... Trying to understand Trumpism is like asking a hoarder why she/he hoards. ... The questions assume there are rational answers when rationality has nothing to do with it. For his followers, Trumpism is about how they feel...UC Berkeley sociologist Arlie Russell Hochschild tells The Atlantic‘s Derek Thompson that Trumpism “exists beyond the logic of policy“... Hochschild wrote in her 2016 book, “Strangers in Their Own Land” that there is a “deep story” playing out with a large faction of Americans:The deep story went like this: You are an older white man without a college degree standing in the middle of a line with hundreds of millions of Americans. The queue leads up a hill, toward a haven just over the ridge, which is the American dream. Behind you in line, you can see a train of woeful souls—many poor, mostly nonwhite, born in America and abroad, young and old. “It’s scary to look back,” Hochschild writes. “There are so many behind you, and in principle you wish them well. Still, you’ve waited a long time.”Now you’re stuck in line, because the economy isn’t working. And worse than stuck, you’re stigmatized; liberals in the media say every traditional thing you believe is racist and sexist. And what’s this? People are cutting in line in front of you! Something is wrong. The old line wasn’t perfect, but at least it was a promise. There is order in the fact of a line. And if that order is coming apart, then so is America.Hochschild tested this allegory with her Republican sources and heard that it struck a chord. Yes, they said, this captures how I feel. In the past few years, she’s kept in touch with several of her connections from the Deep South and keenly tracked their philosophical evolution.She’s watched the locus of their anxiety move from budgets ..to the entrenched and “swampy” political class. She also witnessed the Trumpification of everything. “There used to be a Tea Party,” she said. “Now it’s all Trumpism.”The logic of policy has nothing to do with it. Trump is a kind of dancing orange dinosaur who has captured the imaginations of his base. He gave shape to their feelings. He gave voice to them.Hochschild explains, “From his first rallies, Trump’s basic message has always been ‘I love you, and you love me, and we all hate the same people.’”
Thursday, December 31, 2020
The Bomb In The Back Yard: A 2020 Coda
Saturday, December 12, 2020
Reprint Heaven: This World At Night
Dusk
(From late November, 2016, apre le dénouement.)
As I write, it's twilight on the Left Coast; almost too obvious an image. At work, in the aftermath of the election, few people spoke about the results. Even fewer people mention what's to come, now, except with a lot of who-the fuck-knows eye rolling and shrugging.
For now, there is an adult (no matter what you think of his policies) in the White House. We can push the image of Trump and his ilk, of Mike Pence telling the media to "buckle up", out of our minds -- but everyone knows that this (relatively) liberal presidency is ending; the light is fading.
I wrote a long post claiming to know something of the future, but deleted it. It was, in its way, bullshit: I don't know what will happen, and I'm not going to pretend otherwise. I let those who can analyze and translate current events well, or those with louder voices, or with a penchant for ego masquerading as humble simplicity, do their thing. Let them lean out.
As I wrote the Post That Was Not, I understood something else: the future is very present. It's going to play out in the faces and the lives of friends, and total strangers, whose fates seem more important now than they did a month ago.
I'm not a very deep reader, and when uncomfortable tend to chew on the familiar. So I grabbed Alan Furst's The World At Night to read over the long weekend. It's a story of Paul Casson, a Parisian and a producer of films, in France at the fall of the Third Republic, and the choices he makes after. It's about morality, love, courage and venality of life during Occupation.
Casson has been recalled to the army in the late spring of 1940; the Germans are already invading the Low Countries (and eventually, as everyone knows, France itself via the Ardennes). He is part of a propaganda unit filming the French army as it heads toward the front.
...Casson was stopped. The sentries were drunk and unshaven. "What brings you here?" one of them said.The German army succeeds; Casson melts away, towards Paris, more vagabond than a fleeing soldier.
"We're making movies."
"Movies! You know Hedy Lamarr?"
"Dog dick," said another. "Not those kinds of movies. War movies."
