that hush and that musty smell of books. And I’m reading this crazy article from 1991, and I remember thinking to myself, oh my God, that’s what happened in New York.

We had an epidemic of crime. And what is the hallmark of an epidemic? It’s the tipping point. It’s the moment when the epidemic order goes up all at once or crashes all at once. And so I wrote an article for “The New Yorker” magazine called “The Tipping Point,” which was my attempt to use this theory to explain what happened in New York. And then I, because of that article, got a contract for a book called “The Tipping Point,” which did very well. And that book led to another book and another book and another book.

And I am standing here today because of that moment in the library 25 years ago. So “The Tipping Point,” my first book, was about all kinds of things. I talked about Hush Puppies and Paul Revere and teenage smoking. But at the heart of it was a chapter on why did crime decline in New York. And in that chapter I talked a lot about a theory called broken windows theory, which was a very famous idea that had been pioneered by two criminologists called George Kelling and James Q. Wilson in the 1980s, very influential article, in which they argued that very small things in the environment can be triggers for larger crimes.

That essentially small instances of disorder are tipping points for very serious things like murder or rape or any kind of violent crime. It was an epidemic theory of crime, and the New York City Police Department took that idea very seriously. And one of the things they began to do in the 1990s during this crime drop was to say what this argument means is that we can’t be passive anymore. We have to be proactive. We have to go out there and if someone is jaywalking or jumping a turnstile or doing graffiti or peeing on the sidewalk, we’ve got to stop them.

And if we see a young man walking down the street and he looks a little bit suspicious, we’ve got to stop him and frisk him for his weapons. That’s how the NYPD interpreted the broken windows theory in New York. And my chapter was how millions of people around the world came to understand the crime drop in New York, that it was all broken windows. And here’s the thing that I have come to understand about that explanation I gave of why crime fell in New York.

I was wrong.

I didn’t understand this until quite recently, when I went back and I decided on the 25th anniversary of my first book, “The Tipping Point,” that I would write a sequel. It’s called “Revenge of the Tipping Point,” and I went back and, for the first time in a quarter century, I reread my original book. I’m not someone who likes to revisit things, but I did it, and it was a uniquely complicated experience. It was like looking back at your high school yearbook. You know, when you see yourself and you have some combination of, “Wow, I look young,” and also, “Wow, I really wore that?” It was like that.

And what I realized is that in the intervening years since I wrote that explanation of why I think crime fell in New York, the theory of broken windows had been tested. There was a kind of classic natural experiment to see whether that theory worked. And the natural experiment was a court case, maybe one of the most famous court cases in New York history called Floyd v City of New York. It involved a young man named David Floyd, who had been stopped a number of occasions by the NYPD and was the face of a class action lawsuit that said the practice of stopping young men, largely young men of color, just because they look a little suspicious to police is not constitutional.

You can’t do that, right? And to everyone’s surprise, the Floyd lawsuit goes before a federal judge. And the federal judge rules in David Floyd’s favor. And overnight, the broken windows era in New York City policing ends. And the NYPD goes from — In 2011, they stopped and frisked 700,000 young men, right. And after the Floyd lawsuit was decided in 2013, that number drops to less than 50,000. So this is the perfect natural experiment. You have New York before Floyd and New York after Floyd.

Before Floyd, the principal tactic of the NYPD is stopping everyone they can. And after Floyd that goes away. They can’t do that anymore, right? This is the perfect test case for whether you think that’s why crime fell in New York. And if you believe in the power of broken windows policing, then your expectation has to be that after the Floyd case, when broken windows goes away, crime is going to go back up, right?

And I should tell you that in 2013, in the wake of the Floyd case, everybody thought crime was going to go back up. The NYPD thought that, the city government thought that, the pundits thought that, even the judge who wrote the opinion saying that stop and frisk was unconstitutional, said in her opinion that she strongly suspected that as a result of this opinion, crime would go back up. I thought crime was going to go back up, right?

