Category Archives: Culture

The Candidates Three?

Odds are, but it is not certain, that the Democratic nominee for next year’s presidential contest will be one of the leading three candidates currently leading in the primary. While it is possible one of them will suddenly self-destruct and be replaced with a lower tier candidate, with each passing debate and fund raising quarter it grows increasingly unlikely. So we’re looking at the nominee being Biden, Warren, or Sanders and each represents a fundamentally different approach to the current political situation.

Biden is the conventional wisdom and ‘return to normalcy’ candidate. His approach is to treat the environment as an aberration and that a return to the past is not only preferable but also possible. Bi-partisanship and norm following would be the focus of his potential administration making him popular with risk adverse and older Democratic voters.

Sanders’ position that that the system itself is corrupt and must be swept aside to make room for the improved and golden future. It’s fitting that Sanders holds that position as he is not even a Democrat but rather officially is a Democratic-Socialist. Sanders is a revolutionary and promises a revolt making him popular among the disaffected, and the young.

Warren stands between these two extremes. The reformer Warren’s position is that the system is broken but that it can be repaired, that the old ways are flawed and that revolution is too extreme. It’s noteworthy that Warren isn’t afraid to label herself a ‘capitalist’ nor does she run from the fact that she was once a Republican. She appeals to those desperate for change but unwilling to commit to revolution.

Three candidates, three very different viewpoints on the troubles and the solutions it will be interesting to see which one prevails.

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Spider-Man, Macbeth, & Responsibilities

It is interesting to think about how characters are or are not responsible for the ills of their fictional world.

Central to Spider-Man’s character is the guilt he feels over the death of his beloved Uncle Ben. After Peter Parker had gained his powers that allow him to become a super hero but before he accepted to corresponding responsibilities, he sought enrichment and glory by using those magical abilities in entertainment. And when he stood by refusing to become involved in a robbery allowing the culprit to escape, he set into motion a chain of events that resulted in the same culprit robbing, shooting, and murdering Peter’s Uncle’s Ben. In the second motion picture directed by Sam Rami Peter confesses to his aunt that he, Peter, is responsible for Ben murder and that is something that has always rankled me.

Yes, Peter should have done something. Yes, Peter’s inaction set up the conditions that allowed the criminal to escape and thus the conditions that eventually allowed the criminal to be in the wrong place at the wrong time with the wrong motivations that resulted in Ben murder.

However, Peter is not responsible for that murder. Peter did not pull that trigger; Peter did not make the decision to shoot. Only the gunman is responsible  for shooting. My feelings on the matter have always been settled ground to me.

Yet, things feel different when I contemplate my favorite play Macbeth.

It is Macbeth’s hand to wields the dagger, it is Macbeth’s choice to murder his King and Kin, it is Macbeth uses the throne of Scotland to ignite a reign of terror that sparks open rebellion and invasion and still I can’t shake the sensation that responsibility somehow lies with the unnamed witches.

Without the supernatural meddling by the witches, making pronouncement of the future that are accurate of ultimately misleading, would have Macbeth ever taken any action against his royal cousin? If the witches can know which grain will grow and which will not then must they also know that speaking that future to Macbeth that place him on the path that ultimately leads to his doom? Are they the inversion of Avengers: Endgame knowing that if they speak the future to Macbeth that unlike Strange certain that his prediction will destroy its possibilities their will ensure it? If that is the case how do you divide responsibility between the Witches and their future meddling and Macbeth free will to choice his destructive path?

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Nonsense Nomenclature

Recently the San Francisco Board of Supervisors officially proclaimed something that has been a common cry for Gun Control activists that the National Rifle Association is a ‘Domestic Terrorist Organization.’ This is absurd when shouted by protesters and idiotic when made as an official statement from supposedly cooler heads.

Terrorism is the use of force with the principle intent of utilizing fear to affect a political process. Certainly some of the cowardly mass murderers were terrorists, slaughtering helpless people at worship, while shopping because of racist and bigoted ideologies, particularly to ignite a ‘race war’ is terrorism. It is also true that the ideology behind it is a terroristic one, without hopeless odds to induce their twisted bigoted beliefs through the political process, no matter the recent successes of blatantly racist politicians and candidates, the ‘radicalization’ of angry young men continue to generate these cowardly murders.

However, that is a long way from the NRA being itself a terrorist organization.

A player, though its powerhouse days may be behind it, in the American political process, the NRA has never sanctioned, endorsed, or encouraged any of the mass murders. The NRA, its endorsements, and its financial contributions have serous impact on the political landscape seriously undercutting any reasonable attempt to define it as a ‘terrorist’ organization.

Labeling the NRA a terrorist organization is not reasonable but it is understandable.