"Oh. Then what the hell are you doing up here?"
The second man... offered Casson a bottle through the window... [and] laughed as he took the bottle back. "Come and see us, squire, after this shit's done with."
The hard Parisian sneer in his voice made Casson smile. "I will."
"You can find us up in Belleville, at The Pig's Ass."
"See you then," Casson said, shoving the clutch in.
"Red Front!" They called after him.
... Sometimes, in a café, he heard the news on a radio. Nothing, he realized, could save them from losing the war. He left the roads, walked across springtime fields... He shared a campfire with an old man with a white beard, a sculptor, he said, from Brittany somewhere, who walked with a stick, and got drunk on some yellow stuff from a square bottle...Casson is a character who lived a comfortable, creative life, a Parisian life, and after the nazi victory he only wants to get back to living it -- and he does, until he discovers that he actually is a moral man. And, while it takes time for the corrosion of the Occupation to seep through to him, eventually he has to act against it. He had no other choice, really; it just took some time for him to become clear to himself.
... "We'll all live deep down, now," the sculptor said, throwing a stick of wood on the fire. "Twenty ways to prepare a crayfish. Or, you know, chess. Sanskrit poetry. It will hurt like hell, sonny, you'll see."
At the end, Casson makes another choice -- an act against Occupation and exclusion, against division and hate -- but for a purist or Marxist, it will seem a fool's move, sentimentalist garbage. Only, it's our deepest passions, sometimes hidden even from ourselves and spurring us to act, which define us.
For the Left, the appointment of Bush in 2000 was a shock unlike any other in American politics -- and what followed was an eight-year chapter in the Banality of Evil.
Life under Bush, a limited, Dauphin of a man, was Life During Wartime -- one reason Obama's election in 2008 was greeted with street parties -- here in Kiddietown, it was like the Place De Concorde in 1944 -- The nazis are gone! Vive La France! We were Liberated!
But, Bush and the creatures that swept in with him had some legitimacy as part of the political mainstream. Not so with Trump or his creatures. Lil" Boots played at being a loud, crude Man Of The People but was always the son of a Yankee, blue-blood Old Money family. Trump has all the sophistication of an infomercial, the intellectual depth of a racetrack tout -- and, it's not an act. No one knows what will happen this time, but it's almost certain to be bad.
And this time, it feels more like Occupation. Like the real thing -- as if Bush had been a dry run, a testing of limits. Just outside our field of vision, we sense men in Field Grey on the corners, but they're waiting, not asking for our papers, Ausweis; not yet. Unconsciously, this was why I had taken Furst's book down from the shelf in the first place.
It's going to take time for the corrosion to sink in. And it will take time for people to act against it from our moral centers -- some sooner than others, but act we will have to. And the values and passions at the core of our Selves will direct us. We don't have any other choice, really.
From the Post That Never Was, some tasty links as you cook that Crayfish. Pass the square bottle of yellow stuff, would you? And, which way to The Pig's Ass?
"Red Front!" They called after him.
Alastair Crooke, Without Any Masterpiece Theatre -- and who he quotes, Raul Meijer.
Richard Rorty, though he be dead (quotes below -- see The Paper Of Record's original 1998 review.)
"[M]embers of labor unions, and unorganized unskilled workers, will sooner or later realize that their government is not even trying to prevent wages from sinking or to prevent jobs from being exported. Around the same time, they will realize that suburban white-collar workers — themselves desperately afraid of being downsized — are not going to let themselves be taxed to provide social benefits for anyone else.
"At that point, something will crack. The nonsuburban electorate will decide that the system has failed and start looking around for a strongman to vote for — someone willing to assure them that, once he is elected, the smug bureaucrats, tricky lawyers, overpaid bond salesmen, and postmodernist professors will no longer be calling the shots. …
"One thing that is very likely to happen is that the gains made in the past 40 years by black and brown Americans, and by homosexuals, will be wiped out. Jocular contempt for women will come back into fashion. … All the resentment which badly educated Americans feel about having their manners dictated to them by college graduates will find an outlet...
