Wednesday, November 14, 2012

Haunted Weather





In terms of historical circumstances operating at the level of metaphor, nothing could be more nakedly symbolic than Hurricane Sandy.  Sandy itself was widely seen as a disruptive force for the presidential campaign, its destructive force spiraled into a discussion, albeit a superficial one, on climate change after the subject was left out of the debate process.  But beyond this stunted and somewhat teethless reaction was an enunciation of what we all knew about the election and which none of the nonstop chatter could seem to articulate; the fact that regardless of who won the vote,  our only certainty in the aftermath was a continuation down the path of disaster capitalism.   And if climate change wasn’t touched upon in the debates, neither were the failures that lead to the 2008 crash, another time when thousands of homes were underwater, and how little has been done to preclude the repetition of those events. 

In Sandy were a vast swath of the American population caught up in circumstances beyond their control, left powerless to a destructive force laid upon them and, in the wreckage, literally without power, left to the ramshackle devices of a busted government  that had been purposely stripped down to incapacitation.   This is not to downplay the amazing work of emergency crews and first responders operating on the government dime, who did do truly incredible work at both avoiding catastrophe and lessening its impact when it transpired.  However, you don’t have to go far to find places where FEMA and even the Red Cross was totally impotent, inert, or absent.

Until recently, you would think Lower Manhattan was the only place that got hit.  Though the devastation was wide, reaching across several countries and over 20 states, the media aimed its focus on New York as the center of culture.  The flooded subways were cleared days before precious resources were even getting to poorer areas like Staten Island, Long Island, and Rockaway Beach.  The concerns of the poor were washed away as the bankers returned to work, Broadway shows began bustling again, and we restarted the marathon race to the bottom. 



Yet, the view from Manhattan made it abundantly clear where the concerns of private concentrated power lay, as the skyline went dark except for the Goldman Sachs building, a bold demonstration of the self-preservation of industry.  GS can’t be blamed for the surrounding area not being hooked into its own grid of generators, but this illustration of the vastly unfair centralization of resources certainly made them look indifferent to the suffering of those around it.

Like clockwork, the quips about whatever convenient pet cause God seemed to be punishing us for came spewing out of the mouths of the attention-seekers, but overall we were spared the quips about cleaning up public housing and the like that came out of Katrina, because, you know, rich people were affected too.  Still, God, if he was present, seemed to be telling us a whole lot of things in the rich tapestry of young adult level symbolism masked in drowning Dumbo Carousels and Seaside Heights rollercoasters being carried out to sea, telling us that the halcyon days of the American dream were over. 



In the gas shortages, we were treated to what might have looked to believers to be a recursive loop back to 1979 when the current economic crisis really started and the Fed created new ontologies to deal with it.  With a more global oil crisis a near-guarantee in the near future, those gas lines looked less like a circumstantial setback and more like a grim vision of the future.  The democrats scored great points in the election off of the “success” of the auto bailout (a success paved with concessions by one of the last strong unions around), but without a concerted effort to build fuel efficient cars that the least wealthy Americans (the largest growing population) can afford ,we can only expect to see higher prices and longer lines at the pump we run out of places to bomb for our depleting resources.

As the storm barreled towards the U.S., it caused a massive amount of damage in Haiti, Cuba, The Bahamas and other places that regularly get affected by U.S. actions/inactions but hardly garner a notice in the national attention span.  The news media, in the spirit of Halloween, declared the Hurricane’s mixture of tropical and wintry conditions a “Frankenstorm”, and though it’s hard to make the case for any single weather event being the direct result of climate change, it was hard not to view this beast as something man-made, a Frankenstein’s monster out for revenge on her maker.
The storm approached at a glacial pace and telejournalists, unsure of what to do with no new facts coming in, spent an inordinate amount of time focusing on the HMS Bounty, a ship best known for its use in the Pirates of the Caribbean movies that had been lost at sea.   As certain doom loomed over millions of people, people stranded in their homes strapped to their TVs were using their last bit of energy for weeks watching the news tell them how relics designed to look like they were from the 17th century were in serious danger.  Kind of like being told that corporate monoliths needed to be bailed out while underwater homes who had been pirated by these vessels sank without so much as a life vest. 