All of us had internalized the logic of broken windows. We said, yes, we know this strategy poses an incredible burden on young men, but what choice do we have, right? You know, if the choice is being stopped repeatedly by police or being killed, maybe we’re better off with the former than the latter. This is the price we pay for a safe New York, right? So what happens after the Floyd case? Stop and frisk goes away and crime falls.

In fact, crime in New York City undergoes a second, even more miraculous decline, right? And what’s interesting about this is, you know, when the first crime declined in the 1990s, you see that decline almost everywhere in the United States, not quite as steep as New York, but crime goes down everywhere. And then in every other city in the United States, crime plateaus. But New York gets rid of broken windows, and crime starts to fall and fall and fall all over again.

To the point by 2019 that New York City is as safe as Paris, which is not a sentence I ever thought anyone would ever say in my lifetime. And what we realize in that second crime decline is that it wasn’t broken windows. It’s not indiscriminate policing that causes crime to fall. Rather, it is the intelligent and thoughtful and selective application of police authority that causes crime to fall.

Now, there’s a couple of really puzzling things here. One is that people don’t seem to have internalized the fact that New York underwent this second, even more dramatic crime fall. People still act like it’s the year 2000 when it comes to making sense of New York. You know, a whole bunch of very, very wealthy hedge fund guys have very loudly left New York for Miami in recent years. And they all say, when they’re packing up their offices in New York, “We can’t take the crime anymore.”

Well, violent crime in Miami is twice as high as New York City. If they were really concerned about violent crime, they would leave Coral Gables before they get murdered and move to the Bronx, where it is a whole lot safer.

The other even more important thing, though, is that people act like stop and frisk actually worked. No one seems to have internalized the lesson of the great Floyd case natural experiment. If you listen to people — I’m not going to name their names, but people going around the country now campaigning for higher office, they will say things like, “It’s time to bring back stop and frisk and broken windows policing. It worked so well in New York.”

They’re acting as if we didn’t have that great moment of understanding in 2013. And for that, for that misunderstanding, I think I bear some of the blame. I was the one who wrote this book saying this was the greatest tactic ever in stopping crime. Now, how do I make sense of my mistake? Well, I can give you all kinds of excuses. You know, I can say I’m not a fortune teller.

I didn’t know that David Floyd was going to come along 10 years after I wrote my book and give us this great test case in broken windows policing. You know, I could say that, you know, I was just writing what everybody believed back in the 1996 and 1997. But I don’t think those excuses hold any water whatsoever.

I think that journalists, writers need to be held to a higher standard, right? I wrote —

I told a story about how crime fell in New York, and I told the story like the story was over. And like I knew what the answer to this story was. And it wasn’t over and I didn’t know the answer, right? I wrote, “I know this is what happened,” and what I should have said is “This is what I believe happened now,” right? And those words “I believe happened now” have to be at the center of any understanding of how the world works.

We have to acknowledge that we are representing the position of this very moment, and that that position could change if the facts change, right? The great desire of any writer is to write a book for the ages, that will forever explain the way things are, but that’s not possible, and no one should ever try. That was my mistake. And I’m sorry.

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The Three Dimensions of Public Speaking

Humans have been making public speeches for thousands of years, but until recently, the number of folks doing so has remained rather small, in single digits percentage wise. Unless you were a politician, business leader or social activist, you were in the audience listening, but much has changed in recent decades.

With the advent of venues such as Creative Mornings, the TED Conference and TEDx events now held around the world, as well as storytelling podcasts such as The Moth or The Narrators, and story conferences like the Future of StoryTelling or The Power of Storytelling, the cachet of storytelling has never been greater.

More importantly, public speaking / storytelling skills have become fundamental attributes for any employee working in the commercial and/or nonprofit sectors. If you can’t tell your story, as well as the stories of your organization, customers and stakeholders, you’re at a disadvantage. So what makes a speaker impactful?