"This world economy will soon be owned by a cosmopolitan upper class which has no more sense of community with any workers anywhere than the great American capitalists of the year 1900... [This group included intellectuals who are] quite well insulated, at least in the short run, from the effects of globalization."
Thursday, December 3, 2020
Cult Of America
State Of Emerging Emergency
In Romania, in the East Bloc -- you become enough of a problem for somebody, they take you out in the woods and put a bullet in your head. In America, you become enough of a problem for the government, and you -- don't get a credit card. They restrict your ability to make money.
That's the difference between Reagan, America; and what Ceausescu has made out of Romania. But someday, that difference may disappear. When your government crosses the line. When you start finding people in the woods who have been shot in the back of the head? Then it's too late.
1. It's not possible to overstate how pathological, how untethered from reality, this is. Trump is the elected head of state. Faced with a complete absence of evidence for his claims (in fact, faced with evidence disproving the lie he is telling), Trump claims it is still true just because he says so.
2. Senior White House staff; Giuliani, other lawyers; Congressional Republicans; Murdoch's media / Fox 'personalities'; all support contesting the election as a Leftist conspiracy and Biden as its illegitimate winner -- even though there is no evidence to support it beyond whatever comes out of Trump's mouth.
Saturday, November 14, 2020
Reprint Heaven: In The Beginning Was The Word
Saturday, October 10, 2020
In A World Of Gutturals
I Want What I Paid For
The first Presidential debate was a concentrated, painful display of one man's perversity and evil. Over 90 minutes on the stage at Case Western, Trump showed everyone exactly how he will behave over the election's outcome, and what he will do in a second term.
"If you fuck around with us; if you do something bad to us; we are gonna do things to you that have never been done before.”
-- Trump, Interviewed On Limbaugh's Radio Program; October 8, 2020
Thursday, September 17, 2020
Random Barking: Darkness On The Edge
Edge Of America
I get up every morning and go to work each day
But your eyes go blind and your blood runs cold
Sometimes I feel so weak I just want to explode
Explode and tear this old town apart
Take a knife and cut this pain from my heart
Find somebody itching for something to start
.. thinking about Bruce Springsteen. Not any specific music of his; just, how it's always reminded me of the America I grew up in: small-town, white boy America, next to the ocean. Not all that far from-big-city USA. Chamber of Commerce, Future Farmers, Boy Scout and Kiwanis America; Pleasantville.
Bruce's music always felt more East Coast, for obvious reasons; the Beach Boys' music was supposed to be speaking for life at the edge of California. I liked Pet Sounds, thought "Little Deuce Coupe" was cool (though that got replaced by Hendrix and the Airplane and Mothers Of Invention soon enough).
Where I came from, we didn't have the Eastern version of mills and factories, but we understood working-class expectations. We knew where our families were in the local pecking order, and those who mattered in town -- the people you didn't want to make unhappy. We knew, without being told, that our experience wasn't shared by Blacks, Latinos, Asians; they weren't even part of the equation. And all that reflected the larger image of America, a larger pecking order, with so many layers above and below.
Wednesday, June 24, 2020
Reprint Heaven: End Of The World As We Know It
(This, from 2012, when I actually spent more time and energy writing and posting.)
Over the long weekend that everyone took, I went to see 2012. It didn't help that I began coming down with a cold right there in the theater, but it wasn't a bad film, really -- and as a friend warned me over Thanksgiving dinner, "You'll only go to see the special effects": They were spectacular, true; but Woody Harrelson's fuzzy-wacky Pabst-Drinking conspiracy radio host, broadcasting from the edge of the Yellowstone caldera as it erupted, almost eclipsed the digital magic...
