Showing posts with label Art and Literature. Show all posts
Showing posts with label Art and Literature. Show all posts

Thursday, December 28, 2023

Reprint Heaven: What Art Is Worth

 Charlie

(Charlie Chaplin passed away forty-six years ago, on December 25, 1977. 

(Given the toxicity, violence, and hate being pumped into the world as fast as the Murdochs and Leos, Mercers and Kochs; the IDF, Hamas and Hezbollah can manifest it -- it's worth remembering what art can bring into the world, and its real value.)

Charlie Chaplin, 1914

Some spiritual traditions believe in additional dimensions of existence; that the world most of us see as the only reality is one place where thought can be transformed into physicality.

Everywhere we look, there's an idea translated into concrete form -- speeches, laws and regulations; social agreements around money, sexuality, role and status; value. And most obviously, images, novels, poetry; music. Even the simplest transaction between strangers, a word or a look or a tone of voice, carries some form of energy, and all of it associated with a positive or negative reference.

Following that idea, the world might be viewed as the collective energy in all ideas, actions and objects in it at any given moment. So, reality is defined by what we, individually and collectively, put into it.
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When a playlist of music you're listening to on Soundcloud runs out, an algorithm in the service continues providing a shuffle of tunes with similar themes or instrumentation. In that way, I found myself listening to a melody composed by Charlie Chaplin for his film, A King In New York (in your streaming platform, look for Charlie Chaplin film music - "Mandolin Serenade").

Hearing that brought up a stream of images of Chaplin that I carry around in long-term memory -- mostly, his iconic 'Little Tramp' character. His acting and films were so influential that for generations almost any adult, nearly anywhere in the world, might see a drawing of a figure with a postage-stamp moustache, wearing a bowler hat, and say, "Oh, that's Chaplin!" and smile.

Early Little Tramp: Mack Sennett's Caught In The Rain, 1914
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Chaplin started as a 24-year-old immigrant from Britain in 1914, a contract actor for Mack Sennett's film company. He looked like the photo at the top of this post; almost like any Dude you might pass on the street today. His 'Little Tramp' routine caught Sennett's eye -- initially a burlesque on an "affable drunkard", a bit loutish and inconsiderate and sloppily boozed. Chaplin's humor was physical, perfect for the trademark slapstick of Sennett's short films, and his comic timing was amazing.

Within four years, Chaplin had refined the Tramp into a more sober, sharper, plucky 'Everyman'. The Tramp became one of Sennett's most popular short-film characters -- and whenever a new Chaplin 'flick appeared in local movie-houses, people paid to see him. Lots of people: Chaplin 'packed them in'. 

Try and remember that paying 5 Cents at the "Nickelodeon" to see a film was no small thing for some people. In 1914-18, that five Cents would buy a modest breakfast, tea or coffee, or a pound of beans.

Kid Auto Races, Venice, California (1914); Chaplin's First Film Appearance
As The Tramp, Then Still The Affable Drunk

Like any artist, Chaplin was all about having as much creative control as possible; eventually, he convinced Sennett he could create better films (with the Tramp, of course) for Sennett's company. When a better financial and creative deal became available with another studio, Chaplin jumped at the chance -- and within four years of landing in America, by 1918, Chaplin was one of the most popular 'stars' in moving pictures, and possibly the most highly paid.

In the years immediately after the First World War, he became a founding partner of United Artists, a film company founded to allow film 'artists' more freedom to experiment with the medium, in contrast to what was becoming the Hollywood studio system.

UA allowed Chaplin the control he wanted over his work, and in less than a decade he had created some of the best  American silent films (arguably, some of the best motion pictures) ever made: The Kid, "The Gold Rush"; The Circus; "A Dog's Life", Pay Day, and more.

Arguing With The Boss: Pay Day (1922)

Sound motion pictures appeared in 1927. Four years later, Chaplin released City Lights, a film without dialog, only a music soundtrack he had composed, after Talkies had all but buried silent films. He continued in 1936 with another classic, Modern Times, again accompanied only by a soundtrack of Chaplin's music. As an art form, it wouldn't be used again for forty years, until Mel Brooks' Silent Movie.

The western press mocked Hitler in his early days as dictator by referring to him as "the politician with the Chaplin moustache". True to form, Charlie used the humor in that comparison to create a parody of Adolf and his Reich in The Great Dictator (released in 1940) not long after the Second World War began. After 1945, Chaplin made only four other films: "Monsieur Verdoux" (1947), Limelight (1952); "A King In New York" (1957), and A Countess From Hong Kong (1967).
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Chaplin's work showcased poor and working people in the early Twentieth century, easily shoved about by authority and manipulated by wealth. His films made clear he was no fan of unbridled capitalism, industrialism or the dehumanizing, assembly-line exploitation of labor.

In 1947, when anti-communist hysteria spawned House Un-American Activities Committee investigations of Red influence in Hollywood, Chaplin was tailor-made to become a target. It didn't help that he had unwittingly made an enemy out of J. Edgar Hoover, whom Chaplin had met in the mid 1920's. 

Chaplin had apparently been The Jokester when they met, socially; some of his humor made fun of the Director. He'd already heard and read newspaper gossip about Chaplin as a wealthy actor and director who liked young women -- of his four wives, two were sixteen, and another just 18, when they married. Chaplin's anti-authoritarian political views were clear. Hoover didn't like any of it.

Hoover's agents collected gossip on thousands of Americans, which Hoover was happy to use for personal and political ends during his 70-year reign. To him, Chaplin was just another foreign national, poisoning American society. Hoover believed Chaplin was Jewish (he wasn't), with loose morals and radical political sympathies, forcing his propaganda down the throats of innocent Americans through his films. 

Hoover's interest in Chaplin amounted to obsession: the actor / director was a target of FBI surveillance from the mid-1920's until his death in 1977, and his FBI file may be the largest publicly known of any prominent public figure in the FBI archives: released under Freedom Of Information Act requests, it runs to over 2,000 pages.
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As Chaplin left the U.S. in 1952 to attend the London premiere of his film, Limelight, the Justice Department revoked the re-entry permit on his resident alien visa. To be allowed to return, he would have to "submit to an interview concerning his political views and moral behavior". Hoover was behind the move; he had asked England's own Bureau, MI-5, to provide confirmation of Chaplin's communist connections, and for proof that his real name was 'Israel Thornstein'. MI-5 found no proof that Chaplin was a Red, and didn't respond to Hoover's antisemitism.

The FBI's files on Chaplin show the U.S. government had no serious evidence to prevent his return to America if he applied for re-entry. While Limelight received praise and success in Europe, Chaplin was smeared as a communist sympathizer in the U.S., and the film boycotted. Frightened and disgusted, after living and working in America for thirty years, Chaplin decided not to go back -- and he didn't, for twenty years.

In 1972 the Academy of Motion Picture Arts and Sciences (which had done little to stand up to Hoover, McCarthy or the HUAC) tried to make amends by voting to award a Lifetime Achievement Oscar to Chaplin "for the incalculable effect he has had in making motion pictures the art form of [the 20th] century."

Chaplin was 83, having had a series of small strokes and other health issues, and unsure how he would be received in a country he believed had rejected and then forgotten him and his work, But, Charlie came to Hollywood, and was visibly moved when the attending crowd gave him a twelve-minute standing ovation -- the longest tribute of that kind by the Academy in its history.
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Easy Street, 1917

Chaplin's Tramp, and other main characters in his films, were ordinary 'folks' -- mostly poor, or at the mercy of Fate and Chance. The world of his films was familiar to the people who could find a nickel to see them, and populated by easily-recognizable archetypes: regular, working-class Joes and Janes; office workers; the bullies and bosses; streetwise kids, shopkeepers and beat cops.

And, they're funny. They're funny today, a hundred years or more after they were released. The inventive, physical humor is timeless (remember Depp's character in Benny and Joon, doing the repeat of Chaplin's 'potato dance' from "The Gold Rush"?). I watched a DVD of Chaplin shorts recently, expecting the humor would be dated, less funny that when I saw them on TV as a child; I was wrong. They are funny.