While the NRA has not in any way encouraged or endorsed these murderous attacks it has displayed a callous indifference. Offering nothing more than the empty phrase ‘thoughts and prayers’ while pointing accusing fingers at video games the NRA stubbornly refuses to take any action to prevent these evil acts giving the impression that no amount of bloodshed or pain can ever matter more than their own narrowly defined self interest.

This heartless inaction, in my opinion, will, in the end, cause greater harm to the organization’s goal and objectives than any minor or modest legislative compromise. As I have argued before eventually a cultural tipping point will be reached, a like a dam bursting, the flood that follows will wash away everything that came before. I think it is instructive that in the 2018 election cycle the Democratic Party did not run and hide from a solid stance in favor of more gun control. The old collations have passed away and in this delicate time new ones are forming. Trump harms the Republican’s ability to reach beyond their core base with the college educated and far less devoted suburbs already fleeing to the Democratic party just new cycle of re-districting is about to be begin. The 2020 election will impact the next decade and the dam may already be bursting.

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It is Probably a Bad Movie Anyway

Some weeks ago I first saw the trailer for the thriller The Hunt and I was unmoved and uninterested. If you are familiar with the classic story The Most Dangerous Game, a piece of literary fiction that has been adapted into film several time or the Ozploitation movie Turkey Shoot  then you are aware of the basic set-up for The Hunt, a group of people are forced to the objects of a big game hunt and must fight and use their wits to survive. When I saw the trailer my thoughts went to Turkey Shoot  and frankly seeing that again prompted more interest.

Last weekend a conservative friend of mine brought up the film because of controversy that was apparently bubbling over at conservative websites. The movie grand satire was that gun-toting liberal elites were the hunters and that they had selected ‘deplorables’ Trump supporters and the like as their game. Under fire for this set-up, with Trump taking part in condemning the movie, and the horrific tragedy of three mass shooting events, one certainly politically motivated, within seven days, Universal pulled the movie indefinitely from their release schedule.

Ruben Baron at the website CBR reports having read the script by Damon Lindelof and Nick Cuse and compares it to an episode of South Park  where both the liberal hunters and conservative prey are presented in a bad light. In an attempt to be even handed apparently the script treats the liberal hunters as stereotypes and the people selected for the hunt are guilt of more than simple right-wing political positions but are also spousal abusers and such. (Though that itself ignore that domestic violence spans the political spectrum and reveals more about the screenwriters than perhaps they intended.) The central hero is a Red Stater who was selected by mistake when her name is confused for the hunt’s actual target.

I find it amusing that before Fox News, Trump, and PJ media jumped into the fray certain that this was nothing more than a liberal hit job on ‘real’ America that the most sympathetic characters were likely to be the conservatives being hunted. Narrative fiction, at least in the European tradition, is about character struggling to overcome adversity to achieve a goal and in that mold the characters an audience is most likely to root for are the ones fighting to survive. They have with the highest stakes in the conflict, are the ones suffering at a disadvantage, and the ones more likely to fail. I am reminded of a WWII training film about enemy interrogation where an allied aircrew is captured by the German and subject to various tricks, threats, and subtle techniques to divulge classified information. When I watched the film it was very difficult not to root for the Germans. They had the objective, they were facing the clock, and to win all the Americans had to do was shut up and say nothing. I suspect this script, in addition to being bad satire, would have placed the audience sympathies with the hunted.


 

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The Missing Parallel

Often my mind will wander down counter examples when I hear a familiar phrase or explanation. For example many years ago during a conversation when a friend who had been in the US Navy with me discussed a bit of debauchery ashore during liberty in a foreign port he excused his behavior by saying ‘I’m only human.’ It occurred to me that no one ever says that when doing good actions even though altruism is also a very human thing to do.

Recently my mind has tripped over a familiar construction and the missing parallel to it, Judeo-Christian.

The phrase Judeo-Christian is often used as a stand in for Western European, though both elements of the phrase originate from the Middle East. Judeo naturally relates to Judaism, that ancient religion tracing its history back through Genesis and Adam and Eve. Christian of course refers to the religion that sprang up around Jesus, a Jewish holy man from the early Common Era and whose life and teachings represent the fundamental break between the two religions. The two religions have had a quite contentious and violent history as over the centuries followers of the Christian faith have engaged in pogroms, Inquisitions, conspiratorial slander, and murderous hate against the Jewish minority. This recent and mostly fictional welding of the two philosophies in a single Judeo-Christian tradition is really at odds with their history and is primarily propaganda. A propaganda that for the most part the Jewish people are not participants in. Consider this counter construction, Judeo-Islamic.