Will Smith as The Man, and Abby (Or Kona), as Sam The Pooch
Back at home, lying around with The Cold, I flipped through some of my 200 DVDs and found the 2008 release of I Am Legend with Will Smith -- which was a fairly good film, but only in it's alternate release version. I glanced at the Criterion edition of Fritz Lang's M; I ran a finger across the cover of Beetlejuice; I considered Pixar's The Incredibles (Dudes!! Where's the SEQUEL???). But it was "I Am Legend" that gave me pause.
Ahnold's (Supposedly) 'Final Film', Canceled By Voters
Smith had been offered the starring role as Dr. Robert Neville, because the first Star cast, Arnold Schwarzenegger, had become the Governator. I strongly considered watching Smith (a more than decent actor), but finally passed on it to check out the simple, unexpected wonders of the Teevee, and I was glad I did.
Here in San Francisco, a local cable public access channel occasionally runs films when they need filler for a spare ninety minutes or so (occasionally, they don't even run the full feature). The prints are always bad, and the sound worse, but it's interesting to see what the kids down in the studio will pick. A few weeks ago, they put up Romero's original Night Of The Living Dead; this weekend, it was The Last Man On Earth -- which is, aber natürlich, the earliest version of 'I Am Legend'.
There have been any number of End-Of-The World-As-We-Know-It stories and films based on the elements of I Am Legend: 28 Days Later; The Stand; the late-70's BBC series, Survivors (certainly, "Shaun Of The Dead"); in an odd kind of way, even The Puppet Masters and Invasion Of The Body Snatchers.
These stories involve a nuclear war/alien incursion/mysterious plague (sometimes man-made) which kills and/or radically alters its victims; somehow, they turn into Zombies/Vampires/Unemotional Communists Alien Replicants; and, there is a single person/small band of plucky survivors, trying to find others who survived as well and get on with living in the Brave New World.
(Photo: The Incorruptable We Worship: Canada's dvdbeaver.com)
Last Man was released in the U.S. in 1965. It began as a property owned by Hammer Films in England, with Richard Matheson writing a script after his classic 1954 novella, "I Am Legend".
A Bantam Paperback: Forty Cents.
(Matheson later wrote another novella, "Bid Time Return", which became the 1980 cult film, Somewhere In Time; later, another novel, "What Dreams May Come" was turned into a fairly good movie about life in the Afterlife, with Robin Williams, Cuba Gooding Jr., Annabella Sciorra and Max von Sydow.)
(Photo: You Will Sing 'O Canada': dvdbeaver.com)
Hammer Films passed on turning the acquisition into a film, but sold production rights to the 'concept' (without Matheson's script) to a cut-rate American producer who filmed it quickly in Europe to save costs. It was directed by Ubaldo Ragona, whose only other films were Fiesta In The Caribbean and The Virgin and The Bastard -- fortunately for Ol' Ubaldo, "Last Man' is a cult classic, the only work he'll be remembered for.
"By night they leave their graves, crawling, shambling, through empty streets, whimpering, pleading, begging for his blood!" Said the film posters. How they signed Vincent Price to play the title role and add the voice narration, no way to know -- except, he did get a European vacation!
Nope; It's Not The L.A. Coliseum... Price, Hunting Vampires In The Amphitheater At 'Eur',
The Rome Suburb, Home To Mussolini's 'Architecture Of Fascism'
As a kid, I'd read Matheson's novella, set in a post-apocalypse Los Angeles. As a sort-of Southern Californian, it was easy for me to visualize L.A. after a Zombiesque, vampire plague. However, Last Man wasn't shot in SoCal; it was filmed in and around Rome, the Eternal City: The architecture, the landscape, the foliage was supposed to be American -- but in college, as I sat getting loaded and watching this thing on teevee, it looked... well, Jeez; it was Italy, for cryin' out loud. Even after several bottles of Chateau Du Safeway, the bunch of us watching the film could spot most of its really obvious 'goofs'.
Wandering West Covina In Search Of The Undead? Nope; Still Eur.