In his major films, the Tramp -- at the bottom of the social ladder -- has to make a tremendous effort to overcome his circumstances, just to achieve some happiness or justice. He hopes for something better than what he had, where -- for once -- the Everyman gets his fair share, the Good Ending.

The 'Gilded Age' was allegedly over, but the majority of Americans barely had two pennies to rub together. Most of the people watching Chaplin on screen didn't expect a life with a Good Ending. They understood so often the outcome was bad: the person suffering because no one could afford medicine; the mistaken arrest; the lost job; the eviction; the beaten wife or child. To see Chaplin's Tramp win through by helping an Other -- the Girl; the Child; the Friend -- resonated.

The Kid, 1921

In The Kid, the Tramp finds and raises a little orphaned boy -- whom he had initially wanted nothing to do with -- then rescues him from the clutches of a brutal County Orphan Commissioner, using the Tramp's poverty as the excuse to take the child away. You know when he embraces the boy that the Tramp loves him, will protect and care for the Kid as if he were his own. They're still dirt poor, but the little boy is safe -- and in a world where anything can happen, that's the point. It's everything.

City Lights (1931)

In City Lights, possibly Chaplin's best film (it was his favorite work), the Tramp is poor and homeless, ignored by most people, teased by a pair of wiseass newsboys -- but meets, becomes friends with (and almost immediately falls for) a beautiful blind girl, reduced to selling flowers on the street to help support herself and her grandmother. Whenever they meet, she gives him a small, white rose.

Though the film is silent, when Chaplin's Tramp speaks, she mistakes his voice for that of a wealthy millionaire she's heard in the neighborhood where she sells her flowers, and (more out of embarrassment) the Tramp allows her to believe it's true.

Later, the Girl falls ill. The Tramp learns she might recover her sight through an expensive medical procedure. He works to save the money; after more plot twists, the operation is paid for and a success. Her vision restored, the Girl is able to open a flower shop with her grandma -- where she hopes the 'wealthy millionaire' who helped her will appear one day and sweep her off her feet.

Meanwhile, The Tramp, having been tossed in jail after the usual comic misunderstandings, is now even shabbier than when we first met him (1930-31 was the worst year of the Great Depression in the U.S.). He shuffles along the street, mocked and teased by the same pair of newsboys -- and suddenly sees a small white rose in the gutter -- the same flower the blind Girl used to give him. 

He turns, and is standing in front of the Girl's flower shop. She's sitting in the front window, and with her grandmother has been watching the antics of the newsboys with this ... street person. They share a laugh, think it's funny.

When he sees her, The Tramp is overjoyed; she's whole and healthy, but suddenly he's ashamed: she's now a respectable shop owner, and he's not.


The Last Scene Of City Lights; Critic James Agee Described It As
"The greatest piece of acting ever committed to celluloid"
(You'll Need To Click Through To UTub To View)

The Girl comes out of the shop to offer him a new rose, and a half-dollar. He slowly accepts the flower; she takes his hand -- and from the feel of it, the texture of his coat, all familiar to her when she was blind -- she suddenly realizes who he is. "You?" she asks; the Tramp nods. 

As he looks back at The Girl, the Tramp smiles. In his expression is every person who ever hoped for good luck in a hard world, a chance to care deeply about someone and have them care about you -- and barely able to believe, after everything, it's come true. The screen fades to black.
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We can't know the sum of the actions of Chaplin, the man. We do know more about the effect of his artistic output on the world -- and it's much greater than "making motion pictures the art form of the [Twentieth] century".

From the perspective of the world being the sum of what is put into it -- even though they drew on earlier forms of storytelling, Chaplin's movies helped define what the motion picture medium could be. His films were moral, in the same way as Dickens' serialized novels: they showcased human folly and the absurd nature of life; they reminded us how we ought to treat each other. How our societies should reflect that, not just to serve as vehicles for commerce and acquisition, avarice, and domination.

Chaplin's films weren't meant to portray a perfect world, no matter that some of their plot resolutions might seem like fairy-tale-magic. They presented hopes human beings have for how life might be, how things might turn out if the Fates were kind -- and that on occasion, our hopes can be made concrete and real, in this world. His movies affected people, first; he made us laugh. He still does.

In These Times, it might seem that Chaplin's work is outdated, less recognizable, but something tells me that's not the case: Chaplin is still iconic. And if we have an opportunity to add to the world even a fraction of what he left behind in his art, we'll have done something important -- if only because we need so much more of that now.
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MEHR, Mit einer offensichtlichen Sache, die ich vermisst habe:  I was adding this 'Mehr', when something happened, and the entire post was deleted. No hope of recovery. Just - gone. It was like hiking for miles to get to the truck to take you home, and it just pulls away; you're eating dust, screaming at the top of your lungs, and know nothing can help. 

JEDOCH, Es Ist So: The post was open in the browser on my smarter-than-me phone -- and if I wanted to Man Up and transcribe retype it, from scratch, it would be remade.  

UND So Wurde Es Gemacht War: But Dear Fucking God Jesus and the Yeti, I never want to go through that again.

UND SO WEITER: The Girl Who Refused To Be Mrs Mongo said, "You write about Chaplin and his politics, and you miss the final speech from The Great Dictator? Shame!"


(You'll Need To Click Through To UTub To View)
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Wednesday, December 8, 2021

Reprint Heaven Forever: Remember, Remember

 Yeah; Forty-One Years


Something About Him Was Always A Kick-Out-The-Jambs Liverpudlian Rebel


Speak, Memory: One of the two arrests we made that day hadn't gone well. After putting the car in the basement garage at the Federal Building, I'd walked up the underground ramp to the street, intending to buy my second pack of Marlboros of the day from the liquor store up the next block. Stepping inside, I looked down at a stack of the evening edition of a paper which isn't even around any longer, lying on the counter below the cash register with a banner headline in 48-point type: JOHN LENNON SLAIN.  Fuck; I thought, and then said it out loud. 

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Saturday, October 9, 2021

Reprint Heaven Forever: Lennon

  John Lennon: October 9, 1940


Words are flowing out like endless rain into a paper cup,
They slither while they pass; they slip away, across the universe
Pools of sorrow, waves of joy are drifting through my open mind,
Possessing and caressing me
Jai guru de va om
Nothing's gonna change my world,
Nothing's gonna change my world

Images of broken light which dance before me like a million eyes,
That call me on and on, across the universe;
Thoughts meander like a restless wind inside a letter box
They tumble blindly as they make their way,
Across the universe
Jai guru de va om
Nothing's gonna change my world,
Nothing's gonna change my world.

Sounds of laughter shades of earth are ringing
Through my open views; inviting and inciting me
Limitless undying love which shines around me
Like a million suns; it calls me on and on
Across the universe
Jai guru de va om
Nothing's gonna change my world,
Nothing's gonna change my world...

Across The Universe (Lennon / McCartney, 1969)


We don't care what flag you're waving,
We don't even want to know your name,
We don't care where you're from or where you're going,
All we know is that you came;

You're making all our decisions,
We have just one request of you,
That while you're thinking things over,
Here's something you just better do:

Free the people, now,
Do it do it do it do it do it now.
Free the people, now,
Do it do it do it do it do it now.

Well we were caught with our hands in the air,
Don't despair paranoia is everywhere,
We can shake it with love when we're scared,
So let's shout it aloud like a prayer:

Free the people, now,
Do it do it do it do it do it now.
Free the people now,
Do it do it do it do it do it now

We understand your paranoia,
But we don't want to play your game;
You think you're cool and know what you are doing,
666 is your name;
So while your jerking off each other,
You better bear this thought in mind:
Your time is up you better know it,
But maybe you don't read the signs

Free the people now,
Do it do it do it do it do it now.
Free the people now,
Do it do it do it do it do it now.

Well you were caught with your hands in the kill,
And you still got to swallow your pill,
As you slip and you slide down the hill,
On the blood of the people you killed

Stop the killing now,
Do it do it do it do it do it now.
Stop the killing now,
Do it do it do it do it do it now.
Free the people now,
Do it do it do it do it do it now...



The Soul Of America reminds me.

I am reminded to remember, remember, the 8th of December.