There are many factors that go into crafting and delivering stories that inform, enlighten, even challenge a listener, but here are three dimensions that form the foundation of public speaking. (p.s. they’ve been relevant for a few millennium)

The Three Dimensions of Public Speaking

Often referred to as the KLT Factor, the marketing world has long touted the idea that consumers buy products from someone they know, and like, and trust.

But if we traveled back to ancient Greece we might hear Aristotle speak about rhetoric and his take on ethos, pathos and logos (ethics, emotions and logic) as key attributes possessed by great speakers and found in moving speeches.

The discipline of business decision making often refers to the combination of head, heart, and gut (intellect, emotion and intuition).

As you can see, these parallels point to a speaker’s credibility or trustworthiness, combined with a story’s ability to touch us emotionally, and for the narrative to make sense. It’s the combination of all three that creates story magic.

To see how it’s done, take a moment to spin up Robin Steinberg’s TED Talk that explores the bail system in America – how it works, what’s wrong with it, and her solution to the problem.

Robin’s personal story establishes credibility on the topic, as it’s her profession. She also spends time explaining how the system works, or doesn’t, and uses the experience of someone who was victimized by an unfair system to bring out the emotional side of the story. Thus, we come to believe her, and her argument.

As you craft a story of your own, make sure you address each of these critical dimensions. Will an audience place their faith in you through a bond of trust? Will they feel your story in a way they can relate to? Will their intellectual side be satisfied with the logic of your proposition? If one of these factors is missing, their confidence in your idea will be too.

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The Challenge of Finding Historical Truth

My last post touched on the art of Interviewing From a Historical Perspective as a way to enrich your story by including the experiences of others. But finding the truth in history can be a problematic topic unto itself, as so much of what we think of as history deviates from the truth in sometimes subtle, and sometimes dramatic fashion.

The decisions we make are largely based on our perceptions of the past, which means the only way we can tell a true narrative is to understand the past correctly. As long as we live within a lie that others have told to protect/enhance their reputation or further their false ideology, we will create/enable a new generation of liars. ~ML

In a recent Longform podcast episode Evan Ratliff spoke with Michelle García, and part of that interview dealt with the issue of determining what is true, as well as the difference between just telling the truth and telling an honest story.

Do listen. It’s a masterclass in coming to understand who you are, where you come from, and the challenges of telling an impactful story others need to hear.

How You Alter the Narrative

If your intent is to capture a story’s essence, to reveal a fundamental truth to your readers/listeners, then you need to be aware of the perspective that you bring to the table, a perspective that affects the process of assimilating the facts, coloring the raw landscape that you’re attempting to faithfully paint.

This process of self-examination and reflection embraced by Michelle guides her in the story creation process, and as you will hear, it requires a special sense of awareness – of your beliefs, your values, and your way of experiencing the world in each present moment.

That the facts are all there, and they’re all accurate, and they’re all right, that I began to wonder, just because you have the facts right, does that mean the story is true in its essence? ~ Michelle García

At one point Michelle refers to a conversation that she had with a law professor on the topic of history repeating itself. His observation was one that we should consider when trying to understand any chain of events: “It’s not that history’s repeating itself, it’s that this is the present moment, reaching into the past, to define its future.”

Take a moment to ponder that statement and consider how it relates to the story that you want to tell. You’re writing in that present moment yet recalling a myriad of events you’ve experienced. The conversations, the environments, the emotions, the interpretations. And you’re telling your story for the simple reason that you have a desire for others to understand what you have learned or come to believe, and maybe, just maybe, their future will be different as a result.

The true power of storytelling lies in the fact that your story can become part of someone else’s story. ~ML

Michelle García as Restless Rebel

I’m always fascinated by the journey that creatives embark upon, or become a part of beyond their will, as they etch out the path which brought them to the current moment of creation. What drives you, pushes you, frustrates you?

