Hey Woody, Irony rhymes with Soon-Yi (and other thoughts on L’affaire Polanski)

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I can’t possibly improve upon the excellent commentaries being made all around the papers and blogs regarding L’affaire Polanski. My take on the matter is rather simple: don’t do the crime if you can’t do the time. Polanski did the crime and admitted as much. End of fucking story.

Anyone (then or now) who has deluded themselves into thinking he actually fled the U.S.A. (and stayed gone) because he was afraid of a vindictive judge, as opposed to the more primal fear of going to jail (as he would –and should have done), needs a swift knife to the nose.

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Good to see that the insular Hollywood country club has circled the wagons to support their fugitive friend. Have you seen this shit? A petition to release Polanski? Don’t you sign petitions for, you know, innocent people being oppressed by malevolent governments? Only assclowns from L.A. could confuse Polanski’s (self-imposed) plight with a situation that actually warrants mass protest. Like, say, health care reform. That Woody Allen went anywhere near this particular issue reveals him to be both beneath contempt and incapable of understanding irony (hint: it rhymes with Soon-Yi). What a shameless piece of shit. The only thing more embarrassing than his signature on that petition is the sum of his career the last two decades. How about Whoopi Goldberg’s quote? Wow. It’s almost impossible to resist making offensive rebuttals to her offensive and illogical peregrinations regarding the concept of ”rape-rape”, so I’ll simply suggest it would be nice to offer her the “rape test” the same way Liz Cheney should get the “torture test” to see if reality easily squares with their blithe declarations about other peoples’ pain. Anne Applebaum has one of the most starkly offensive attempts to equivocate, while this idiot publicly soils herself at Huffington Post. Indeed, while Salon.com has demonstrated a mostly sane editorial stance, Huffington’s orchestra of elite idiots are ardently displaying how insulated and utterly out of touch they are. Look at this bozo (and look at that list of signatures. If Scorsese stings –and it does– seeing the great Milan Kundera is downright depressing, although it does put his undeniable misogynistic streak in better perspective).

This is neither tough nor complicated. Any of these well-paid pukes rallying around their weasel are just as odious as the politicians (ironically, the types most of these artists correctly skewer) who admonish us to look forward and not ruffle feathers by investigating war crimes committed in all of our names. For instance. (That some of them are invoking Polanski’s history as a Holocaust survivor is disingenuous as it is cynical. And sickening.)

The fact that Polanski is a brilliant director (indeed, I’m on record endorsing Chinatown as the most perfect American movie ever made) really has nothing to do with justice. If you believe in that not-so-complicated concept, this is a no brainer. The problem is, we’re seeing the lack of brain power and the darkended hearts that work together to keeps the cash registers ringing in Hollywood.

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Sound & Vision: Featuring U-Roy

 U_Roy,_front

They sure don’t make them like they used to.

Album covers that is. In fact, they don’t even make albums. Indeed, is anyone besides me even buying compact discs anymore?

It’s never wrong to remember how incredible actual albums used to be.

Even a mediocre album could be salvaged by a cool cover. Like so:

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Or the crappy album with the incredible cover:

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Or the incredible album with the crappy cover:

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Or the crappy album with the crappy cover:

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And then the album where form meets content and all elements are in harmony:

king_crimson_-_larks_tongues_in_aspic_-_front_[covertarget_com] TH_-_Remain_In_Light

John_Coltrane_[1957]_Blue_Train

BREW

BB

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animals

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All of which provides me with an excellent excuse to talk about U-Roy’s Dread in a Babylon. Now that summer is officially over (sigh), we need reggae more than ever.

This one features a fantastic cover, and is indeed a tremendous album (one that is –like the man who made it– overdue for reappraisal, and appreciation).

And as great as the front of the album is, it’s the back cover sequence where things get truly dread.

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Extreme close-up on those awesome images:

Going…

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Going…

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Gone!

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The Wisdom of Crowds: A Celebration of Humanity via YouTube (Part One: Music)

 

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Everyone knows YouTube is the best shortcut to favorite, as well as forgotten video clips. And while it is well worth recognizing, and celebrating, the millions of anonymous DJs out there manning the Internets have been doing work bringing the noise. Literally. YouTube is becoming (or has become) a reliable source for tunes. Everyone knows this, but there is no accounting for what gems you might stumble upon while surfing for that favorite (or forgotten) song. Of course, that is what Last.fm, Rhapsody and LimeWire are for. YouTube is less for programmed setlists and more for dedicated investigatory treasure hunts. Like the universe itself, the site is buzzing with signs of life and ready-to-be revealed secrets. If you boldly go where some men (and women) have gone before, you can collide with some very happy accidents.