Something About Him Was Always A Kick-Out-The-Jambs,
Saturday-Night's-All-Right-For-Fighting Liverpudlian Rebel


Speak, Memory: One of the two arrests we made that day hadn't gone well. After putting the car in the basement garage at the Federal Building, I'd walked up the underground ramp to the street, intending to buy my second pack of Marlboros of the day from the liquor store up the next block. Stepping inside, I looked down at a stack of the early edition of a paper which isn't even around any longer, lying on the counter below the cash register with a banner headline in 48-point type: JOHN LENNON SLAIN.  Fuck; I thought, and then said it out loud.  

Hard to remember the birthday without the other day.  So: Absent Friends. Happy Birthday, John.
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Tuesday, February 23, 2021

Reprint Heaven: Sail On

 An Anecdotal
(A Birthday Post From March, 2019.  Now He Knows What We Do Not)

City Of Paris Sign In The Conversation (1974)

Almost half my life ago, a friend took me to an event in support of saving the Eiffel Tower-shaped sign which had graced the roof of the old City of Paris department store on Union Square. CofP had been there for generations -- since the Gold Rush; before and after The 1906 Earthquake and fire -- but business setbacks forced it to close.

The property had been purchased by Neiman-Marcus; they intended to build what still looks like a featureless beige box around the old CofP's oval, central core, topped by a stained glass skylight (you can see the old City of Paris building, and its trademark sign, in Coppola's film, The Conversation).

Replacing City of Paris with Texas-based Neiman's struck many San Franciscans as a cultural loss (dear god; Texas???) . Trying to save a landmark sign from a landmark local business was a way of saying No, we don't agree with that Yah-Hoo shit. A meeting was held to raise funds to purchase the sign, before finding a suitable location for it: and there would be poetry! Gary Snyder would read. So would Lawrence Ferlinghetti.

I went, I listened.  Snyder had been a particular lodestone favorite of mine for a long time; I'd only heard him read once before in Berkeley; and Ferlinghetti, not in person at all.

When he did, he set "In Fascist America " in front of us like a dish, well-cooked but spicy enough to be a challenge to eat, like reading The Fire Next Time all in one sitting -- dig in if you've got the spittle for it, baby. And he read it in the Beat cadence you can see, fortunately, in film and video clips.

The applause at the end was genuine. Everyone knew Ferlinghetti as a national treasure, a cultural icon, someone who had gravitas and knew it and used it. He was on the side of Right and it appeared in his work like a sword on fire. We applauded for all that as much as the reading.
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They never were able to buy the City of Paris sign. I went on to dinners over the years with friends and occasionally did (or was asked to do) my impression of Ferlinghetti, reading -- I'm gifted as a mimic; people laughed, which was the point (particularly about the repeating line in that poem, with a specific pause in his cadence when he would say, "In Fascist / America"). One person I knew in particular, who loved Ferlinghetti's poetry and had heard him read multiple times, always dissolved in laughter when she heard me do that.

Fast-forward a number of years: My acquaintance was taking lessons in a foreign language in the City, through a cultural exchange group; Lawrence Ferlinghetti was in the class. The last, penultimate assignment for each student was to take a short piece of literature or poetry, translate it into the Language Other Than English, then read it to the rest of the class. Ferlinghetti chose, "In Fascist America". He did it in the same cadence I'd used in my homage.

My acquaintance said later she was able to hold it in "almost until the end", before exploding with laughter. Apparently she slipped and fell trying to exit the room but made it outside, leaving Ferlinghetti and the rest of the class somewhat mystified.
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I lived in North Beach for over a decade. In (for me) the old days, before heading to Vesuvio's or Spec's or Tosca's [Still with us in 2021]-- the real Bermuda Triangle (and if you understand that reference, you are my brother or sister) -- I might stop off in City Lights Books; occasionally, you might see Ferlinghetti on the ground floor, talking with someone at a table in one of the alcoves. More rarely at night, when you were coming out of Pearl's jazz club across the street [No idea if it's survived Covid], you might catch a glimpse of him, working late, through a window in City Lights' second-floor offices.

Most long-time residents in North Beach knew his house; it was roughly a block from my flat, and we passed each other at least twice a week for years, he walking up Stockton street towards Columbus, me walking down: two guys who wore fedoras. We made eye contact; I smiled, and sometimes said hello (it would have been odd if, after years of occurrence, I hadn't) but it was only a short time before I left the neighborhood that he began responding back.

The last time I saw Ferlinghetti was during a sentimental walk back, over ten years after leaving North Beach: walking across the grass of Washington Square on a warm, sunny afternoon; there he was, wearing one of the trademark hats, lying on the grass with his head propped up by a day pack, a faint smile on his face as he tilted it up toward the sun. I believe he'd been hospitalized for a heart problem not long before, and that knowledge struck me -- mortality; a memory of my Sixties in The City, the place I landed after Southeast Asia and never really left, and Ferlinghetti's connections to all of that.
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Ferlinghetti once wrote, "All I ever wanted to do was paint light on the walls of life." The City changed, and not for the better.  In a 2015 PBS News Hour segment, he noted that int San Francisco, "A new brand of dot-com millionaires and generally Silicon Valley money have moved into San Francisco, with bags full of cash and no manners." 

In response, one person responded, "What a crank. The city is still as vibrant and creative as it ever was, except, now, young ambitious people are in tech."  Another wrote, "...Fogeys gonna foge." 

Well. Kiddies.
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At some point today I'll walk over to the old neighborhood and past his house, and put a good thought out for him. A century is a long time for a person, but it's not even a blink in the universe. 

Very few of us get to impact the Geist of the culture, live in people's hearts, and so sail on into time. But he will.
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Saturday, August 1, 2020

Reprint Heaven Forever: "Works For Me," Said The Whale

Hoo Boy Yet Again, The Birthday of Big Marine Mammal Avatar Creators

Moving through life, we find ourselves on occasion in the midst of experience or the presence of a thing which resonates and reminds that something, more than what we think we know or can perceive (if we would just stop and shut up and pay enough attention to see), exists.

Principally, this happens when we're 'out in nature', but it also happens when we encounter some art -- in particular, when it's been created by someone who made deep and illuminating connections and Brought Them Back To Tell Thee. From August 1st in 2016, 2017, 2018, 2019, and today.
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There are certain queer times and occasions in this strange mixed affair we call life when a man takes this whole universe for a vast practical joke, though the wit thereof he but dimly discerns, and more than suspects that the joke is at nobody's expense but his own.
-- Herman Melville / Moby-Dick, or, The Whale
Over at the Soul Of America, it's a celebration of Herman Melville's 201st birthday (!), and things of the Sea, and a Whale, and other notables which Herman brought back, To Tell Thee.

I keep considering writing a post from the viewpoint of the Whale just for the potential Yucks (because, god knows, We Need The Yucks Wherever We Can Get Them), but gave it up and settled for the Humorous Image. I voice The Whale elsewhere on social media; he's not a bad sort, thoughtful, and is amazed at the delusional stalking being done to him by That Crazy Old Fart, Ahab.

The best thing about Blckdgrd's annual post, and the reason I mention it here, is -- Herman tends to be overlooked in a culture whose highest expression is a Rhianna / Pitbull remix; it's good to be reminded that he is still there -- as he reminds us that we are chased by our mortality; and that sometimes the Form Of The Destructor is large, albino, and aquatic.  

I was introduced to Melville when I was fourteen -- not through the novel he's most often identified with, but in the short work, "Bartelby The Scrivener" (1853), a classic in its own right. Ishmael's tale was next, and I was, uh, hooked. Later, I wasn't able to read anything by James or Conrad that didn't refer back to the narrative style I encountered first with Melville.