I was such a rebel. I was punk. I was angry. I was Sex Pistols. I was The Ramones. I wanted to kick doors down. You have a fury that no one has articulated, put into words, taught you how to channel, and so now you go about the world like a loose cannon, which is what I did, looking to find where you can sort of catalyze all of this energy. ~ Michelle García

Michelle came from a small Texas town that in one narrative would have been a footnote, but in today’s climate of immigrant controversy, of demonizing the other, has taken on a more relevant meaning.

To be able to write about where I was from, was, in a way, to capture a spirit of storytelling, a spirit of what it means to be a journalist, in a way that I had not known before. ~Michelle García

Is that true in your case? Is place a character in your story? A character that’s woven into the fabric of your storyline? How has your origin story shaped the reality of your present moment? The role that it plays is often overlooked or sidelined by speakers/writers. Don’t let it take a back seat. It’s part of your truth.

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The Country Doctor on Snap Judgement

America has had problems with discrimination from day one. Look no further than the death toll of Native Americans, often deemed to be heathens, as settlers pushed onward from sea to shining sea. And with the invention of the cotton gin, wealthy landowners sanctified an increase in slavery, economically justifying the practice of kidnapping, shackling, and selling Africans to the highest bidder.

Then we have the egregious treatment of Mexican citizens. You know, the folks who owned a significant chunk of the Western U.S. until they exited south at gunpoint. And let’s not forget about the treatment of immigrants from China, South America and the Middle East. These are not simple histories. In fact, quite the opposite, as there have always been Americans who were welcoming to people of any country, ethnicity or religion. But discrimination has been, and continues to be, a shameful truth in the land of freedom and justice for all.

It was encouraging to see America make progress on this front during the late 60s into the 70s and 80s, but backsliding on the ideal of equality was evident from the 1990s onward. Slowly at first, but rapidly accelerating over the past 3+ years with public displays of hate and prejudice seen in many parts of the country. Displays without remorse of apology.

But all is not lost. Hearts can soften and open with grace whenever people resist stereotyping and instead rely on the power of human connection to speak truth to hate. Whenever we remove the wall of discrimination long enough to forge meaningful relationships, a space for the miraculous appears. A space where healing and justice coexist alongside internal struggle.

Snap Judgement recently broadcast a story that I highly recommend listening to. It was one of those rare podcast episodes that stopped me in my tracks, as I needed to hear the story of Dr. Ayaz Virji until the very end. Give it a listen.

Dr Ayaz Virji on Snap Judgement

Artwork by Teo Ducot | Snap Judgment | WNYC Studios

When Dr. Ayaz Virji first set foot in Dawson, Minnesota, he didn’t know what to expect. He was a brown Muslim man walking into a predominantly white rural town. But much to his surprise Ayaz and his family fit right in. Dawson quickly became home and his neighbors became like his extended family. Then came the presidential election of 2016.

Dr. Ayaz Virji was aware of the positive impact he could have on a small rural town serving as a clinic medical director and chief of staff. And while the community embraced his family upon their arrival, and he enjoyed working with his patients, an abrupt change in the national political climate upset his view of the world, and his place in it.

The narrative follows Dr. Virji’s journey of self-discovery and reflection, of confrontation and conversation within the town after the 2016 election. As you listen to his story, think about the decisions made along the way, by all parties, but especially by Dr. Virji. How did each decision alter the plot of the story? How would you have reacted?

With my white, middle class background, living a life free from discrimination, it’s hard for me to wear his shoes (or anyone else in similar circumstances), to understand his decisions, to feel the pain and frustration that I clearly hear in his voice. What would I have done?

I continue to struggle with recognizing and dealing with the rifts of hate and discrimination in society, but as all impactful stories do, this podcast has altered my frame of reference, and I now view my own story through a new lens. And hopefully it will also make me a better storylistener.