Category One: Live Gems

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Marvin Gaye!

  

Emerson Lake and Palmer (prog-rock nirvana!):

 

Oh, you want more prog rock? How about some Genesis? You may recognize that reverse-mohawked lead singer…

 

The Moody Blues keeping it REAL:

Pink Floyd (not live, but there is plenty of that to be had; here is a rare promotional video, i.e., Prog rock apotheosis!):

John Fahey!!

 

Category Two: Jazz!

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Big Friendly Jazz Orchestra: “Fables of Faubus”
(First of all, that these songs are available is awesome; that this is a high school band (!) of Japanese girls (!!) playing –among other things– Mingus tunes (!!!) is bordering on miraculous. God bless them and God bless the Internets.)

Version One:

Version Two:

Charles Lloyd and Billy Higgins:

Art Motherfucking Blakey:

 

William Parker!

(Special appreciation for the things you were looking for all of your life — but didn’t know it until you found them):

Sun Ra:

The Keith Tippett Group. Who? Exactly. (King Crimson fans will recognize this woefully underappreciated pianist):

Grachan Moncur III:

Pharoah Sanders:

 

Category Three: Personal Favorites

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And then there are the old friends you sometimes need to dial up just to get through another case of the Mondays:

(I mean, a little Funkadelic never hurt anyone; in fact, it did a lot of people a whole lot of good. And hopefully a few of you have never heard of Standing on the Verge of Getting It On, and are now addicted. I know what you’re thinking: Wow, what an incredible album title! Here’s the best part, that’s not even the second best Funkadelic album title from the first half of the ’70s. How about Cosmic Slop? Or the truly hysterical (or hysterically true) America Eats Its Young? Of course there is also Free Your Mind…And Your Ass Will Follow. And, for anyone still not convinced, we can cut through the cleverness and get to the heart of the matter with Maggot Brain. Yeah, you may be thinking, but how serious can a band be with album titles like that? The answer, incidentally, is: serious as a fucking heart attack.

Two words: Eddie Hazel:

Category Four: The Wisdom of Crowds

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And finally, there are the geniuses amongst us who take the time not only to upload great music, but create arresting –and original– images to accompany it:

Exhibit A, Portishead:

Exhibit B, OutKast meets The Peanuts:

Exhibit C, Jimi Hendrix meets Earl King!!!

Exhibit D, Klaus Kinski, remixed:

And finally, Karlheinz Stockhausen — the only possible way to conclude this particular list:

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And in the end the list you take is equal to the list you make…