"Moby Dick: Or, A Whale" is ubiquitous. There is No Whale before He who populates a portion of that book (Yeah, okay; 'Shamu'  and 'Willy' are not the same thing). The Whale at least lurks, an unseen presence, in the background of all the on-ship action -- like Death, or Fate, or reruns of Three's Company. As if the Whale might chuckle and snicker in the dark during certain scenes:
" 'What is it, what nameless, inscrutable, unearthly thing is it; what cozening, hidden lord and master, and cruel, remorseless emperor commands me; that against all natural lovings and longings, I so keep pushing, and crowding, and jamming myself on all the time; recklessly making me ready to do what in my own proper, natural heart, I durst not so much as dare? Is Ahab, Ahab? Is it I, God, or who, that lifts this arm? But if the great sun move not of himself; but is as an errand-boy in heaven; nor one single star can revolve, but by some invisible power; how then can this one small heart beat; this one small brain think thoughts; unless God does that beating, does that thinking, does that living, and not I. By heaven, man, we are turned round and round in this world, like yonder windlass, and Fate is the handspike.'   
" 'Heh heh heh heh,' " came a deep basso rumble out of the darkness which hid the waters. Ahab started, but did not otherwise acknowledge the presence of that upon which he had focused for so long."
That Big Marine Mammal is archetypal, now. And, aber natürlich, the moment something makes an appearance on "Family Guy", it's an absolute certainty that, whatever it is, it's now hard-coded into our DNA.

 Herman Left Out The Part Where Whales Prefer Raisin Bran
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[From 2016] MEHR, MIT KEINE POLITIK: My Very Own Hillaryite Colleague asks, "So you hate music, too?" (This, because of the Rhianna / Pitbull quip.) And I would agree, it's absurdist reductionism to claim that the essence of culture in Eusa is rap music and movies like Neighbors 2: Sorority Rising. I'm convinced that people (or, Whales; or very intelligent Honey Badgers) in the not very distant future will look back on this period as one of the most varied and vibrant in the history of our humanoid species -- until, you know, that thing happens.
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UND NOCH IMMER MEHR:  Once I saw this, I could not un-see it. It is an actual book. Swear to god.

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZ7xOfHoNfrSAiht-wJTcPskmq38NJe7HIwEIeCWnAe8FnOF18499H90IJegfA6PpqVqVhvowfjmT655mBikOIVJuBarV4Z-yPUludCu5Ppo8yjXq1l679-dmA3wXzv1ovCmJMCoHDQTcq/s1600/Ships.jpg
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UND: WAS IST AUCH SCHON WIEDER LOS? MEHR:  At one point, if you had $39.9K, Jim Morrison's Moby could have been yours.

At that price, you'd think the seller would have provided free shipping -- but, remember: this is Aremica, Land Of The Free and Home Of The Hip.






Wednesday, October 9, 2019

Reprint Heaven Forever: Still Missed

John Lennon: October 9, 1940


Words are flowing out like endless rain into a paper cup,
They slither while they pass; they slip away across the universe
Pools of sorrow, waves of joy are drifting through my open mind,
Possessing and caressing me
Jai guru de va om
Nothing's gonna change my world,
Nothing's gonna change my world

Images of broken light which dance before me like a million eyes,
That call me on and on across the universe;
Thoughts meander like a restless wind inside a letter box
They tumble blindly as they make their way,
Across the universe
Jai guru de va om
Nothing's gonna change my world,
Nothing's gonna change my world.

Sounds of laughter shades of earth are ringing
Through my open views; inviting and inciting me
Limitless undying love which shines around me
Like a million suns; it calls me on and on
Across the universe
Jai guru de va om
Nothing's gonna change my world,
Nothing's gonna change my world...

Across The Universe (Lennon / McCartney, 1969)


We don't care what flag you're waving,
We don't even want to know your name,
We don't care where you're from or where you're going,
All we know is that you came;

You're making all our decisions,
We have just one request of you,
That while you're thinking things over,
Here's something you just better do:

Free the people, now,
Do it do it do it do it do it now.
Free the people, now,
Do it do it do it do it do it now.

Well we were caught with our hands in the air,
Don't despair paranoia is everywhere,
We can shake it with love when we're scared,
So let's shout it aloud like a prayer:

Free the people, now,
Do it do it do it do it do it now.
Free the people now,
Do it do it do it do it do it now

We understand your paranoia,
But we don't want to play your game;
You think you're cool and know what you are doing,
666 is your name;
So while your jerking off each other,
You better bear this thought in mind:
Your time is up you better know it,
But maybe you don't read the signs

Free the people now,
Do it do it do it do it do it now.
Free the people now,
Do it do it do it do it do it now.

Well you were caught with your hands in the kill,
And you still got to swallow your pill,
As you slip and you slide down the hill,
On the blood of the people you killed

Stop the killing now,
Do it do it do it do it do it now.
Stop the killing now,
Do it do it do it do it do it now.
Free the people now,
Do it do it do it do it do it now...

Bring On The Lucie (Freda People) (John Lennon, 1973)


The Soul Of America reminded me that I missed the actual day. Normally, I put up a memorial on December 10th. Better, I think, to celebrate someone's birth.

... I can't say I listen to Beatles music too much myself, these days (though I did listen to the Magical Mystery Tour album last weekend, by chance, while padding through the Haight).

So:  Absent Friends. Happy Birthday, John.

Thursday, August 1, 2019

Reprint Heaven Forever: We're Whalers On The Moon

Yet Again, The Birthday of Big Marine Mammal Avatar Creators

Moving through life, we find ourselves on occasion in the midst of experience or the presence of a thing which resonates and reminds that something, more than what we think we know or can perceive (if we would just stop and shut up and pay enough attention to see), exists.

Principally, this happens when we're 'out in nature', but it also happens when we encounter some art -- in particular, when it's been created by someone who made deep and illuminating connections and Brought Them Back To Tell Thee. From August 1 in 2016 and 2017 and 2018.
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There are certain queer times and occasions in this strange mixed affair we call life when a man takes this whole universe for a vast practical joke, though the wit thereof he but dimly discerns, and more than suspects that the joke is at nobody's expense but his own.
-- Herman Melville / Moby-Dick, or, The Whale
Over at the Soul Of America, it's a celebration of Herman Melville's 200th birthday (!!!), and things of the Sea, and a Whale, and other notables which Herman brought back, To Tell Thee.

I considered writing a post from the viewpoint of the Whale just for the potential Yucks (because, god knows, We Need The Yucks Wherever We Can Get Them), but gave it up and settled for the Humorous Image.

The best thing about the post, and the reason I mention it here, is -- Herman tends to be overlooked in a culture whose highest expression is a Rhianna / Pitbull remix; it's good to be reminded that he is still there -- as he reminds us that we are chased by our mortality; and that sometimes the Form Of The Destructor is large, albino, and aquatic.  For me, it's a big lawn mower. Your Harbinger O' Death™, of course, may differ.

I was introduced to Melville when I was fourteen -- not through the novel he's most often identified with, but in the short work, "Bartelby The Scrivener" (1853), a classic in its own right. Ishmael's tale was next, and I was, uh, hooked. Later, I wasn't able to read anything by James or Conrad that didn't refer back to the narrative style I encountered first with Melville.

"Moby Dick: Or, A Whale" is ubiquitous. There is No Whale before He who populates a portion of that book (Yeah, okay; 'Shamu'  and 'Willy' are not the same thing). The Whale at least lurks, an unseen presence, in the background of all the on-ship action -- like Death, or Fate, or reruns of Three's Company. As if the Whale might chuckle and snicker in the dark during certain scenes:
" 'What is it, what nameless, inscrutable, unearthly thing is it; what cozening, hidden lord and master, and cruel, remorseless emperor commands me; that against all natural lovings and longings, I so keep pushing, and crowding, and jamming myself on all the time; recklessly making me ready to do what in my own proper, natural heart, I durst not so much as dare? Is Ahab, Ahab? Is it I, God, or who, that lifts this arm? But if the great sun move not of himself; but is as an errand-boy in heaven; nor one single star can revolve, but by some invisible power; how then can this one small heart beat; this one small brain think thoughts; unless God does that beating, does that thinking, does that living, and not I. By heaven, man, we are turned round and round in this world, like yonder windlass, and Fate is the handspike.'   
" 'Heh heh heh heh,' " came a deep basso rumble out of the darkness which hid the waters. Ahab started, but did not otherwise acknowledge the presence of that upon which he had focused for so long."
That Big Marine Mammal is archetypal, now. And, aber natürlich, the moment something makes an appearance on "Family Guy", it's an absolute certainty that, whatever it is, it's now hard-coded into our DNA.