Nancy López on Snap Judgement

Image credit: Snap Judgment | WNYC Studios

Nancy López is a senior producer at Snap Judgment. She started in radio in 2006 when she joined Soul Rebel Radio, a collective of novice storytellers in Los Angeles. Since then, she’s worked as a producer for Radio Ambulante and Making Contact. Her stories have been featured on PRI’s The World, KALW in San Francisco, and Radio Bilingue.

The Country Doctor – Season 11 – Episode 18 – Produced by Nancy Lopez, Original score by Renzo Gorrio, Artwork by Teo Ducot – Snap Judgement founded by Glynn Washington.

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The truth, the whole truth, and nothing but?

Do you swear to tell the truth, the whole truth, and nothing but the truth?

We’ve all heard this question, or something similar, asked of witnesses in television or movie courtroom scenes. And for anyone who has served on a jury, you have heard it first hand. But what does this question really mean, is it a reasonable expectation, and if so, how does it pertain to the practice of telling personal stories?

While it’s true that we tell personal stories to each other all the time – every conversation can be thought of as a story – in this article I’m referring to stories that we plan to share in public; in print, on stage, radio shows or podcasts, and thinking about the nature of truth when we’re telling these stories.

Although the practice of telling such stories has been around for millennia, the desire to hear them, and the opportunities to do so, have increased dramatically in recent years. As we’ve become more connected, and technologically savvy, we’ve developed a thirst for story that seems to be unquenchable.

Millions tune into broadcasts, view videos, or attend live events with a desire to hear stories about our shared human experience. Stories about who we are and where we have been, stories about the struggles we’ve endured, and the universal hope for a better future.

In my coaching practice I’ve had the pleasure of working with hundreds of folks who want to tell impactful personal stories; professional speakers and novices, students and academics, entrepreneurs and CEOs, prison inmates and special forces, scientists and creatives.

During the process of developing their storylines the topic of truth often comes up when many say, “It’s impossible to remember every detail. How truthful does my story need to be?” And their difficulty in remembering the truth is especially troublesome for experiences and conversations that happened a long time ago. Our memory can be rather permeable.

That’s when I’ll bring up the The Moth. I listen to a long list of podcasts each week for story inspiration, and The Moth remains at the top of the list. I never miss an episode. They host live storytelling events, and feature the best ones on The Moth Radio Hour. When it comes to truth, they address the issue best, in my opinion, by announcing during each broadcast:

The Moth Podcast Story Slams Radio Hour

With this in mind I encourage speakers to do their homework and verify everything they can, especially any statistics, research data or historical references. When it comes to the topic of personal experience, they should reach out to anyone mentioned in their story to verify the facts, or at least hear their side of the story to be sure the essence of the narrative is true.

The reason is straightforward. If any aspect of a story is untrue, the entire narrative becomes suspect. One bad apple can, in this situation, spoil your story’s impact. When trust is broken between the storyteller and their audience it becomes difficult to repair. You need to connect with your audience from a place of honesty and integrity.

Should you ever have a desire to embellish your story as a way to make it stronger, I would counter that you don’t need to make things up in order to make a point, and if you feel you do, there’s something fundamentally lacking in your story to begin with, something that lying won’t/can’t solve. Instead, rethink your premise, and dig deeper into your narrative in order to find experiences or related information that supports the meaning of your story.

Everyone is entitled to their own opinion,
but not their own facts. – Daniel Patrick Moynihan

But there are other elements in personal storytelling – ideas, insights, beliefs and opinions. This part of your narrative is not based on empirical facts, but rather your view of the world, how you see things, what is true for you, which is subjective rather than objective.

An audience wants to hear your opinion – it’s how they connect to you as a person and come to understand the meaning of your story. But there should never be any confusion as to whether your words are presented as fact or opinion. Expressions such as, “It seemed to me“, “The way I see it“, “The way I felt was“, can let the audience know that you’re shifting from fact to opinion. Done well, they will come to better understand the journey you’ve been on.

You must be the guardian of truth within your story, as it becomes a reflection of you.

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