Beatles

So: it’s been five full decades that The Beatles have dominated music, our minds and, increasingly our wallets. Although its release was an understated affair, you might have heard something in the news recently about the Beatles: Rock Band. Apparently, sales have been decent. If you have a few hundred dollars burning your wallet, you can also procure the remastered Beatles catalog. Hard as it is to make perfection sound better, early reports are that the albums sound better than ever. What’s not to love?
Over at PopMatters, where less than one year ago we celebrated the 40th anniversary of the White Album (my own love letter can be found here), the time is apparently ripe to assess the entirety of the band’s staggering output. Stay tuned for further developments. One of the assignments for the assembled writers is to determine their personal Top 10 Beatles songs (the results will be tallied and some type of consensus will presumably emerge). At first blush, this task seems impossible. Upon further reflection, this task is inconceivable. Narrowing down that catalog is like taking a straw and trying to suck the salt out of the Pacific Ocean.
But duty calls and a fan’s gotta do what a fan’s gotta do.
I feel like I could pretty much tick off each Beatles song, from each album (in order) but in the interest of complete accuracy, I created a document with every one of their songs. I then took out the trusty highlight pen and attempted to separate the contenders from the pretenders. Actually, it started with the obvious versus the not-quite-so-obvious. Then the runners-ups and the real close runners ups.
It was impossible and inconceivable.
I love The Beatles and, while I definitely like the second half of their career more than the first half, this was an unbelievably masochistic exercise. I approached the task with an intentional chip on my shoulder: only the best of the better songs could survive. And even after skipping over (literally) dozens of worthy gems, when I counted up the songs I selected the total was more than forty. Did I mention that this task was impossible? I began thinking things like “well, maybe I could separate the list into Top 10 “early” Beatles and Top 10 “later” Beatles”…Inconceivable.
Try it yourself. I mean, I don’t know many people who don’t at least appreciate The Beatles. But if you are even a moderately avid fan, you’ll quickly ascertain how stressful this supposedly harmless endeavor actually is. You could drive yourself insane. Just try going through their songs, by album, in order (as I did) and see how quickly you have ten or fifteen songs. And that’s before you even get to the New Testament of Rubber Soul and Revolver. And then you have the truly great masterpieces to contend with. Impossible. And inconceivable.
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Okay, enough of the histrionics. It’s not like I had to get my final choices tattooed on my chest or anything. I reserve the right to change my mind, which would only be fair considering this output covers music I’ve worshipped the last thirty-plus years of my life. I did try to mentally separate favorite Beatles songs versus best Beatles songs (not to mention influential and original), et cetera. I think if I wasn’t able to look at the complete catalog and made a list from memory, it would have inevitably been later-career heavy; as it happened, the final choices were fairly representative of their total output. Perhaps most interestingly, while I nominally consider myself a McCartney man (something I’ll elaborate on in my eventual essay, although I’ll simply state my ultimate impression that the Lennon/McCartney machine is an unbreakable proposition), my final choices were split right down the middle: five songs by Mac and five by Lennon (sorry George, sorry Ringo). More interestingly (at least for similarly obsessed Beatles freaks), the songs I chose represent compositions written entirely by one or the other. Obviously in the early days the lads collaborated, and that very fruitful partnership reached an apotheosis during the seminal sessions from ’65/’66. Even later, when the band was firing on all cylinders, the songwriters were increasingly operating as solo artists, using the others as a backing band (this was in obvious effect during the recording of The White Album). Nevertheless, even on the final Abbey Road recordings, each individual member was bringing his own unique and inimitable elan to whatever song was being cut. In any event, these ten songs unquestionably bear the sole imprint of the chief songwriter. Here they are, in chronological order:

 

 

And here are the other songs, crowding the sidelines:
REAL close runners-ups:
 
Penny Lane
Strawberry Fields Forever
Glass Onion
I’m So Tired
Blackbird
Julia
I Will
Ballad of John & Yoko
Don’t Let Me Down
 
Close runners-ups:
 
Rain
Hello Goodbye
Dear Prudence
A Day in the Life
Long, Long, Long
I Dig A Pony
Let it Be
Hey Jude
Revolution
 
Runners ups:
 
You Can’t Do That
The Night Before
Think For Yourself
Run For Your Life
(All of Revolver…just kidding–sort of)
She Said She Said
For No One
Here, There and Everywhere
Getting Better
With a Little Help from my Friends
Your Mother Should Know
Oh! Darling
I Want You (She’s So Heavy)
Two of Us
The Long and Winding Road
She’s Leaving Home
Being for the Benefit of Mr. Kite
 
What about you? Are you up to the challenge? If so, I’d love to see your list!
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Raise Number 37 to the Rafters

olie

Olaf Kolzig was not merely the goalie and de facto captain of the Washington Capitals from 1996 through 2008. He was the Capitals. His ascendancy not so coincidentally accompanied the team’s first (and only) trip to the Stanley Cup finals. They lost to the Detroit Red Wings, but that was a foregone conclusion: circa 1998, God could have been the opposing goalie and the Wings would have found ways to win. Perhaps more importantly, Olie the Goalie, also known as Godzilla, remained the face of the franchise when they eventually fell on hard times after the 2003 season (a season when they were stacked with talent and laden with the mercurial Jaromir Jagr who mostly underwhelmed and underachieved during his very expensive tenure in D.C.). Olie, at that point could –and perhaps should– have headed for more winning, not to mention lucrative, destinations. But he made it a point that he hoped to play his entire career as a Capital. He was a first rate goalie and a first class guy the entire time. Indeed, it got to the point in the middle of this decade where it was fair to say the franchise didn’t deserve him.

