Saturday, February 24, 2007

Time for class

Okay, after all this blog silliness, we'll get to the serious post for the day. And before you ask, yes I have too much time on my hands, and am a massive nerd. I'm surprised you had to ask, really.

Alright this story starts with this article, entitled "Army of Altruists" by David Graeber, originally published in Harper's, though thankfully some kind blogger has decided to transcribe the thing for us lazy Interneteers. The first half of the article is kinda crap, as the author attempts quite unconvincingly to argue that altruism only appears as a flip side to egoism, and both of these only as a consequent of "the market." I'm not going to bother critiquing it, cuz it's pretty self-evidently crap, and it's not really what I want to talk about.

The interesting part of this article comes towards the end, where he begins to discuss the options available to people in the US if they feel the need to selflessly expend their efforts on altruistic causes. The crux of Graeber's argument is that more and more, volunteering is an exclusively middle-class activity, and that for the poorer working-class their options are restricted to either joining a church, or joining the military. He argues that this is, in part, an explanation for the Republican's strength in the working class, and how a party that represents, in truth, the richest of the rich, can have such a strong appeal amongst those most strongly affected by the inequities of wealth the Republican's are working so hard to extend. So:

Why do working-class Bush voters tend to resent intellectuals more than they do the rich? It seems to me that the answer is simple. They can imagine a scenario in which they might become rich but cannot possibly imagine one in which they, or any of their children, would become members of the intelligentsia. If you think about it, this is not an unreasonable assessment. A mechanic from Nebraska knows it is highly unlikely that his son or daughter will ever become an Enron executive. But it is possible. There is virtually no chance, however, that his child, no matter how talented, will ever become an international human-rights lawyer or a drama critic for the New York Times. Here we need to remember not just the changes in higher education but also the role of unpaid, or effectively unpaid, internships. It has become a fact of life in the United States that if one chooses a career for any reason other than the salary, for the first year or two one will not be paid. This is certainly true if one wishes to be involved in altruistic pursuits: say, to join the world of charities, or NGOs, or to become a political activist. But it is equally true if one wants to pursue values like Beauty or Truth: to become part of the world of books, or the art world, or an investigative reporter. The custom effectively seals off such a career for any poor student who actually does attain a liberal arts education. Such structures of exclusion had always existed, of course, especially at the top, but in recent decades fences have become fortresses.

If that mechanic’s daughter wishes to pursue something higher, more noble, for a career, what options does she really have? Likely just two: She can seek employment at her local church, which is hard to get. Or she can join the army.


So essentially the Republicans represent the few remaining avenues for altruism in the working-class: the church, the military, and capitalist success. Whereas the Democrats, with a university system saturated with their own scions, proffer their virtue as the proper aim of any truly beneficent citizen while ignoring the unbalanced conditions that make their altruism possible.

There are flaws in this argument. For one, universities are filled with many Republicans, conservatives, and avowed capitalists. Second, it seemingly ignores the rich history of working-class based social movements that succeeded quite well without a large university involvement (for example, much of the black civil-rights movement, though there was a strong church involvement).

But what I do like about this argument is that it does make a claim for all of us having the urge to do good with our lives, to attain purpose and meaning through devotion to a cause we feel is bigger than ourselves. It is only the opportunities open to us that cause differences in our behaviour, and it is the failure to recognize this that has led to the left's alienation of the working-class, making us appear sanctimonious, rather than compassionate.

On the other hand, isn't this the same as the Republican/Capitalist assertion that the reason the poor/blacks/mexicans/etc aren't making more money and moving up the social ladder is because they simply aren't working hard enough? This claims misses the same structural forces that mean that just "working hard" will never be enough: the institutional racism & sexism, the lack of access to education, the continued entrenchment of the laws and values that made the rich rich in the first place. Why exactly is it that the working-class can still imagine miraculously getting rich, and not moving into the middle-class intelligentsia? Is this just the continued power of the "American Dream?" Or are we just putting words in to the working-classes mouth again, patronizing as always. In fact, dealing with "the working-class" like they were one monolithic entity is pretty damn bullshit and patronizing in the first place. But hell, I've been doing that for the middle-class as well, and sometimes it just useful/interesting/fun to make broad generalizations, isn't it? :)

Alright, well I've swung back and forth on this enough times, and have successfully blown a whole afternoon writing bullshit for the old blog, so I'd better quit before I go nuts.

Thus ends our saturday afternoon blogstravaganza! Hope y'all enjoyed it. Oh yeah, and would it kill you people to post a commment every now and then??? (dano excepted, of course...)

OMG trip down memory lane like a motherfucker!!!

DuckTales



The motherfucking Gummi Bears!!!