 Herman Left Out The Part Where Whales Like Raisin Bran
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MEHR, MIT KEINE POLITIK: My Very Own Hillaryite Colleague asks, "So you hate music, too?" (This, because of the Rhianna / Pitbull quip.) And I would agree, it's absurdist reductionism to claim that the essence of culture in Eusa is rap music and movies like Neighbors 2: Sorority Rising. I'm convinced that people (or, Whales; or very intelligent Honey Badgers) in the not very distant future will look back on this period as one of the most varied and vibrant in the history of our humanoid species -- until, you know, that thing happens.
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UND NOCH IMMER MEHR:  Once I saw this, I could not un-see it. It is an actual book. Swear to god.

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZ7xOfHoNfrSAiht-wJTcPskmq38NJe7HIwEIeCWnAe8FnOF18499H90IJegfA6PpqVqVhvowfjmT655mBikOIVJuBarV4Z-yPUludCu5Ppo8yjXq1l679-dmA3wXzv1ovCmJMCoHDQTcq/s1600/Ships.jpg
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UND: WAS IST AUCH SCHON WIEDER LOS? MEHR:  At one point, if you had $39.9K, Jim Morrison's Moby could have been yours.

At that price, you'd think the seller would have provided free shipping -- but, remember: this is Aremica, Land Of The Free and Home Of The Hip.






Sunday, March 24, 2019

Centenary Ferlinghetti

Happy Birthday, Larry: An Anecdotal
City Of Paris Sign In The Conversation (1974)

Almost half my life ago, a friend took me to an event in support of saving the Eiffel Tower-shaped sign which had graced the roof of the old City of Paris department store on Union Square. CofP had been there for generations -- since the Gold Rush; before and after The 1906 Earthquake and fire -- but business setbacks forced it to close.

The property had been purchased by Neiman-Marcus; they intended to build what still looks like a featureless beige box around the old CofP's oval, central core, topped by a stained glass skylight (you can see the old City of Paris building, and its trademark sign, in Coppola's film, The Conversation).

Replacing CofP with Texas-based Neiman's struck many San Franciscans as a cultural loss (dear god; Texas???) . Trying to save a landmark sign from a landmark local business was a way of saying No. A meeting was held to raise funds to purchase the sign, before finding a suitable location for it: and there would be poetry! Gary Snyder would read. So would Lawrence Ferlinghetti.

I went, I listened.  Snyder had been a particular lodestone favorite of mine for a long time; I'd only heard him read once before in Berkeley, and Ferlinghetti not in person at all.

When he did, he set "In Fascist America " in front of us like a dish well-cooked but spicy enough to be a challenge to eat, like reading The Fire Next Time all in one sitting -- dig in if you've got the spittle for it, baby. And he read it in the Beat cadence you can see, fortunately, in film and video clips.

The applause at the end was genuine. Everyone knew Ferlinghetti as a national treasure, a cultural icon, someone who had gravitas and knew it and used it. He was on the side of Right and it appeared in his work like a sword on fire. We applauded for all that as much as the reading.
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They never were able to buy the City of Paris sign. I went on to dinners over the years with friends and occasionally did (or was asked to do) my impression of Ferlinghetti, reading -- I'm gifted as a mimic; people laughed, which was the point (particularly about the repeating line in that poem, with a specific pause in his cadence when he would say, "In Fascist / America"). One person I knew in particular, who loved Ferlinghetti's poetry and had heard him read multiple times, always dissolved in laughter when she heard that.

Fast-forward a number of years: My acquaintance was taking lessons in a foreign language in the City through a cultural exchange group; Lawrence Ferlinghetti was in the class. The last, penultimate assignment for each student was to take a short piece of literature or poetry, translate it into the Language Other Than English, then read it to the rest of the class. Ferlinghetti chose, "In Fascist America".

My acquaintance said later she was able to hold it in "almost until the end", before exploding with laughter. Apparently she slipped and fell trying to exit the room but made it outside, leaving Ferlinghetti and the rest of the class somewhat mystified.
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I lived in North Beach for over a decade. In (for me) the old days, before heading to Vesuvio's or Spec's or Tosca's -- the real Bermuda Triangle -- I might stop off in City Lights Books; occasionally, you might see Ferlinghetti on the ground floor, talking with someone at a table in one of the alcoves. More rarely at night, coming out of Pearl's jazz club across the street, you might catch a glimpse of him, working late, through a window in City Lights' second-floor offices.

Most long-time residents in North Beach knew his house; it was roughly a block from my flat, and we passed each other at least twice a week for years, he walking up Stockton street towards Columbus, me walking down: two guys who wore fedoras. We made eye contact; I smiled, and sometimes said hello (it would have been odd if, after years of occurrence, I hadn't) but it was only a short time before I left the neighborhood that he began responding back.

The last time I saw Ferlinghetti was during a sentimental walk back, over a decade after I left North Beach -- walking across the grass of Washington Square on a warm, sunny afternoon, and there he was, wearing one of the trademark hats, lying on the grass with his head propped up by a day pack, a faint smile on his face as he tilted it up toward the sun.

At some point today I'll walk over to the old neighborhood and past his house, and put a good thought out for him. A century is a long time for a person, but it's not even a blink in the universe. Very few of us get to impact the Geist of the culture, live in people's hearts, and so sail on into time. But he will.
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Friday, February 22, 2019

What We Leave Behind

Charlie

(Charlie Chaplin passed away December 25, 1977. It's worth remembering what he did in the world.)

Charlie Chaplin, 1914

Some spiritual traditions believe in additional dimensions of existence; that the world most of us see as the only reality is one place where thought can be transformed into physicality.

Everywhere we look, there's an idea translated into concrete form, and associated with positive or negative energy -- speeches, laws and regulations; social agreements around money, sexuality, role and status; value. And most obviously, images, novels, poetry; music. Even the simplest transaction between strangers, a word or a look or a tone of voice, carries some form of energy.

Following that perspective, the world might be viewed as the collective energy in all ideas, actions and objects in it at any given moment. In that view, reality is defined by what we as individuals and as a species put into it.
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When a playlist of music you're listening to on Soundcloud runs out, an algorithm in the service continues providing a shuffle of tunes with similar themes or instrumentation. In that way, I found myself listening to a melody composed by Charlie Chaplin for his film, A King In New York (in your streaming platform, look for Charlie Chaplin film music - "Mandolin Serenade").

Hearing that brought up a stream of images of Chaplin that I carry around in long-term memory -- mostly, his iconic 'Little Tramp' character. His acting and films were so influential that for generations almost any adult, nearly anywhere in the world, might see a drawing of a figure with a postage-stamp moustache, wearing a bowler hat, and say, "Oh, that's Chaplin!" and smile.

Early Little Tramp: Mack Sennett's Caught In The Rain, 1914
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Chaplin started as a 24-year-old immigrant from Britain in 1914, a contract actor for Mack Sennett's film company. He looked like the photo at the top of this post; almost like any Dude you might pass on the street today. His 'Little Tramp' routine caught Sennett's eye -- initially a burlesque on an "affable drunkard", a bit loutish and inconsiderate and sloppily boozed. Chaplin's humor was physical, perfect for the trademark slapstick of Sennett's short films, and his comic timing was amazing.

Within four years, Chaplin had refined the Tramp into a more sober, sharper, plucky 'Everyman'. The Tramp became one of Sennett's most popular short-film characters -- and whenever a new Chaplin 'flick appeared in local movie-houses, people paid to see him. Lots of people: Chaplin 'packed them in'. 

Try and remember that paying 5 Cents at the "Nickelodeon" to see a film was no small thing for some people. In 1914-18, that five Cents would buy a modest breakfast, tea or coffee, or a pound of beans.