 

But he never complained and once the team started to assemble some young, precious talent (including the incendiary Alexander Ovechkin, a lottery jackpot the team earned by being so awful in the aftermath of Jagr’s unceremonious departure; a very large blessing in disguise that saved the team money and made them bad enough to land that coveted pick: the rest is history unfolding before our eyes), he was a mentor and a role model.

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Kolzig, for all his heroics on the ice, has (and will) arguably make a more significant mark off it. Anyone who has even a passing interest in hockey is well aware that Olie has been a steady and dedicated advocate in the fight to cure autism. In fact, he co-founded Athletes Against Autism to promote awareness and raise funds for research (Kolzig’s son has autism, which initially drew him to the cause). His impact was indelible and he is one of those rare athletes who actually makes a difference. It’s easy to imagine him taking on an even more active role now that he’ll have some well-earned time on his hands. (I could also envision him as a very effective commentator should the networks come calling.)

It was probably inevitable, and definitely unfortunate, but Kolzig did not end his career in D.C. and the end was not pretty (it seldom is). Pushed aside, understandably, because his replacement could not lose during that incredible stretch run leading into the 2008 playoffs, Kolzig bristled. This was a tough one for true fans. Hockey is such a streaky sport, and goaltenders ride streaks like no other position in any sport (baseball pitchers cannot pitch in consecutive games; football games are weeks apart, and basketball players can be on fire one night and ice cold the next and it won’t necessarily derail the team’s chances): in hockey, if you have a hot goalie you can win. If you don’t, you will lose. So nobody could deny that Olaf watching from the bench was unfair, but it was unfair in the way that life is unfair; it was business, not personal. Nevertheless, the proverbial writing was on the wall: the team was getting younger and faster, and Kolzig, after holding down the fort for more than a decade, was not long for this town. He left in a cloud of acrimony, more likely because of his pride and competitive juices. Still, the team could have handled it better, and Caps fanatics held out hope that when the time came they would do the right thing.

The time has come. Without hesitation, ask Kolzig to retire as a Capital and raise that jersey to the rafters. Kolzig is not only unquestionably worthy of this honor, it’s literally the least this franchise (and city) can do for him. He is, without any possible exception –including the beloved Rod Langway– the most important player in Capitals history. Period, end of discussion. He was a local treasure for years and for the majority of those games near the end he was the only reason to watch the team. In some regards, his stewardship and integrity helped pave the path for success the team seems set to skate on for quite some time. Bring him into the fold, welcome him home, and give him the public honor he so richly deserves.

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Isn’t Being Irreplaceable The Whole Point?

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This weekend I had the chance to hang out with some good friends, some of whom I used to work with (the happy occasion was a party following the baptism of my buddy Tom’s daughter). It had been several months since I’d seen some of these folks, and I noticed a trend that has accompanied similar circumstances: after asking how I was coping with life without my best friend, they wondered if I was in the market for a new pup. It is a question I’ve been asked more than a few times, and I try my best not to recite what has become an almost reflexive (and robotic) response. But in the interest of truth, I invariably provide a reply along these lines: “I am definitely a dog person and I can’t imagine never having a dog again. But…”

And it’s that but that illustrates where I am right now. It’s pretty much where I’ve been since February. And April. And July. The but precedes the following sentiment: I’m not even close to thinking about another dog at this point. Indeed, the loss still feels fresh, almost unbearably so at times. In fact, in some ways (at times inexplicable, at other times obvious) it is harder as more time passes between today and the last day of Leroy Brown’s life. It’s not just that I don’t want to get over the loss –whatever that actually entails– but that I know I never will, and the most useful attitude going forward will be to reconcile that understanding with an appropriate sense of perspective. Put more simply: I remain grateful that I had such a great companion and am humbled that I had the opportunity to share time with him for just under ten years. Also, there is no doubt in my mind that if or when another pup came into the picture, I would love him without reservation. That’s what dog people do. So perhaps it’s at least in part due to this acknowledgment that I am simply not ready, yet. And I’m cool with that. And, if it happens that I never do live with another dog, that is cool, too. For now I’m content to mourn the loss but celebrate the memories. If and when the right time comes, I’m quite certain that I’ll know it, and act accordingly. Just like I did in April 1999.