America, via the filter of Sandy, was a home exposed, like the one pictured above, but it wasn’t the image of a bunch of unreliable backstabbers looking to swindle one another on the lifeboat as it went down, sharks patrolling the waters looking for things to loot as the “fake” Sandy pictures indicated.  On the contrary, overwhelmingly, people came out to help their displaced neighbors.   What stuck out was institutional rot, piled up like lines of debris on the side of the street.



Romney’s death knell was not even the campaign rally-not-rally in Ohio that turned into an empty gesture of filling trucks with canned goods that his staff bought to give to people to give back to him that the Red Cross didn’t even want.  Instead, the fatal blow was a quip made at the Republic National Convention months earlier in which Romney ironically mocked the very thing that was about to happen.  “President Obama promised to begin to slow the rise of the oceans”, he said pausing for a laugh with gusto as the sea levels ensure that they’d have the last one, “and to heal the planet.  My promise is to help you and your family.”

But where Romney’s truck fiasco failed at both the level of symbolism and the level of real aid to real families in need, the Occupy movement, quickly regrouped into Occupy Sandy, succeeded in New York.   All the things the media had criticized OWS for were proven immediately wrong- that they would ultimately falter without strong central leadership (on the contrary, without a hierarchical bureaucracy, they were able to help more people), they were too disorganized (the group used real time social media to call attention to hot spots in need of immediate attention and direct essential aid where it was needed), they were a bunch of spoiled whining college hippies (they sprung to direct action almost immediately after the storm struck), the movement was basically dead (recent forecasts on their one year anniversary were almost unanimous in pronouncing the movement irrelevant), and that they would never win popular support without streamlining into a single message (unless they make their core message assistance to those victimized by economic inequality). 

Reports began pouring in from everyday citizens that they had yet to see any government or Red Cross aid, but Occupy Sandy was there.  The effort was so great that even the mayor’s office and the National Guard conceded and acknowledged their service to the city.  Somewhat unthinkably, New York police officers stood in solidarity with the volunteers, chanting “We are unstoppable” with them.  

40 Years back, when our country was the closest it ever got to real revolution since it could only conceive of things with war, a fringe group took its name from a Dylan lyric that claimed “You don’t need a weatherman to see which way the wind’s blowin’”.  A mere week later, a nor’eastern blew in and dropped far more snow than had been predicted in recent weather reports.  Sometimes, all it takes is a strong enough gust to show just how worthless those weathermen are. 


Thursday, October 4, 2012

ForceListen3






A couple of "face-melting:" dance remixes I did for the Grubby Little Hands song "Uneek" after their new hazy sunbaked and adoringly miswired pop album The Grass Grew Around Our Feet


Monday, September 3, 2012

Olympic Privilege and the Villany of Hope in Recent Hollywood Blockbusters



Watching The Hunger Games again, it was hard not to think back to the recently completed Olympics and understand clearly how the spectacle was really just a narrative conceived about American exceptionalism.  Hidden completely from the scorecarding is the concept of privilege.  Like The Hunger Games, the Olympics are supposed to be bound by a universal fairness; the rules are supposedly the same for every participant.  And while that’s probably true, it ignores the whole spectrum of human experience that takes place before the contenders even set foot on Olympic turf, not to mention home court advantage, something regularly doled out almost exclusively to the top tier of the first world.   Like the Hunger Games where contenders from the wealthier/leisure class districts are always poised to win, the first world tends to come out on top every Olympic season.

The British population was understandably disturbed by the degree to which London became a police state during the games, the ways in which free speech and democracy were suspended in Olympic Park.  But the type of TV show, the entire genre of the program, would be radically altered if the security state took place in some war-torn part of the world (Afghanistan, for instance, competes in the games).   The meaning of the security state is not to protect London’s guests from the internal threat of its own megalomaniacs, but to protect London itself from outsiders.   

