This is how ancient hits are reinvented as the buzziest smashes of today. It plays upon memories, ingrained biases and everything else that composes our collective psychic baggage. The Four Seasons’ protagonist is assured his ex will soon “be cryin’ on account of all lyin’.” It evokes the harmony-rich pop of the Four Seasons, specifically their 1963 smash “Walk Like a Man,” in which, as it happens, a guy gets his heart broken and is consoled by his chauvinistic father. Sonically, “Uptown Girl” harks back to Joel’s youth. Contrast this with “Just the Way You Are,” in which Joel sings about overlooking the subject’s faults as an expression of true love. The lyrics are about Joel’s proving himself to a lover above his station, no matter his own faults. In the video for “Uptown Girl,” Joel now paid tribute to a new woman, the supermodel Christie Brinkley. Until that point, Weber had been the subject of his most famous love songs, including the 1978 Grammy-winning juggernaut, “Just the Way You Are.” Now the less simple part: “Uptown Girl” was released in 1983, as part of Joel’s ninth LP, “An Innocent Man,” which he made after divorcing his first wife, Elizabeth Weber. We can thus assume he grew up exposed, daily, to Joel’s “Greatest Hits - Volume I & Volume II,” as dictated by local municipal ordinance. Nigro is a 39-year-old man from Long Island. First, Rodrigo has confirmed the line actually comes from co-writer Dan Nigro. suburbs would favor deeper cuts, like “Summer, Highland Falls” or “Zanzibar” - an actual recent TikTok hit - right?īut upon investigation, I realized the Joel reference in “Déjà Vu” has both a simple explanation and a deeper, more sophisticated resonance. Did the couple in “Déjà Vu” also bond over episodes of “Three’s Company”?Īlso, even if we are to presume Billy Joel has been reclaimed by a younger generation, it strains credibility to imagine this would involve “Uptown Girl,” one of the dorkiest tunes of Joel’s catalog. It’s odd that a 72-year-old Long Island classic rocker would loom so large in her life. But Rodrigo is a cool teenager from California. Those choices align with these middle-aged East Coast men. There is the matter of what I’ll call “character integrity.” I get - to cite other recent Joel references - why the compulsive liar Howard Ratner would play “The Stranger,” a song about hiding your true self, in the movie “Uncut Gems,” and I buy that the self-martyring Kendall Roy, from HBO’s “Succession,” would enjoy “Honesty,” an anthem about how everyone else is less principled than you. Initially, the reference to “Uptown Girl” confounded me. Including this one: “I’ll bet that she knows Billy Joel/’Cause you played her “Uptown Girl”/You’re singing it together/Now I bet you even tell her/How you love her/In between the chorus and the verse.” We discuss the influence of aesthetic principles on judgments about revenge, and whether such principles legitimate or delegitimate an act of revenge.In “Déjà Vu,” Rodrigo imagines her ex with a new girlfriend and speculates that the unnamed cad is using the same moves he used on her. However, symmetry has the opposite effect on judgments when it comes to symmetry of methods: similar methods were judged more harshly than dissimilar methods. In that study, we found that workplace revenge is judged less harshly when consequences are symmetric than when they are asymmetric. Specifically, we examined the influence of the symmetry of method and symmetry of consequences in revenge. ![]() ![]() In Study 2, a quantitative analysis of a policy-capturing experiment, we focused on the symmetry principle. In Study 1, a qualitative analysis of revenge incidents, we identify altruism, poetic qualities, and symmetry as aesthetic principles that people use to judge acts of revenge. By contrast, in the present research, we report findings from two studies that focus on aesthetics-based principles (e.g., the “beauty” of executing the act of revenge) that people use to judge acts of revenge. The growing body of research on workplace revenge has focused on morality-based principles (e.g., organizational justice) that people use to judge acts of revenge.
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