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These pictures came to me from my good friends Beth and Jim, who were with me when I picked up LB (we called him Meatball that first day, while I waited for the right name to come, an epiphany that still amazes me, considering how perfect a name Leroy Brown is for a brown schnauzer). They were in the regular rotation for dog-sitting duties, and Leroi (or Le Roi) enjoyed hanging out with his cousins Otis and Quinzy, pictured below. To accompany this series of photos, I thought about “dog songs” as well as famous tributes. Are there any good “dog songs”? If so, how could they possibly avoid being mawkish or sentimental (as I’m painfully aware this particular blog post is edging dangerously close to becoming)? As always, it is a safe bet to turn to Charles Mingus. His masterful tribute to Lester Young, “Goodbye Pork Pie Hat” (from the immortal Mingus Ah Um, discussed here) could not, in my mind, be a more respectful and meaningful composition to invoke for these purposes. And so, each picture is accompanied by a different version, beginning with the original.

 

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Mingus, Live in the ’70s:

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The incredible John McLaughlin:

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Guitar god Jeff Beck’s homage:

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The Things We Don’t Carry

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Chris Hedges knows more than you do.

So it is his prerogative to be pissed off. He’s seen the things many of us have not seen (indeed, have not even heard about because it would require being in the places he has been since our mostly craven media certainly isn’t providing anything approximating an unfiltered account). It is sometimes painful to read his work because he is so obviously aware of what he is talking about, and he is so utterly vindicated by the courage of his convictions. The uninitiated are encouraged (and the ignorant are admonished) to pick up a copy of War Is A Force That Gives Us Meaning (excerpt here). Little is likely to change, but the war against war is a battle that can only be won one victory at a time, and each person who becomes awake and enlightened counts as a victory. The only people who can speak truthfully about war are the people who fight in them and the people who witness them. More on that, shortly.

Hedges contributes a column each week to truthdig and, as I say, his writing is both unsettling and essential. He begins this piece with a righteously indignant J’accuse wherein he takes Obama –and us — in his sights:

The right-wing accusations against Barack Obama are true. He is a socialist, although he practices socialism for corporations. He is squandering the country’s future with deficits that can never be repaid. He has retained and even bolstered our surveillance state to spy on Americans. He is forcing us to buy into a health care system that will enrich corporations and expand the abuse of our for-profit medical care. He will not stanch unemployment. He will not end our wars. He will not rebuild the nation. He is a tool of the corporate state.

The right wing is not wrong. It is not the problem. We are the problem. If we do not tap into the justifiable anger sweeping across the nation, if we do not militantly push back against corporate fraud and imperial wars that we cannot win or afford, the political vacuum we have created will be filled with right-wing lunatics and proto-fascists. The goons will inherit power not because they are astute, but because we are weak and inept.

He then elaborates one of the dirtiest and most despicable open secrets in American soceity: how we handle veterans of our wars. I feel obliged to quote extensively because there is little I could say that is as persuasive, intelligent and disturbing as what he so cogently lays out.

The Afghanistan and Iraq wars have unloaded hundreds of thousands of combat troops, suffering from post-traumatic stress disorder or major depression, back into society. According to a joint Veterans Affairs Department-University of San Francisco study published in July, 418,000 of the roughly 1.9 million service members who have fought in or supported the wars suffer from PTSD. As of August 2008, the latest data available, about a quarter-million military veterans were imprisoned on any given day—about 9.4 percent of the total daily imprisoned population, according to the National GAINS Center Forum on Combat Veterans, Trauma and the Justice System. There are 223,000 veterans in jail or prison cells on an average day, and an unknown number among the 4 million Americans on probation. They don’t have much to look forward to upon release. And if any of these incarcerated vets do not have PTSD when they are arrested, our corrections system will probably rectify the deficiency. Throw in the cocktail of unemployment, powerlessness, depression, alienation, anger, alcohol and drugs and you create thousands, if not tens of thousands, who will seek out violence the way an addict seeks out a bag of heroin.