The Olympics may be about unity for some, but conveniently enough it also fulfills the needs of nationalism for the Winners as well, as illustrated in the graph below taken from NBC’s final polling 



The U.S., thought by most in the world to be in decline, symbolically re-asserts its dominance in the final tally, with China trailing shortly behind.  Meanwhile, Britain, a relatively small country compared to the other top 4 nations, is considered a loser in this game, but not because of its breakdown of winners and losers.  Britain’s failure is said to be due to falling behind the high standard of spectacle set by China (despite a painfully forced attempt at a definitive assertion of British influence in its cluttered and clumsy closing ceremony).

In The Hunger Games, the games exist as a metaphorical declaration of power and control, but their audience is no one in particular.  This makes them a popular pastime in the leisure class communities and a grim reinforcement of despair in the poorer districts.  Still, while the Capitol seems content with pleasing only those with the luxury to enjoy bloodsports, a secondary goal seems to be to market the games as a source of enthusiasm for the disenfranchised.  

The individual stakes are obviously much lower for the Olympics, but why would any of the smaller nations even bother to compete when the outcome is consistently a reassertion of the existing hierarchy of nations if not for the almost universally accepted notion that the games themselves exist as some kind of harmonious global accord? What most of these countries have in common though is certainly not a level playing field in which one can reasonably ordain athletic excellence.  The thing that truly unites nations under the Olympic banner is the sponsors.  Why exactly would a state competition need private sponsors if not to grant said economic benefactors exclusive two week VIP access to the world’s attention span?

If state and capital, business and society, are interchangeable components of one another, there’s no exception to that at the Olympics, where brands often get as big headlines as the athletes.   Winners for the Official Soft Drink and Official restaurant of the Olympic are touted as if they too had won a competition, as if they too had been bidding for the position on the equal opportunity platform called capitalism. 

The Olympics are the soft sell state of the union, showing nature in perfect balance, the status quo in no danger of being knocked loose.  A world coming together under one giant security apparatus.

*******************

I was also struck by the following quote in The Hunger Games by Donald Sutherland’s President Snow, as he discusses why the games exist and why the Capitol doesn’t just summarily execute captives from each district”:

“Why do we have a winner?  Hope. It is the only thing stronger than fear.  A little hope is effective, a lot of hope is dangerous. A spark is fine, as long as it is contained.”

I’m sure it’s been commented on before, but this closely parallels Bane’s dreadfully expository comments to Batman in the Dark Knight Rises, which also forms a crucial thesis fueling that film:

“There's a reason why this prison is the worst hell on earth... Hope. Every man who has ventured here over the centuries has looked up to the light and imagined climbing to freedom. So easy... So simple... And like shipwrecked men turning to sea water from uncontrollable thirst, many have died trying. I learned here that there can be no true despair without hope.”

In an election year moving deeper into the post-crash era, the recurrence of a central theme of misbegotten hope in the year’s two biggest blockbusters would appear at a glance to be a referendum on Obama, but The Dark Knight Rises, as illustrated elsewhere, reserves most of its potshots for the Occupy movement.  In depoliticizing class struggle, The Dark Knight Rises ultimately lands at the Obama conclusion, that the masses cannot be trusted with their own revolution and our real hope lies in the charity of a well-intentioned elite of millionaire benefactors who we have to hope will be kind enough to throw us a bone every now and then.

The Hunger Games on the other hand, while not exactly an occupy text, does do a decent job at laying out the framework of income inequality and how privilege predisposes some to unfair advantages.   Notably, the film adds a scene not in the book in which the death of a character causes the citizens from the character’s district to riot.  The all-too-familiar scene of police in riot gear marching in lock-step and fire hoses blazing seems at a moment to be removed from the high concept sci-fi environment and placate itself squarely in the realm of recent history.  In the end though, since there can only be a “contained” spark, Katniss’s battleground is firmed squarely in the symbolic terrain, challenging and thus causing ruptures in the official narrative.

As the baton for the Olympic spectacle gets passed to the election spectacle, one always hopes for these  types of tiny ruptures, ones that refuse to play into the universal narrative of a continued order whose control subjects couldn’t be happier to root for its sustained dominance.   Even if this doesn’t play out in Washington, it seems to have done so in Hollywood, where two of the biggest spectacles of the year have felt compelled to acknowledge the demands and grievances of Occupy, rupturing their way into our most popular narratives, for good or ill.