(Photo: The Sublime: dvdbeaver.com)
My favorite "production errors" were seeing vehicles driving in the far background in a number of shots of 'deserted America'; or, Vincent Price (who has been out hunting vampires for two or three years), needing to stock up on garlic to keep vampires away -- and stopping to pick up a few garlands in an abandoned grocery store. Garlic won't last in my kitchen for two weeks, let alone three years.
My favorite bits were the cars Price drove -- which, between cuts in the same sequence, would change from Chevrolets to Fords and back again. I hadn't seen goofs that obvious in a film since spotting a dead slave wearing a wristwatch in the slow-pan-over-the-battlefield shot in the last reel of Spartacus.
"Not tonight, Bobby; I have a headache... be a dear and get me
one of our daughter's pet rats, a razor blade, and a straw?"
(Photo: The Inscrutable: Canada's dvdbeaver.com)
Following the line of Matheson's novella, Price played Robert Morgan, an ordinary man, uninfected (apparently due to a natural immunity) by a plague which arrived from Europe. In a series of flashbacks (also from Matheson's novella), Morgan's daughter becomes ill with the plague, but he and his wife try and nurse her to health. The daughter goes blind; his wife becomes ill with the plague; but he believes they can get through this... until first his daughter, then his wife, dies.
Vincent Price As Morgan, One Step Away From Cracking Up
(Photo: Your Best Friend: dvdbeaver.com)
Now he has a problem; he knows they'll become vampires. Morgan can't bear to stake-and-garlic his own wife and child, so he buries them a long distance from their house. As he knew they would, they return to their old home, every night, standing on the overgrown front lawn and calling out to him. In a grisly way which he can't even admit to himself (They'll come back, man -- and you want them to), Morgan can't bear to be completely separated from the ones he loves, his now Zombized Vampire family, calling to him out of the night.
"We Got 'Glow In The Dark' Play-Doh, Baby... It's So Koooool..."
(Photo: The Scrumptious dvdbeaver.com)
Even his best friend (also seen through pre-plague flashbacks) appears with them to taunt Morgan, crooning for him to come out and join them... strangely, his Sta-Press hairdo remains the same after he goes over to join the Legion Of The Undead... and occasionally, he tries the ol' White House State Dinner Gate Crash through the front door...
"We Want To Meet The Obamas And Suck their Blooooooood!!
(Photo: Canada's dvdbeaver.com, who shall not be named.)
But, he does more than fight the vampire-survivors just to stay alive; he actively hunts them, day in and day out. He broadcasts on radio, looking for other survivors, without an answer. Suddenly, he comes across an apparently uninfected girl, after not having seen another 'normal' human for years -- and slowly, Price discovers that she's one of them ... part of a developing new society -- of vampires.
Price Staking His Claim As King Of The Vampire Hunters
They've developed a serum which keeps the weird, bacteria-like contagion that results in vampirism at low levels in the blood, which prevents them from lusting for it to survive, and to venture out in daylight. It allows the girl to pass for 'normal', and to get close to Price so that he can be neutralized. Because they see themselves as victims of Price's relentless vampire hunting.
"Don't Talk Trash To Me About The Dodgers -- Ever!!"
This is the masterstroke role-reversal Matheson slowly introduces into his story: We initially see The Man as lonely hero, lost in a decaying, shabby world and surrounded by infected, homicidal monsters. But from the perspective of the New Vampires, trying to create order and structure in a world changed by a disease without a cure, they've adapted to survive -- and to them, Price is no hero: He's the Outsider, his daytime staking and killing the threat to their existence.
"But -- But I Can't Be The Monster -- You Are !!!"
(It's The End Of The World... And You're Wearing A Tie?)
Their serum liberates them from most of the aspects of Vampyrism -- enough to build a New Order. Price is their monster, the thing New Vampire parents use to frighten their children before going to sleep, a boogeyman who comes in the daylight with garlic and a stake. And, he has to die, so that they can live without fear.
