The Tipping Point: How Little Things Can - By Gladwell, Malcolm Page 0,16

who was in Diner with Kevin Bacon. That’s four steps. Mary Pickford was in Screen Snapshots with Clark Gable, who was in Combat America with Tony Romano, who, thirty five years later, was in Starting Over with Bacon. That’s three steps. Recently, a computer scientist at the University of Virginia by the name of Brett Tjaden actually sat down and figured out what the average Bacon number is for the quarter million or so actors and actresses who have played in television films or major motion pictures and came up with 2.8312 steps. Anyone who has ever acted, in other words, can be linked to Bacon in an average of under three steps. That sounds impressive, except that Tjaden then went back and performed an even more heroic calculation, figuring out what the average degree of connectedness was for everyone who had ever acted in Hollywood. For example, how many steps on average does it take to link everyone in Hollywood to Robert DeNiro or Shirley Temple or Adam Sandler? Tjaden found that when he listed all Hollywood actors in order of their “connectedness,” Bacon ranked only 669th. Martin Sheen, by contrast, can be connected to every other actor in 2.63681 steps, which puts him almost 650 places higher than Bacon. Elliot Gould can be connected even more quickly, in 2.63601. Among the top fifteen are people like Robert Mitchum and Gene Hackman and Donald Sutherland and Shelley Winters and Burgess Meredith. The best connected actor of all time? Rod Steiger.

Why is Kevin Bacon so far behind these actors? One big factor is that Bacon is a lot younger than most of them and as a result has made fewer movies. But that explains only some of the difference. There are lots of people, for example, who have made lots of movies and aren’t particularly well connected. John Wayne, for example, made an extraordinary 179 movies in his sixty year career and still ranks only 116th, at 2.7173. The problem is that more than half of John Wayne’s movies were Westerns, meaning that he made the same kind of movie with the same kind of actors over and over again.

But take someone like Steiger: he has made great movies like the Oscar winning On the Waterfront and dreadful movies like Car Pool. He won an Oscar for his role in In the Heat of the Night and also made “B” movies so bad they went straight to video. He’s played Mussolini, Napol on, Pontius Pilate, and Al Capone. He’s been in thirty eight dramas, twelve crime pictures and comedies, eleven thrillers, eight action films, seven Westerns, six war movies, four documentaries, three horror flicks, two sci fi films, and a musical, among others. Rod Steiger is the best connected actor in history because he has managed to move up and down and back and forth among all the different worlds and subcultures and niches and levels that the acting profession has to offer.

This is what Connectors are like. They are the Rod Steigers of everyday life. They are people whom all of us can reach in only a few steps because, for one reason or another, they manage to occupy many different worlds and subcultures and niches. In Steiger’s case, of course, his high connectedness is a function of his versatility as an actor and, in all likelihood, some degree of good luck. But in the case of Connectors, their ability to span many different worlds is a function of something intrinsic to their personality, some combination of curiosity, self confidence, sociability, and energy.

I once met a classic Connector in Chicago by the name of Lois Weisberg. Weisberg serves as the Commissioner of Cultural Affairs for the City of Chicago. But that is only the latest in what has been an extraordinary string of experiences and careers. In the early 1950s, for example, Weisberg ran a drama troupe in Chicago. In 1956, she decided to stage a festival to mark the centenary of George Bernard Shaw’s birth, and then began putting out a newspaper devoted to Shaw, which mutated into an underground, alternative weekly called The Paper. On Friday nights people from all over the city would gather there for editorial meetings. William Friedkin, who would go on to direct The French Connection and The Exorcist, was a regular, as was the attorney Elmer Gertz (who was one of Nathan Leopold’s attorneys) and some of the editors from Playboy, which was just up the street. People like Art Farmer and