Saturday, September 1, 2012

RIP Hal David




















Debated putting up the My Bloody Valentine version, but decided this was the better one.

He is America and So Should You


Dan Deacon grows up, and this is actually a good thing; review here.

Pitiless Censor No More



John Maus shows his mercy on a sweet set of B-Sides, reviewed here.

Saturday, August 18, 2012

Manufacturing Consensus



Strange to see such an odd sense of consensus on the P4K contributors' list. I often go out of my way to defend the mag against its detractors, who claim that they act as some kind of consensus-generating machination of hipster evil. As far as defensible criticism goes, it's generally a crapshoot on that site, but one thing it has going for it is that it champions new and interesting stuff regularly. With all its cred-building power, it'd be very easy for the site to ignore (arguably) new trends and innovative movements, but the site refuses to fall back on its laurels, almost to a fault. Judging by the general lack of surprise circulating on the critics' list, it's hard to imagine any oddball selections making their way onto the "People's List" after the tallies are counted next week.

Nevertheless, I submitted my choices to be counted and the selections can be viewed in graphic form at this link or in text form below. Already easy to see a couple I missed, but I guess these things are never definitive

* When creating my list, I did not know that albums from 2012 did not qualify. However, I've included my two picks from this year below:

555 ENTERPRSISES' BEST ALBUM FROM 1996 to 2012


100 Bjork- Vespertine
99 Pierre Bastien-Mecanoid
98 Orbital- Middle of Knowhere
97 Air- Talkie Walkie
96 Britney Spears- Blackout
95 Brock Von Wey- White Clouds Drift On and On
94 Ellen Allien- Berlinette
93 The Bug- Pressure
92 Massive Attack- Mezzanine
91 Kanye West- Late Registration
90 Surgeon- Force and Form
89 Mordant Music- SyMptoMs
88 Locust- Morning Light
87 Golan Levin/Scott Gibbons/Gregory Shakar- Dialtones: A Telesymphony
86 Balam Acab- See Birds EP
85 Pantha Du Prince- This Bliss
84 Marilyn Manson- Antichrist Superstar
83 The Magnetic Fields- 69 Love Songs
82 James Blake- CMYK EP
81 Boris- At Last-Feedbacker
80 Four Tet- Pause
79 Vatican Shadow- Kneel Before Religious Icons
78 Black Moth Super Rainbow- Eating Us
77 PJ Harvey- Stories From the City, Stories From the Sea
76 Metro Area- Metro Area
75 Double Leopards- Halve Maen
74 Hnatiw- Life is Good
73 Arp- In Light
72 Arcade Fire- Funeral
71 Orbital- In Sides
70 Burial-Burial
69 Solvent- Solvent City
68 Polmo Polpo- Like Hearts Swelling
67 Junior Boys- Last Exit
66 The Bug- London Zoo
65 Ariel Pink's Haunted Graphitti- Worn Copy
64 Emeralds- Does It Look Like I'm Here?
63 Burial Hex- Intiations
62 Com Truise- Galactic Melt
61 Various- Soundboy Punishments
60 Cannibal Ox- The Cold Vein
59 Tool- Aenima
58 Pole-2
57 Boards of Canada- Geogaddi
56 Windy and Carl- Introspection
55 Belong-Colorloss Record EP
54 To Rococo Rot- The Amateur View
53 Lichens- The Psychic Nature of Being
52 The Weeknd- House of Balloons
51 Missy Elliot- Supa Dupa Fly
50 Of Montreal- Satanic Panic in the Attic
49 Animal Collective- Sung Tongs
48 Wolf Eyes- Dead Hills
47 The Advisory Circle- Other Channels
46 Aphex Twin- Come to Daddy
45 Julia Holter- Ekstasis
44 Various- Splendor Sdtrk
43 Radiohead- Kid A
42 Gas-Gas
41 Various- My Estrogeneration
40 Various- Bang and Works vol 1
39 Fennesz- Endless Summer
38 Gas-Konigforst
37 Tori Amos- Boys For Pele
36 The Postal Service- Give Up
35 Ariel Pink's Haunted Graphitti- Before Today
34 Vex'd-Degenerate
33 Sweet Trip- VelocityDesignComfort
32 Belle and Sebastian- If You Are Feeling Sinister
31 Sun Araw- On Patrol
30 Aaliyah-Aaliyah
29 Arp- The Soft Wave
28 John Maus- We Must Become the Pitiless Censors of Ourselves
27 Fuck Buttons- Tarot Sport
26 Dan Deacon- Bromst
25 High Places- High Places
24 The Flaming Lips- Yoshimi versus the Pink Robots
23 The Boredoms- Vision Creation Newsun
22 Grouper- A I A; Alien Observer/Dream Loss
21 Oneohtrix Point Never- Rifts
20 Various- Night Slugs vol 1
19 Meat Beat Manifesto- Subliminal Sandwich
18 Dizzee Rascal- Boy in Da Corner
17 Broadcast- The Noise Made by people
16 Various- Pure Silk
15 Cut Copy- In Ghost Colours
14 Herbert- Around the House
13 Junior Boys- So This is Goodbye
12 Death Grips- The Money Store
11 Hum- Downward is Heavenward
10 M83- Dead Cities, Red Seas and Lost Ghosts
9 Various- Run the Road 
8 Grouper- Dragging a Dead Deer Up a Hill
7 Aphex Twin- Richard D. James
6 Caribou/Manitoba- Up in Flames
5 Coil presents Black Light District- A Thousand Lights in a Darkened Room
4 Broadcast- Haha Sound
3 The Flaming Lips- The Soft Bulletin
2 Burial- Untrue
1 Boards of Canada- Music Has the Right to Children