TaleSpin


Darkwing Duck


Chip 'n' Dale Rescue Rangers



HAHAHAHA oh man seriously you guys, you have to listen to all of these, because they are awesome, and I know you watched all these shows as a kid. Now the burning question is, who had the best opening theme? I'm finding myself quite partial to the Darkwing duck theme, though that was really when my interest in these disney cartoons started to wane. Also special mention goes to the gummi bears because i fucking loved that show, and "ch-ch-chip and dale, rescue rangers!" cuz i totally have that stuck in my head now.

Please respond with your votes!!

junior boys - in the morning + goddard??

Okay, I really love this. Who wants to learn this dance with me? (thanks to IT for the link)



(ps. i think that girl's look is HOT. actually everyone in that film is very well dressed ;) more please! )

Rainy Saturday afternoon Blogstravaganza!

I just bought this record for 5 bucks and it is 100% awesome. Retro Kompakt excellence. I will try to search out the mp3s for it, or you could always just buy them from here. Yay record shopping!



I also bought this, which I was surprised I had heard nothing about, given it's two artists, and the quality of both sides.





Lastly, I picked up, for the hell of it, a deluxe, 180 gram vinyl edition of this



which is good, but not quite as good (in terms of early Tangerine Dream-ness) as this



which i picked up a while ago

Tuesday, February 20, 2007

RRRRRRRRALF!!!

Omylord! Our old pal Ralf from the Long Beach Surf Shop has a blog! That is just great.

Big up all the Tofino surfing crew.

Sunday, February 18, 2007

DRUNK POST

R U DOUBLE DOUBLE F
AIN'T NO OTHER CREW THAT CAN TEST
S Q W A D
RUFF SQWAD, RAPID WE'RE SO AGGY

this is why god made music. fuck i love ruff sqwad.

ruff sqwad - r u double f

Monday, February 12, 2007

The Wrath of the Jungle



Popol Vuh - Aguirre I

Aguirre, der Zorn Gottes (The Wrath of God), took a couple viewings before its quality truly became clear. It's director, Werner Herzog, comes from a different type of film making, with a different set of priorities and values. I don't really know enough about cinema to say that it is a particularly avant-garde piece of film, but I think it's safe to say that it definitely more of an "art house" movie. This is not to say that it's just a bunch of actors sitting around drinking coffee and discussing their love lives, or whatever stereotype of an art house film you happen to have in your heads. No, when watching these actors careening down some river in the middle of the Amazon rain forest on crudely built raft of logs, what you actually get is a sense of physical location and danger of place like no other movie I have seen. Perhaps it has something to do with knowing the back story, knowing the movie was filmed with a core crew of only eight, plus actors, in 1971, in the Peruvian jungle, but the palpable sense of isolation is pervasive throughout the film. Purporting to tell the tale of band of Spanish explorers in the 1500s searching for the mythical golden city of El Dorado, Aguirre creates the feeling of being far, far away from civilization, surrounded by an immense and impenetrable jungle--a feeling one imagines actual Spanish explorers must have felt quite strongly during their own adventures.

Interestingly, I just caught part of Apocalypse Now on TV and was struck by how much less present the jungle felt in that movie, even though both films were shot on location, in Peru and the Philippines respectively, and both films deal with similar themes of the descent of humanity as it's faced with nature's implacable disregard. Somehow, in Aguirre, the jungle is just there as a force, throughout the film, making Klaus Kinski's deterioration in to madness as the titular Don Lope de Aguirre seem both appropriate and terrifying.



But why did this movie not sit well with me right away? Well as I said, this is not a Hollywood movie, it's techniques and goals are distinctly different, and even though I could see these things clearly, I think it took me a while to settle in to them and feel comfortable. A convenient analogy is with the soundtrack itself, by Popol Vuh, a much respected Krautrock band from the time, sitting somewhere between Tangerine Dream, Can, and Ash Ra Temple (see above track for an example). It's really interesting to me that a guy like Herzog would find himself associated with the krautrock scene (apparently he actually played soccer with Vuh's Florian Fricke!), as both seem to be working within a strange seam in between pop and the avant-garde. Krautrock takes some of the melodic flourishes of pop music, specifically the North American and British rock of the 60's that preceded it, but adds in to them a willingness to experiment, to deal with expanded palates of sound. Herzog similarly expands upon traditional narative techniques, spending long periods studying the jungle and the river with his camera, adding depth and atmospher to the work, while at the same time requiring a slightly different way of watching a movie, as compared to a more standard hollywood production.

Compared to my taste in music, my taste in movies is quite catholic, though I've been trying to work against this recently. For as much as the Beatles and Francis Ford Coppola are responsible for great works of art, it seems the margins are often the most fruitful sources of interesting works. So my hopes are that my slow appreciation of Aguirre is just the beginning of my expansion beyond "pop" film. Because hey, I don't already spend enough time on weird obscure music...


Also, last reason to love Aguirre: monkeys!

“We love to torture terrorists—it’s good for you!”

The above quote is from Joel Surnow, co-creator and executive produce of 24. Read this article in the New Yorker about 24 and the politics behind it and then never watch the show ever, ever again.