Kid Auto Races, Venice, California (1914); Chaplin's First Film Appearance
As The Tramp, Then Still The Affable Drunk

Like any artist, Chaplin was all about having as much creative control as possible; eventually, he convinced Sennett he could create better films (with the Tramp, of course) for Sennett's company. When a better financial and creative deal became available with another studio, Chaplin jumped at the chance -- and within four years of landing in America, by 1918, Chaplin was one of the most popular 'stars' in moving pictures, and possibly the most highly paid.

In the years immediately after the First World War, he became a founding partner of United Artists, a film company founded to allow film 'artists' more freedom to experiment with the medium, in contrast to what was becoming a Hollywood studio system. UA allowed Chaplin the control he wanted over his work, and in less than a decade he had created some of the best  American silent films (arguably, some of the best motion pictures) ever made: The Kid, "The Gold Rush"; "The Circus"; "A Dog's Life", and Pay Day, to name a few.

Arguing With The Boss: Pay Day (1922)

Sound motion pictures appeared in 1927. Four years later, Chaplin released City Lights, a film without dialog, only a music soundtrack he had composed, after Talkies had all but buried silent films. He continued in 1936 with another classic, Modern Times, again accompanied only by a soundtrack of Chaplin's music. As an art form, it wouldn't be used again for forty years, until Mel Brooks' Silent Movie.

The western press mocked Hitler in his early days as dictator by referring to him as "the politician with the Chaplin moustache". True to form, Charlie used the humor in that comparison to create a parody of Adolf and his Reich in The Great Dictator (released in 1940) not long after the Second World War began. After 1945, Chaplin made only four other films: "Monsieur Verdoux" (1947), Limelight (1952); "A King In New York" (1957), and A Countess From Hong Kong (1967).
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Chaplin's work showcased poor and working people in the early Twentieth century, easily shoved about by authority and manipulated by wealth. His films made clear he was no fan of unbridled capitalism, industrialism or the dehumanizing, assembly-line exploitation of labor. In 1947, when  anti-communist hysteria spawned House Un-American Activities Committee investigations of Red influence in Hollywood, Chaplin was tailor-made to become a target. It didn't help that he had unwittingly made an enemy out of J.Edgar Hoover, whom Chaplin had met in the mid 1920's.

Gossip about Chaplin as a wealthy actor and director involved him and young women under the age of consent -- of his four wives, two were sixteen, and another eighteen, when they married. His Leftist, anti-authoritarian political views were clear. Hoover's Bureau collected gossip (and any information in an FBI file must be legitimate) on thousands of Americans, which Hoover was happy to use for personal and political ends during his 70-year reign.

To Hoover, Chaplin was just another foreign national. Hoover also believed Chaplin was Jewish (he wasn't, but if you need any indication as to how prevalent anti-semitism has always been, there's a glaring example), with loose morals and radical political sympathies, forcing radical propaganda down the throats of innocent Americans through his films. 

Hoover's interest in Chaplin amounted to obsession: the actor / director was a target of FBI surveillance from the mid-1920's until his death in 1977, and his FBI file may be the largest publicly known of any prominent public figure in the FBI archives: released under Freedom Of Information Act requests, it runs to over 2,000 pages.
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As Chaplin left the U.S. in 1952 to attend the London premiere of his film, Limelight, the Justice Department revoked the re-entry permit on his resident alien visa. To be allowed to return, he would have to "submit to an interview concerning his political views and moral behavior". Hoover was behind the move; he had asked England's own Bureau, MI-5, to provide confirmation of Chaplin's communist connections, and for proof that his real name was 'Israel Thornstein'. MI-5 found no proof that Chaplin was a Red, and didn't respond to Hoover's antisemitism.

The FBI's files on Chaplin show the U.S. government had no serious evidence to prevent his return to America if he applied for re-entry. While Limelight received praise and success in Europe, Chaplin was smeared as a communist sympathizer in the U.S., and the film boycotted. Frightened and disgusted, after living and working in America for thirty years, Chaplin decided not to go back.

... and he didn't, for twenty years. In 1972 the Academy of Motion Picture Arts and Sciences (which had done little to stand up to Hoover, McCarthy or the HUAC) tried to make amends by voting to award a Lifetime Achievement Oscar to Chaplin "for the incalculable effect he has had in making motion pictures the art form of [the 20th] century."

At 83, having had a series of small strokes and other health issues, unsure how he would be received in a country he believed had rejected and then forgotten him and his work, Chaplin came to Hollywood and was visibly moved when the attending crowd gave him a twelve-minute standing ovation -- the longest tribute of that kind by the Academy in its history.
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Easy Street, 1917

Chaplin's Tramp, and other main characters in his films, were ordinary 'folks' -- mostly poor, or at the mercy of Fate and Chance. The world of his films was familiar to the people who could find a nickel to see them, and populated by easily-recognizable archetypes: regular, working-class Joes and Janes; office workers; the bullies and bosses; streetwise kids, shopkeepers and beat cops.

The Tramp -- at the bottom of the social ladder -- had to make a tremendous effort to overcome his circumstances, just to achieve some happiness or justice. He hoped for something better than what he had. And, the stories in Chaplin's movies were transformational, where that Good Ending comes about by helping an Other -- the Girl; the Child; the Friend.

The Kid, 1921

In The Kid, the Tramp finds and raises a little orphaned boy -- whom he had initially wanted nothing to do with -- then rescues him from the clutches of a brutal County Orphan Commissioner, using the Tramp's poverty as the excuse to take the child away. You know when he embraces the boy that the Tramp loves him, will protect and care for the Kid as if he were his own. They're still dirt poor, but the little boy is safe -- and in a world where anything can happen, that's the point. It's everything.

City Lights (1931)

In City Lights, possibly Chaplin's best film (it was his favorite work), the Tramp is poor and homeless, ignored by most people, teased by a pair of wiseass newsboys -- but meets, becomes friends with (and almost immediately falls for) a beautiful blind girl, reduced to selling flowers on the street to help support herself and her grandmother. Whenever they meet, she gives him a small, white rose.

Though the film is silent, when Chaplin's Tramp speaks, she mistakes his voice for that of a wealthy millionaire she's heard in the neighborhood where she sells her flowers, and (more out of embarrassment than some attempt to impress her) the Tramp allows her to believe it's true.

Later, when the Girl falls ill, the Tramp learns she might recover her sight -- but only through an expensive medical procedure. He works to save the money; after more plot twists, the operation is paid for and a success. Her vision restored, the Girl is able to open a flower shop with her grandma -- where she hopes the 'wealthy millionaire' who helped her will appear one day and sweep her off her feet.

Meanwhile, The Tramp, having been tossed in jail after the usual comic misunderstandings, is now even shabbier than when we first met him -- 1930-31 was the worst year of the Great Depression in the U.S. He shuffles along the street, mocked and teased by the same pair of newsboys.

Suddenly, the Tramp sees a small white rose in the gutter and picks it up -- the same flower the blind Girl used to give him. He turns, and is standing in front of the Girl's flower shop; she's sitting in the front window, and has been watching the antics of the newsboys with this ... street person. She and her grandmother share a laugh; they think it's funny.

When he sees her, The Tramp is overjoyed; she's whole and healthy, but suddenly he's ashamed: she's now a respectable shop owner, and he's not.


The Last Scene Of City Lights; Critic James Agee Described It As
"The greatest piece of acting ever committed to celluloid"
(You'll Need To Click Through To UTub To View)

The Girl comes out of the shop to offer him a new rose, and a half-dollar. He slowly accepts the flower; she takes his hand to give him the coin -- and from the feel of it, the texture of his coat, all familiar to her when she was blind -- she suddenly realizes who he is. "You?" she asks; the Tramp nods. "You can see now?" he asks; she replies, "I can see now" -- meaning, it wasn't a wealthy man she had been waiting for, but the one with a heart, who helped her.

As he looks back at The Girl, the Tramp smiles. In his expression is every person who ever hoped for good luck in a hard world, a chance to care deeply about someone and have them care about you -- and barely able to believe, after everything, that it's come true. The screen fades to black.
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We can't know the sum of the actions of Chaplin, the man. We do know more about the effect of his artistic output on the world -- and it's much greater than "making motion pictures the art form of the [Twentieth] century".