Islam, just as with Christianity, traces its history and origins through the Jewish faith and traditions. Where Christians believe Jesus was the final prophet from a long line of Jewish holy men and the living god made flesh the Islamic faith views Mohammed as the final Prophet that culminate the linage begat in the Old Testament. Where the Jewish faith traces its origins to Abraham’s son Isaac, the Islamic tradition is to trace their heritage Abraham’s other son, Ishmael. All three religions site Abraham as the man God selected to give birth to a chosen people and the followers of these major religions are often referred to as ‘The people of the Book’ because of their common origin and yet I have never heard any speak of a Judeo-Islam culture or tradition.

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When You Stare Into The Art The Art Stares Back Into You

Obviously this post’s title is a play on the famous statement about staring into the void and how that changes you what I am speaking about is not so much about change as revelation.

With the release of Tarantino’s Once Upon a Time In Hollywood his largest box-office opening to date, there have been a slew of reviews with interesting takes on what the themes and cultural significance of this cinematic fairytale. Given the subject matter, 1969, the Manson Murders, the transition from ‘Old Hollywood’ to a new star system, and the failure of the ‘Hippie’ movement as the idealistic 60s gave way to the cynical and dark 70s Once  quickly became a mirror that reflected the philosophies, politics, and morals of those critiquing the film.

It is an interesting and I think often forgotten aspect of critique that what once comments upon, compliments, or derides in any work of art but particularly with narrative pieces, says as much about the reviewer as it does about the art itself.

In my writers circle I often say ‘No honest review can be wrong,’ as a truthful critique, one that if reflected of the person’s sincere thoughts and reactions, paints the art as it impacted and moved, or failed to move, that person.

It has been fascinating watching the political chatterers liberal and conservative react to Once  revealing their internal biases, talking past each other, and illuminating the very real differences between those world-views. It could be an interesting experiment for some writers to write phony reviews in their characters’ voices.

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The Strangely Enduring Relevance of Shock Treatment

This week I re-watched 1981’s curious film Shock Treatment. Originally conceived as a sequel to the cult hit The Rocky Horror Picture Show  Shock Treatment  evolved into something darker, deeper, and more serious that that beloved rock musical. On one level the story is a simple straight forward sort of musical faire, Brad and Janet’s marriage is tested by temptation, fame, and manipulation by romantic rival for Janet’s affections until they ultimately triumph and literally ride off into the sunset. yet the film is also a biting commentary on television, the slippery nature of truth, and the power audience surrender to performers and content creators. Shock Treatment  is a deeply symbolic film with an approach that has more in common with David Lynch than most conventional filmmakers and it asks audiences to accept a level of unreality that transcends conventional narrative construction. Released long before the plague that is ‘reality’ programming this film speaks to the inherent deceptive quality of television and the dangers of accepting as ‘real’ anything that is presented in that flicking tube. And even though cathode ray tube and raster scans have vanished from out living rooms the film’s themes resonate stronger then they ever did in 1981.

Corporate control of mass culture, celebrity invasion of politics, and the deadly siren lure of instant fame, dangers we grapple with today are all major elements in Shock Treatment’ssly satire. The sinister similarity between Farley Flavors and Donald Trump feel more real to me than that other cinematic creation his inspired, Back to the Future’s  Biff Tannen. Lies are the beating heart of Shock Treatment,  the lies that seduces us, the lies we tell ourselves, and the lies we endure to simply ‘get along’ and in that theme I can’t help be feel that Shock Treatment’s  cinematic cousin is Craig Mazin’s outstanding series Chernobyl.

Nearly forgotten it is shocking just how relevant Shock Treatment  remains in 2019.

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It’s Not About Being Mentally Ill

Three mass murder shootings in seven day. It’s utterly horrifying to contemplate but today I am not going to discuss the pros or cons of firearm regulation but rather the tired cliché of describing the cowards behind the trigger as ‘mentally ill.’

It has been said before and will be said again that people suffering from mental illnesses are far more likely to be victims of violent crimes and assault than perpetrators and yet every single time this happens there are those who rush forward to blithely pronounce the murderers as mentally deranged and ill. If the facts so clearly support the concept that the mentally ill are victims of violence why are people always placing the blame on them? I think it comes down to three major reasons. I am not presenting the three reason in any order of importance, each one’s weight varies upon who is making the argument and why but I do think that all three broadly and culturally apply.

It’s a Dodge.

In the context of mass shooting when someone with a firearm starts killing as many people as they are able politically for those on the right it’s vitally important to shift the conversation as fast as possible. This is not to say that either side of the control argument has the stronger case but rather an observation that the political payoff for the right and conservative is to move the topic away from the gun itself. I call it a dodge rather than a reason because if this were a sincerely held belief, that these events are a result of seriously mentally disturbed people then those making that argument would be at least attempting to mitigate the effect with some action but that is almost never the case. No serious attempts are made to strengthen or enhance our deplorable mental health facilities in this nation and hence this argument is a dodge.