War and conflict have marked most of my adult life. I know what prolonged exposure to industrial slaughter does to you. I know what it is to confront memories, buried deep within the subconscious, which jerk you awake at night, your heart racing and your body covered in sweat. I know what it is like to lie, unable to sleep, your heart pounding, trying to remember what it was that caused such terror. I know how it feels to be overcome by the vivid images of violence that make you wonder if the dream or the darkness around you is real. I know what it feels like to stumble through the day carrying a shock and horror, an awful cement-like despair, which you cannot shed. And I know how after a few nights like this you are left numb and exhausted, unable to connect with anyone around you, even those you love the most. I know how you drink or medicate yourself into a coma so you do not have to remember your dreams. And I know that great divide that opens between you and the rest of the world, especially the civilian world, which cannot imagine your pain and your hatred. I know how easily this hatred is directed toward those in that world.

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Those who cannot cope, even by using Zoloft or Paxil, blow their brains out with drugs, alcohol or a gun. More Vietnam veterans died from suicide in the years after the war than during the conflict itself. But it would be a mistake to blame this on Vietnam. War does this to you. It destroys part of you. You live maimed. If you are not able to live maimed, you check out.

But what happens in a society where everything conspires to check you out even when you make the herculean effort to integrate into the world of malls, celebrity gossip and too many brands of cereal on a supermarket shelf? What happens when the corporate state says that you can die in its wars but at home you are human refuse, that there is no job, no way to pay your medical bills or your mortgage, no hope? Then you retreat into your private hell of rage, terror and alienation. You do not return from the world of war…There is a yawning indifference at home about what is happening in Iraq and Afghanistan. The hollow language of heroism and glory, used by the war makers and often aped by those in the media, allows the nation to feel good about war, about “service.” But it is also a way of muzzling the voices that attempt to tell us the truth about war. And when these men and women do find the moral courage to speak, they often find that many fellow Americans turn away in disgust or attack them for shattering the myth. The myth of war is too enjoyable, and too profitable, to be punctured by reality. And so these veterans nurse their fantasies of power. They begin to hate those who sent them as much as they hate those they fought. Some cannot distinguish one from the other.

It is we who are guilty, guilty for sending these young men and women to wars that did not have to be fought. It is we who are guilty for turning away from the truth of war to wallow in a self-aggrandizing myth, guilty because we create and decorate killers and when they come home maimed and broken we discard them. It is we who are guilty for failing to defy a Democratic Party that since 1994 has betrayed the working class by destroying our manufacturing base, slashing funds to assist the poor and cravenly doing the bidding of corporations. It is we who are guilty for refusing to mass on Washington and demand single-payer, not-for-profit health care for all Americans. It is we who are guilty for supporting Democrats while they funnel billions in taxpayer dollars to sustain speculative Wall Street interests. The rage of the confused and angry right-wing marchers, the ones fired up by trash-talking talk show hosts, the ones liberals belittle and maybe even laugh at, should be our rage. And if it is not our rage soon, if we continue to humiliate and debase ourselves by begging Obama to be Obama, we will see our open society dismantled not because of the shrewdness of the far right, but because of our moral cowardice.

Veteran

I’ve waded into these waters a handful of times over the past year, offering my thoughts here, here and here. Mostly, I’m content to pass the proverbial mic to those who know, and get out of the way. Tim O’Brien has spent most of his life reflecting on his time spent in Vietnam. Miraculously, he has been able to grapple with the demons and despair and somehow managed to turn his pain into profoundly beautiful fiction. Fiction that, in a phrase he is fond of repeating, is truer than truth. I consider The Things They Carried to be one of the five best books written by an American in the second half of the 20th Century. Let me put it this way: it is impossible for me to take anyone seriously who wishes to speak about war (and veterans, and the homeless) if they are not at least acquainted with the work of Chris Hedges and Tim O’Brien (not to mention Senator Jim Webb, who wrote one of the enduring masterpieces of the Vietnam experience, Fields of Fire). It’s true that some of the better fiction writers are able to imagine other realities and some successfully write about things with which they are not intimately aware. That said, no one who has not been to war could write The Things They Carried. And even most people who have been to war could never compose something as shattering as the short, deceptively simple “How To Tell A True War Story”. Here is an excerpt:

We crossed that river and marched west into the mountains. On the third day, my friend Curt Lemon stepped on a boobytrapped artillery round. He was playing catch with Rat Kiley, laughing, and then he was dead. The trees were thick; it took nearly an hour to cut an LZ for the dustoff.