Tuesday, August 7, 2012

Forcelisten2

Tuesday, July 31, 2012

RIP Bill Doss

Of Olivia Tremor Control and The Sunshine Fix. Dusk at Cubist Castle (and E6 overall to be honest) was a tad overhyped in my book (and don't even get me started on the "ambient" album), but they had a couple undeniable tunes:

Thursday, July 26, 2012

Which Gotham Need Be Saved?



Aaron Brady's new review of The Dark Knight Rises has many spot-on moments, but perhaps none as pivotal as his dissection of why standard political reads of films often miss the point:

"This is not to say, of course, that a movie doesn’t put limits on our ability to read it in different ways. It manifestly does; The Dark Knight Rises is not, I can say with full confidence, a critique of Bain Capital. Movies are broadly polyvalent in some respects and they are more narrowly polyvalent in others, which means that some kinds of readings are plausible (“Batman is a fascist!”), and some are not (“Bane is Mitt Romney!”). So the way you figure out where the limits are is by looking at what ends up on the screen versus what doesn’t, the way the movie starts with a range of conceivable narrative choices and selects from them. To put this another way, a movie’s politics are not to be found in the material of the narrative itself, but in the constraints which the material onscreen puts on the kinds of narratives we can tell about it. Certain stories are plausible, and others are not; certain modes of reading and identification become plausible while others get shut down.


"So is it “liberal”? Is it “conservative”? Both, a little. But more importantly, “liberal” and “conservative” are already both modes of narrative constraint, political just-so stories that define the limit points of what is politically thinkable and narratable. And by narrating the movie in the space between these two ideological poles, as the material of the film suggests we do, we descend into a political reality in which there is nothing but the incredibly narrow space separating liberal from conservative, a world in which there is no alternative. There is enlightened liberal capitalism of the Keynesian New Deal variety and there is the Hobbesian world of predatory Ayn Rand capitalism. This restaurant serves both kinds of Capitalism, the kind with “rights” on the side and the kind with “liberty” on the side.


"This point is important because, of course, there are two programmatically disavowed alternatives in play: leftist revolution and reactionary fascism. And not coincidentally, these are the two obvious narrative possibilities which, by all accounts, should be in play, but aren’t: the latter because the cops (and Batman too) are essentially selfless, modest, and recoil from unnecessary violence; the former because the mass population of Gotham not only lacks a political consciousness but barely even exists at all."