Popular Entertainment

For literally decades lazy incompetent screenwriters, and creators of all sorts, have waved away the haphazard and inconsistent motivations of their antagonists with the proclamation that the characters are ‘mad.’ The insane violent psychopath became an easy tired trope of bad writing and burrowed itself into a collection consciousness until for far too many people the blurry line between flawed artistic creation and reality faded into nothingness leaving us with the actually belief that murderous violent people are in fact psychopaths and that psychopaths are murderous and violent.

Rationality has Destroyed Evil.

The Enlightenment and Modernists thought insists that the world is a rational construction and that everything within it can be understood with the power reason. For so many aspects of reality this has held up extraordinarily well modern scientific thought has given us a world of abundance, long life, and unparalleled health even if those benefits are not yet even distributed but one thing we have loss in the calm logical model of the world is the concept of genuine evil. When these evil cowards appear and begin their indiscriminate slaughtering logic and reason fail to comfort us and in a desperate attempt to ‘explain’ people reach for madness as the answer. Because believing in actual evil has fallen out of favor insanity, a vastly misunderstood aspect of human health with much more to learn than is known provides a rational if utterly wrong answer to the question Why.

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Terrific Art, Terrible Person

As a consumer what do you do when the artist is a terrible person?

In this day and age when less and less of what was once considered ‘private’ become public and common knowledge more and more anyone who is idealized and lionized is revealed to have not just feet of clay but dark black hearts as well.

I am not speaking of just the abrasive personality, the demanding and tyrannical nature of their relations with coworkers and assistants but deeds that are criminal and often unforgivable. I need not give a detailed listing of the recent and distant scandals that reveals some artists, performers, and creators to be truly reprehensible people.

What should you do?

There are no easy or one-size fits all answers. To each of us lies our individual moral duty and obligations and as shepherds of our own consciences we have to find the answers alone, but I can share some of what guides me and perhaps that might illuminate for myself and other how to approach the difficult and fraught choices.

I have to ask myself does the art endorse, reflect, promote, or otherwise give support to the actions that I found reprehensible?

Kevin Spacey is a talented actor and apparently, yet to be proven in a court of law, a terrible person when it comes his behavior. Does his art endorse the sort of actions he has been credibly accused of? It doesn’t seem so to me.

It is easier separate the artist and the art when the art lies completely apart from the artist’s reprehensible actions, Polanski’s Macbeth is my favorite film adaptation of the classic play and has nothing to do with the man’s criminal actions. I can enjoy the filmmaking, the artistry, and still support the position that he deserves the jail time he escaped.

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Nazis, Socialism, and Madonna’s First Movie

It has been brought to my attention recently that there are still, and I imagine going on forever, people insisting that Nazis are actually socialists and by extension left wing politically. The arguments fail to convince me and I’ve laid out in other posts why I think the Nazi fall clearly on the right. What I find fascinating about this argument is contorted logics employed in services of preconceived conclusions; they are rationalizations and not reasons.

Back in 1985 I engaged in the strange habit of renting the worse movies I could possibly locate on VHS. A little mom-and-pop shop just around the corner from where I lived had the most interesting collection of odd movies with titles such as Hitchhike to Hell  and then one night the gem A Certain Sacrifice  appeared on the shelves. This micro-budgeted movie shot in 1979 and 1980 and looking as though the film stock was all of 8 mm wide included an unknown performer, Madonna. By the mid 1980s her stardom had exploded and the filmmaker capitalized on this by releasing his movie on home video. Thought Madonna attempt to stop the release she failed in the courts and I was treated to a truly terrible movie.

What does this have to do with the question if Nazis were or were not socialists?

After watching the film with my roommate one of the games I engaged in was arguing that A Certain Sacrifice  was not in fact a bad movie but a masterpiece of filmmaking rich with metaphor and symbolism. My arguments were artistically sound and of course utterly untrue. The fact that I could spin a consistent narrative that ‘explained’ all the bad film choices as something smart and creative did nothing to change the facts of the matter. The same is true in this political argument.

You can quote from the early years of the Nazi party to prove points, ignoring the uncomfortable truth that those elements were brutally eliminated during the night of long knives. You can construct logical arguments that proceed from a foundation that everything totalitarian is socialist and get to your preferred conclusions, but linguistic dexterity and slippery arguments do not change facts on the ground.

But how can we know the facts on the ground? How can we test this concept?

Easy, watch actual Nazis and see where they place themselves politically.

It is on the right.

People giving Nazi salutes election night 2016 were not bemoaning a loss.

People marching by torchlight and chanting ‘Jews will not Replace Us’ did not organize a ‘United the Left’ protest.

It was not the Democratic Party that found itself represented by an actual Nazi in the 2018 congressional elections.

Nazis nearly always self-sort to the right, their behavior betrays their natural placement on the ideological spectrum.

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