Later, higher in the mountains, we came across a baby VC water buffalo. What it was doing there I don’t know – no farms, no paddies – but we chased it down and, got a rope around it and led it along to a deserted village where we set up for the night. After supper Rat Kiley went over and stroked its nose.

He opened up a can of C rations, pork and beans, but the baby buffalo wasn’t interested.

Rat shrugged.

He stepped back and shot it through the right front knee.

The animal did not make a sound. It went down hard, then got up again, and Rat took careful aim and shot off an ear. He shot it in the hindquarters and in the little hump at its back. He shot it twice in the flanks. It wasn’t to kill; it was to hurt. He put the rifle muzzle up against the mouth and shot the mouth away. Nobody said much. The whole platoon stood there watching, feeling all kinds of things, but there wasn’t a great deal of pity for the baby water buffalo. Curt Lemon was dead. Rat Kiley had lost his best friend in the world. Later in the week Rat would write a long personal letter to the guy’s sister, who would not write back, but for now, it was simply a question of pain. He shot off the tail. He shot away -chunks of meat below the ribs. All around us there was the smell of smoke and filth and greenery, and the evening was humid and very hot. Rat went to automatic. He shot randomly, almost casually, quick little spurts in the belly. Then he reloaded, squatted down, and shot it in the left front knee. Again the animal fell hard and tried to get up, but this time it couldn’t quite make it. It wobbled and went down sideways. Rat shot it in the nose. He bent forward and whispered something, as if talking to a pet, then he shot it in the throat. All the while the baby water buffalo was silent, or almost silent, just a little bubbling sound where the nose had been. It lay very still. Nothing moved except the eyes, which were enormous, the pupils shiny black and dumb.

Rat Kiley was crying. He tried to say something, but them cradled his rifle and went off by himself.

The rest of us stood in a ragged circle around the baby buffalo. For a long time no one spoke. We had witnessed something essential, something brand new and profound, a piece of the world so startling there was not yet a word for it.

This is a story that is truer than the truth. If we hope to see change we can believe in, more of us start need to believing –and confronting– the types of truths witnesses like Hedges and O’Brien are describing.

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Mary Travers, R.I.P.

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From today’s NYT:

Mary Travers, whose ringing, earnest vocals with the folk trio Peter, Paul and Mary made songs like “Blowin’ in the Wind,” “If I Had a Hammer” and “Where Have All the Flowers Gone?” enduring anthems of the 1960s protest movement, died on Wednesday at Danbury Hospital in Connecticut. She was 72 and lived in Redding, Conn.

Their sound may have been commercial and safe, but early on their politics were somewhat risky for a group courting a mass audience. Like Mr. Yarrow and Mr. Stookey, Ms. Travers was outspoken in her support for the civil-rights and antiwar movements, in sharp contrast to clean-cut folk groups like the Kingston Trio, which avoided making political statements.

Peter, Paul and Mary went on to perform at the 1963 March on Washington and joined the voting-rights marches from Selma to Montgomery, Ala., in 1965.

Over the years they performed frequently at political rallies and demonstrations in the United States and abroad. After the group disbanded, in 1970, Ms. Travers continued to perform at political events around the world as she pursued a solo career.

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In Praise of Patrick Swayze, Our All-American Alpha Male

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That’s our man.

And by our, I mean men.

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The rest of you can have this guy.

And by you, I mean women.

The wonderful thing is, it’s the same dude. That is the unprecedented, impossibly perfect Tao of Patrick Swayze. He had something for everyone, and while there are a handful of superstars who have straddled the line between man’s man and preening peacock for the ladies, usually the actor in question becomes tougher, or gentler, as he ages. Swayze could incorporate both extremes at the same time, starring in two of the penultimate chick flicks and, quite possibly, the mother of all male bonding films, all in a three year window. Guys watch — and cherish — trash like Point Break and Road House because they are hilarious, and Swayze is both alpha male and court jester, rolled into one.

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In the rumble, on the ice or during the cold war apocalypse, this was the bro you wanted to have your back.