From the perspective of the world being the sum of what is put into it -- even though they drew on earlier forms of storytelling, Chaplin's movies helped define what the motion picture medium could be. His films were moral, in the same way as Dickens' serialized novels: they showcased human folly and the absurd nature of life; they reminded us how we ought to treat each other. How our societies should reflect that, not just to serve as vehicles for commerce and acquisition, avarice, and domination.

Chaplin's films weren't meant to portray a perfect world, no matter that some of their plot resolutions might seem like fairy-tale-magic. They presented hopes human beings have for how life might be, how things might turn out if the Fates were kind -- and that on occasion, our hopes can be made concrete and real, in this world. His movies affected people, first; he made us laugh. He still does.

In These Times, it might seem that Chaplin's work is outdated, less recognizable, but something tells me that's not the case: Chaplin is still iconic. And if we have an opportunity to add to the world even a fraction of what he left behind in his art, we'll have done something important -- if only because we need so much more of that now.
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MEHR, Mit einer offensichtlichen Sache, die ich vermisst habe:  I was adding this 'Mehr', when something happened, and the entire post was deleted. No hope of recovery. Just - gone. It was like hiking for miles to get to the truck to take you home, and it just pulls away; you're eating dust, screaming at the top of your lungs, and know nothing can help. 

JEDOCH, Es Ist So: The post was open in the browser on my smarter-than-me phone -- and if I wanted to Man Up and transcribe retype it, from scratch, it would be remade.  

UND So Wurde Es Gemacht War: But Dear Fucking God Jesus and the Yeti, I never want to go through that again.

UND SO WEITER: The Girl Who Refused To Be Mrs Mongo said, "You write about Chaplin and his politics, and you miss the final speech from The Great Dictator? Shame!"


(You'll Need To Click Through To UTub To View)
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Tuesday, January 22, 2019

Reprint Heaven: Great Postmodern Hedgehog

Shutdownalicious

(Originally drained from the swamp on January 20, 2018, in celebration of The Leader attending the World Echo Nomik Forum in Davos, Switzerland. Leader neglected to attend this year.) 

Obigatory Cute Small Animal Photo At Beginning Of Surrealistic Blog Thing

Moved by the posts of others, recently, I decided to take a stab at (what might be charitably called) stream of consciousness writing, sparked by the annual World Economic Forum meeting in Davos, Switzerland, attended this year by Wonderboy, Murrikan Leader.

I don't normally play with this style of fiction; so, apologies in advance. As Wonderboy's own parents once said, "Let's do this, get it over with, and never speak of it again" -- point being, this is supposed to be topical, and funny.

(For those with no knowledge of Cricket, a "Diamond Duck" is the term for a situation where [per Wikipedia] "a batsman who is dismissed without facing a ball -- most usually run out from the non-striker's end, but alternatively stumped or run out off a wide delivery -- is said to be out by a 'diamond duck'.")
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Diamond Duck In Davos

1.  Greasing The Grenze

Coming into Davos, surrounded by winds whipping the confectioner's sugar of Swiss hospitality between the crisp billboards, Halt! Grenze! (Stop! Pemmican!) and Kämpfe Für Das Karussell Des Fortschritts! (We  Struggle For Kurt Russell's Foreskins!) The searchlights are blinding, guard dogs bark with an accent (Wüf!), and sudden efficient women are opening doors of perception in your car, murmuring, "Good evening. Anything to declare?"

But you're not surprised. No, not you; never you. All this was in the briefing. They are efficient, here in Davos. The Mark O' Mammon is barcoded on their hind parts -- you've been shown photos -- and at home, skis are racked demurely beside priceless paintings bought at bargain-basement rates, in auctions at Zürich and Geneva, between 1936 and 39.

And of those pouring into the valley, no one ever says to the women, "Ah DO -- Ah say, Ah say, Well AH DO DECLARE," in a voice borrowed from Foghorn Leghorn -- although you have a secret urge to do that. The women smirk at you, without envy, because Ach, Ja; we know this about you. You wish to do That Cartoon Rooster; such a typical male. We here in Davos know -- otherwise, you would not be allowed here. A brief blonde hand mumbles through your luggage, brushing socks and briefs, lingering for a moment with the rough play of starch in a shirt -- then, waving your car on: Alles Gut; los geh'n. 

And then, you glimpse the last billboard: Im Diesen Friedenskrieg Gibt Es Keine Gefangenen! -- No Prisoners In This Peace War. The Great Carousel Of Progress gives only to take. It really is shitty, what a Town Without Pity Can Do. Ha, ha, ha; that's our Davos!

Even if you have a Safe Conduct Leaflet, dropped like pet leavings on sidewalks by the IMF and WTO (Be a DO RAG, it proclaims, Not a DON'T RAG), after surrendering, the best one can hope for in coming to Davos is a cot in that hut on the mountain. They'll be jammed in with municipal workers and novelists. There will be a crucifix hung on the damp concrete wall, and a 1970's postcard showing light at the end of a tunnel. In the dark, farting and snoring settle around you, diaphanous, studded, anxious. You dream of gristle.

The others will receive a coupon for a discount-price small soda, and a trip to observe George Soros' hair colorist, reading a copy of Forbes, through a bulletproof window. But the Surrendered had denied the primacy of the Great Carousel, so their Davos will be a short sniff of the leather seats in an otherwise unoccupied Daimler. Then, to be sent home at their own expense for long retraining in a job that will take months to find, and which is discontinued the day after they are hired.  Ho, ho,ho, ho, Cisco! Ho, ho, ho, ho, Pancho! That's our Davos!

But this is not your Davos. You are not on file, under the name you were given to use, as having denied The Carousel Of Progress. [Your Name] has been Cleared, umbrage squeezed dry and ready for productive action in service to Man's Betterment. If L.Ron were ever alive, he would be. If Tony Robbins were real, he would guide you personally across the hot coals. Parma-shahanda Yoga-nanda, Parley-voo. In your mind, a Crackerjack prize, and in your gloved hand, the feel of a bag strap made from an endangered petrochemical, all telling you this is real.

(But: The whole squeezing Man's Betterment is just fake bullshit, a double-blind ruse. You're here in Davos in a big quilt, so far under the covers that your latitude and longitude come up Zeroes. You're not who you say you are, and never were. The hopes of all humankind stain your carpeting in expectation that you would complete this mission and get an oil change. God is with you, but he steals your stuff and sells it downtown.)

You stride up to the 4-star hotel desk repeatedly, just trying it out. The clerks -- parthenogenic, muted -- take no notice. They are busy timing each other's movements and their interactions with guests. The clerk with the lowest total time receives a coupon for a discount-price small soda. The rest are allowed to live, but forced to wear old animal costumes outside the hotel, in public, so that all will know of their shame and inexactitude.

Your electronic room key is imprinted with the likeness of Klaus Schaub, wearing a bib, and pictured eating in a 'Communist Lobster' franchise restaurant. The room, fragrant with violets; your phone, seeking you; and promises of delights of the eye, tongue and intellect are hung around the wallpapered box of your room like laundry washed in the sink. It is cheesy and expensive: the highest expression of the Free Market. You have made it.

Pencils down. You evacuate your bowels. The toilet has a shelf for you, the curious, to view leavings before flushing, and it would be churlish to refuse anything offered for free. This act of introspection will be your best moment at Davos. They told you this would happen -- but nothing, nothing could prepare you for that moment of contact, of spurning. You wash your hand.

2.   Where You Were, Gentlemen

It's the day. There are WEF conferences and hubub scheduled, rooms, many rooms, of people murmuring peasancarrots, peasandcarrots repeatedly. But you were instructed to feign shyness until The Moment. You hang. You chill. In The Packed Elevator, you do your Robin Williams laugh -- and everyone in the Car suddenly does the same thing.

You almost flinch. It's endless, permeable, like having a colonoscopy on a train -- but you remember: Keep control. Deep breaths. Be Coolidge: You Lose. Then, the Car stops; its doors slide open and a man moves past you, still making his seal-bark laugh, pausing to wipe his eyes on a woman's hair, and pat you on the shoulder as if to say, Dude -- good one.