Brady singularly defines Bane as a stand-in for Occupy, and it's hard not to see that as illustrated in the examples that he gives, but it's a big stretch to ignore Bane's bad guy expository giveaway strategy.   As pointed out in the comments section of the aforementioned article, Bane's puerile revenge fantasy is to reproduce his own torture from his time in the underground prison and project that experience onto Gotham.  He insists that the worst hell on earth is one given just enough hope to think that escape is an option. Bane's intent is to hijack the revolutionary idealism of Occupy and exploit it by using his well-fuded social mobility obtained through Talia and Daggett.

It'd be easy to read this as an object lesson against reterritorialization, particularly as enacted at the hands of the free market capitalist democrats.  "Hope" was an obvious buzzword from the democrats, but, unlike radical republicans with the Tea Party, few of them really ran with the opportunity to exploit the goodwill afforded Occupy.  That Bane is really only able to operate with the support of Koch Brothers like funding further complicates the politics of his populist rhetoric. 

Yet, the notion of hope with little potential of escape resonates perhaps more with the notions of capitalist realism and disaster capitalism than a citizenry oppressed by the burden of statism and taxation.  One can think of no more fitting a scenario than an economy in constant crisis to manifest a suppressed people being badgered into complicity by the constant brief indicators that "things are starting to turn around"/"home buying is going up"/ "more jobs are on the horizon"/ "the economy is picking up steam" while the proportion of inequity continues to rise and the potential to break through class barriers diminishes. 

The problem is that this world is not the one Gotham lives in before Bane arrives.  Pre-Bane, Gotham is completely without hope, convinced of the futility of fighting their assigned roles within the class hierarchy.  It is only when the revolutionary arrives that "hell on earth" is even possible, assumingly because it allows people to question their station without actually being able to alter it.  One could argue that the film believes that it's violent revolution, with its tribunals and terrorist bombings and inevitable descent into totalitarianism, that renders false hope, that causes people to ignore their ethical sanctity in the interest of social justice as blind fundamentalism.  It'd perhaps be easy to make this case if you knew what the hell Gotham felt about Bane and his anonymous cronies, who all bafflingly seem to be American blue collar workers.

Brady cites a passage by Abigail Nussbaum which states: "Bane claims to be acting on behalf of the city’s underclass, and establishes a policy of violent persecution against the upper classes…we are kept entirely in the dark on the question of how the people of Gotham feel about this.  Do they support Bane?  Do they oppose him?  Do they think he has the right idea but the wrong methods?  Are they, as seems most likely, divided between these options according to their social status in the pre-occupation world?"

It seems silly and cartoonish to think that people would all of the sudden place unresticted faith in someone, even someone with appealing rhetoric, who just blew up large parts of their own city, likely massacring scores of friends and family members in the process (the "greeted as liberators" strategy).   Yet, Bane's revolution seems to have been given some relish by many onlookers gleefully looting the homes of the rich and dragging them from their luxury apartments. But, as the Brady article indicates, this is not some grandiose attempt to pain the masses as cynically motivated by greed and untrustworthy; it's left ambiguous by way of indifference.   Still, that the city is ruled under fear and an iron fist crushes all insinuation that this is actual and not forced revolution.  The lack of social action either for or against seems to indicate a collective impotence that can only be overcome by the brute force of statist violence. 

Yet,  even after the good guys seem win, their resolution is not even palace revolution, it's a complete restoration of the old social order.  Wayne Enterprises, which built the frickin' singular unauthorized weapons reactor that held all of Gotham hostage and produced the CEO that masterminded the entire coup, is fully operational at film's end and rethinking ways to rebuild its empire.  No trial. No prosecutions.   Selina Kyle is properly domesticated, her quip about the rich getting to "live so large and leave so little for the rest of us" is negated by her entryism into the world of living large vis a vis her luxury European vacation. Bruce Wayne revives his mild philanthropy, which really is the only outcome of any note for any of Gotham's permanent lower echelons, proving that through it all money really is the only power through which social change can be enacted and illustrating that the defeat of income inequality is a pursuit that can only be overcome through the consent of the entitled.