Remember The Outsiders? (For the full effect, you had to be target audience age when it first came out, which means you were over ten and under twenty). Nobody knew who Patrick Swayze was, then, so that experience is alien to a younger person watching a younger Swayze, now. You could not have shoehorned more pretty young things onto that screen: Dillon, Cruise, Estevez, Lowe, Macchio and C. Thomas Howell (the only one requiring a full name since no one heard from him again, unless you are one of the five people who saw Soul Man) and –for the boys– Diane Lane. That was a lot of Gen X eye candy. And then there was this brawny, unknown badass. He was, obviously, the leader of the brat pack; indeed, he was the only one in that group who looked like he actually could (and did) throw down if the situation required it. He was, in short, intimidating. He was perfectly cast, although he did seem old enough (even as the “older” brother) to strain credulity. He was also, arguably, the only star on that crowded billing not set to explode into immediate stardom. In fact, it would take Swayze, already 30 years old, another four years to become the man.

Everyone remembers how that happened. In the film that shall remain nameless, Swayze made his sweetheart swoon and took half of America with him. He had arrived, and from then on out nobody could put Swayze in the corner. Maybe it’s a guy thing, but the movies he starred in alongside Jennifer Grey and Demi Moore are unspeakable. They are sentimental, melodramatic schlock from the fetid heart of Hollywood. In other words, these commercial grand slams were just what the evil doctor ordered. Two things few men will ever understand (or profit from arguing about): Oprah, and those two movies. But Swayze was easily forgiven. After all, he had saved us from the Russians (or at least softened them up for Rocky IV), and helped the Greasers stomp the rich kids. He also dropped the gloves alongside Rob Lowe in what turned out, unbelievably, to be only the third most homoerotic flick in his oeuvre. With little left to prove, he dedicated himself to the dangerous task of making wonderfully awful films.

He would redeem himself, not only in the subsequent Point Break (clocking in at number two on the homoerichter scale), but in the masterwork that men are genetically incapable of turning off while channel surfing. I am referring, quite obviously, to Road House.

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Every man has seen this movie and any man who hasn’t is not a man, so that about covers it. I won’t insult its integrity by trying to analyze anything, I’ll just savor some of the moments that make it so…seminal:

Doc: Do you always carry your medical records around with you?

Dalton: Saves time.

Dalton: I want you to be nice until it’s time to not be nice.

Doc: How’s a guy like you end up a bouncer?

Dalton: Just lucky I guess.

Wesley: Somebody get a drink around here?*  (*see below)

(Everyone): I thought you’d be bigger!

Dalton: Pain don’t hurt.

Jimmy: I used to fuck guys like you in prison.

(Repeat: I. Used. To. Fuck. Guys. Like. You. In. Prison.)

He was, for a while there, our contemporary sacred clown. But more than that, he was real. As in: it only bolstered his appeal (and considerable street cred) when you realized he did his own stunts, married (and remained married) to his childhood sweetheart and, by any account, was a genuinely good person. One must remain wary about separating art from the artist for all the obvious reasons, but there are the occasional exceptions where the illusion is an extension of the actual.

It was refreshing to hear his family report that he passed away peacefully. Of course he did. It’s the least the world could do for him. Besides, death don’t hurt.

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September 15, 1963

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On Sept. 15, 1963, four black girls were killed when a bomb went off during Sunday services at a Baptist church in Birmingham, Alabama, in the deadliest act of the civil rights era. (NYT)

Inspired by the disgraceful 16th Street Baptist Church bombing in 1963, Coltrane said of his elegy: “It represents, musically, something that I saw down there translated into music from inside me.” It is one of Coltrane’s enduring and devastating performances. Recorded with the “classic quartet” (McCoy Tyner on piano, Elvin Jones on drums, Jimmy Garrison on bass), Coltrane, already considered one of jazz music’s most emotional and sensitive players, managed to articulate the grief and the rage the occasion called for. A deeply spiritual man, Coltrane also conveyed the immutable senselessness of violence instigated by ignorance, but also, miraculously, managed to hint at the redemption of peaceful power through unified awareness. If Mingus’s “Haitian Fight Song” in part predicted the turmoil around the corner, “Alabama” was directly inspired by an actual event that demanded an outraged reaction. As only he could, Coltrane crafted a solo that is angry, somber, and somehow hopeful; a subdued epitaph for the innocent dead, but also a rallying cry for the not-so-innocent bystanders who needed to join the cause. The Alabama bombing was a tipping point in the civil rights movement, and Coltrane captured that moment where confusion and rage inspired an outpouring of solidarity.

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