Irony: A Bus In Rome (Where The First Version Of Matheson's Story Was Filmed), Advertising the Latest Version, "I Am Legend" (2008)
The next take on Matheson's story, The Omega Man, was released in 1971 with Charlton Heston -- who made Planet Of The Apes in 1968, and would go on to star in an honest classic, Soylent Green, in 1973. Oddly, in a bit of deja vu, 'Omega' was made after purchasing the rights from Hammer Films -- which still had been considering making a film from Matheson's script.
In Hammer's vision, the property had a new working title -- "Night Creatures" -- but British censors considered the concept of an empty world with decayed corpses and vampires too graphic for 1970, and again sold the production rights to Americans... but the plot wasn't entirely okay with censors here, either (there was plenty of real gore on the nightly news, courtesy of the war in Vietnam), so some changes had to be made.
Omega Man was set in L.A., and Heston's character was named Robert Neville -- both points identical to Matheson's story. But the plague survivors in Neville's Los Angeles were not nocturnal vampires -- just albino, deranged paranoids, wearing black monk's cowls and Ray-Bans, suffering from a terrible sensitivity to sunlight. They were Luddites, to boot, organized around an anti-technological dream in a group called "The Family".
ZERBE: These wigs itch. How long does it take to set up a camera?
KIRKPATRICK: Got that right. It's fucked up, man.
ZERBE: Hey, Lincoln; we wear these shades all the time. Right?
What the hell -- let's get high! Who's gonna know?
KIRKPATRICK: I'm down with that, man. You holding?
ZERBE: I think those two chicks who say, "More! Burn it more!" have
some pretty decent shit. Let's go ask. Not like we don't have time.
Heston's nemesis was the leader of the Family, a former L.A. Teevee news commentator named Matthias ("You -- you creature of the wheel!"), played by Canadian actor Anthony Zerbe (a strong supporter of Werner Erhard's 'est' training, back in the day). Before this, Anthony had a small, supporting role opposite Heston in 1968, as a ranch hand in the western, Will Penny. And, Matthias' right-hand 'Family' member, Zachary ("Just let me put some explosive to him, brother -- just a little nitro!"), was played by Lincoln Kirkpatrick -- who in 1973 would appear opposite Heston in Soylent Green as a Catholic priest tortured by the secret of Soylent after it was revealed to him in confession by Joseph Cotton.
Anthony Zerbe, Character Actor Par Excellance --
A Softer version of Anthony Hopkins, in the 1990's
I wonder if Zerbe, Kirkpatrick and Heston ever talked on set about prior shoots working together, or if that wasn't considered appropriate when you worked with someone whose credits included playing Judah Ben-Hur and Moses and Andrew Jackson and Michelangelo.
When The World Ends, You Get To Use Automatic Weapons.
It wasn't a terrible movie; it was Heston's second science fiction film, after Apes and before Soylent. It had a typical look-and-feel of back-lot production values possessed by many Columbia, 20th Century Fox and Warner Brothers films from the late 60's and early 70's. Watching Heston's acting (he seemed to be playing Robert Neville as if it was his Michelangelo from Agony and the Ecstasy) made me feel his career had to be headed for the toilet. The end of the film has Heston's Robert Neville dying in a posture that is too obviously like that of Christ on the cross, and no one watching could fail to feel the weight of the Ham we were being asked to bear.
Chuck; Ah, It's About The Symbolism, Man. Painful; Ya Know?
I felt excruciatingly embarrassed for him -- Heston, who had played so many great roles in film, was doing burned cheese sci-fi?. But, I took all of that back retroactively when he became the public face of the NRA -- and I've been an NRA member.
( I'm a fan of end-of-the-world films -- and, hey; you really want to be frightened? See the 1984 BBC production, Threads, which was the UK's version of 'The Day After'. I guarantee you won't sleep for a week. No shit: I Guarantee It.)
(In fact, if you look carefully at the film's poster, down at the bottom, below the credits in very small type is the simple statement, "This Film Will Not Just Frighten You; It'll Fuck You Up For Life". )