Here, finally; the white placard outside a door to an auditorium, a single word in red: Stumpfegger. This is where you are to meet your contact. You accept a glance from the woman beside the door -- an intense simulacrum of Donna Reed -- who hands you a brochure entitled Complete Release. Blushing, she says this conference covers "the plot for forgiveness of all First-World debt." You smile, nodding, earnest, but keep moving. Your mission is more important than what you suspect about her thong underwear -- and will never know. You'll have to live with that.

They said, Your contact will know you. All you had to do was to find "Stumpfegger" and show up. You stand near the tasteful refreshment table and realize the man serving drinks is a frenzied doppelgänger for Joe Turkel, eternal bartender in The Shining, and decline a tequila shooter. You wave the Complete Release brochure back and forth, as instructed -- a signal, an urgent, full-bladder motion, and think about thong underwear. Really hard.

Then, you see The Contact. You see them seeing you see them, actually. Everything that happens after this is a blur; you'll be debriefed about it for weeks in extra crispy detail, a swimming up from sewage depth to where sheep graze, safely. And, fortunately for you, the story will not change. You will be allowed to go back to wherever it is you come from. You will be allowed to toil in many jobs, but not remain for long -- because Lt. Gerard will always show up, looking for money.
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What catches your attention about The Contact first is his hair, its architectural blondness -- now whitish, now caution orange, and shiny, like preternatural two-tone ice cream or a small child's flotation device. The Contact is a suet, puffed inside his black suit, behind the signature doublewide red tie. His face is a carnivore drunkard's bloat, too-small eyes, piggish; his mien oblate and spiky. His lips are a crayon line drawn by an angry pensioner across the lower third of that orange face. The French Cuffs of his whitish shirt have little numbers embroidered on them: "45",  and he is nodding, nodding, at you as he walks forward. This is your contact.


3.   Historical Briefs With A Brown Streak Of Genius

A Stonehenge of men and women in sunglasses surround The Contact. They move in formation, maintaining a Raggedly Ann circle around him, continually bumping into other guests, chairs, tables, each other, headed right towards you in a chorus of s'cuse me; par-done, pal; hey lookout; aw christ you could see me comin', right? and who keep reaching inside their jackets as if checking to ensure they still have their wallets.

Deer Me.

You clench. The deer flips on its headlights and there you are, about to get a mouthful of antler (Hi! Remember me? You hit me with the Volkswagen! Payback's a bitch, pal!). You think of the face of your mother -- or Lady Gaga, or another suitable female substitute, just as The Contact stops directly in front of you. You are standing in his Circle Of Trust, surrounded by partially blind people who have weapons.

"Hey, you know," The Contact says, lifting his chin and tilting his head back to look down at you, Mussolini squinting at a small boat far out at sea, "You know, I was out there, goin' by, and thought, 'You know, I should stop in there'. How's it goin'?" You open your mouth to answer but the contact, like the voiceover for an industrial safety film, keeps on talking.

"There's so many things goin' on here! It's like the world's fair of banking and whatever, right? You know, they never -- never -- wanted to invite me to Davos. I mean, I'm the most sympathetic person to what they want to do, in this whole place, the whole thing, me -- and they never invited me before! Not once!"

The Contact sees a blur moving outside his Circle Of Trust and raises a hand, perfect white teeth in the ocher pudding of his face, saying, "Hey, thank you. How ya doin', yeah; thank you," before turning the oily tumblers in his eyes back on you.

The Contact's eyes widen to the size of dimes. He throws his hands out, experimentally, the breadth of a large fish. "But, n-ow -- now, they had to invite me! I'm the leader of the free world, right? Over 300 on the electoral; nobody ever mentions that, by the way. But, hey -- Swiss've been great, they really have, very gracious -- they've been very, very good to me, very respectful. Not saying they're not. I'm very much thinking I hope they stay like that."

You nod. You lean towards him slightly, and enunciate the code phrase: Hobo Oboe.  The Contact stops, squints, pushes on his chin. "Din' getcha," he says; you rinse and repeat. The Contact thinks about what an impression of remembering something might look like, then leans towards you, and speaks a countersign: "Ah, Yeah, yeah.  'My Penile Prosthesis'." He steps a little closer and, with a quick glance around the room, squeezes out a shruglet, raising his brows while the eyes remain inscrutable, swinish.

This was the moment. This was why you came to Davos: to observe your leavings, and tell this person what you were instructed to say -- a single phrase, "Stormy Weather". You ignore the sure impression you have gained that The Contact is wearing thong underwear, stand on your feet's balls, and draw a deep breath -- but before you can speak, The Contact interrupts you.

"Hey, I have a lot to do; so much to do, I've got -- you wouldn't believe how much I have to do in this job. I tell you, if I could go on strike, I'd do that. Leftists would love it. Chuck Schumer'd love it -- but I am the most involved president, hands-on involved, of any president. Not since Lincoln, or anyone, has there been a harder-working president than I am. So that's one.

"Two, nobody is listening to me. I mean, the people, some of the people, they listen, sure. But there's a fucking conspiracy with the New York Times and fucking PBS. Jesus; fucking Frontline. The Washington Post -- that Bezos, he's just trying to mindfuck me. But, I'll be fair, some of my own people -- don't want to name anybody, but some of them are very close to me -- use the media to talk themselves up. Take credit, make me look like some crazy, stupid person. Happened just last week."

Everyone in the Stumpfegger Room is looking at something else while they look at The Contact, and you. He has drawn himself up on a cocktail napkin, his gut pendulous within a tent of jacket; he pushes a stubby finger into the inches before your face, shouting, "I'm tellin' you: I am not stupid, like everyone says! I'm Smart!! I am fucking in charge!"

"I was elected with the largest electoral numbers in modern history -- I was, me! Not the goddamn Daily News! And I'm about ready to say to the Post, 'Hey, Jeff; you want to get shut down? You want a military censor sitting in your office with a magnifying glass up your ass? You want the IRS looking at your offshore LLCs?' And those terrible conditions in his shipping places; just terrible. We're gonna look into that. He's outta control, that guy; it's very sad how outta control.

"I'm not even getting into the Russia thing. Yeah, we're lining up for ol' Bobby; and oh, everyone's gonna be surprised when we let go, my friend!" His face is an alarmed bell of crimson. "see, it takes just one thing, just one thing, and the whole ball game can change. That's what I'm saying; I'm saying that. All right." His face relaxes like a sphincter, and he nods, lifting a hand with two fingers, faintly Benedictine. "All right. Thanks very much. Great to see you."

The theme to "Heroes Of Telemark" begins to play in the background and he's off walking, his perimeter of flesh shifting with him back through the room and out the door.  A tendril in your head saying hey man that tequila shooter be lookin' good right now. From here to eternity, everyone is turning, turning, and have come round, Right wing, at last, to be looking at you. If curious glances had their own mucus, you would be coated in slime.

You order a tequila; the Joe Turkel bartender says Your Money's No Good There, and it's all on the House. Somewhere, you realize that you did not give The Contact that message. On the way back to the hotel, your Uber driver talks about a company which has made an app -- an interactive photo-calendar of shaved animals, for other animals. It has had two billion downloads at $2.99 each.

Obligatory Dog-Faced Fruit Bat Photo: Pooch Of The Sky

At the hotel, you receive a message: Mother says the cow is sick. You must come home immediately. Tickets will be delivered today. There is also a huge, Dog-Faced Fruit Bat, in a basket, from the Davos Chamber Of Commerce. One of these messages is benign, the other ominous, and you do not know which is which.

The Fruit Bat turns on the room's television;  you both watch situation comedies in German until the Fruit Bat turns to you and says, "Are you understanding any of this?"
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The Fruit Bat dials Room Service and orders a Martini. After a time, the Room Service waiter, a man in his mid-twenties, appears. He places the Martini, and the bill, on a side table.  The Fruit Bat sips at the Martini in silence. The waiter stands to one side, observing. The world wonders.

After a few minutes, the waiter politely clears his throat and says, "You know -- we don't get many Fruit Bats ordering Martinis here." The Fruit Bat, glancing at the bill, replies, "Yes; and at these prices, you won't see many more of us, either."
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