Saturday, November 13, 2010

Romans in Sturdy Denim


Marketing is mostly bunkum. Politics is mostly marketing, at least during an election season. And if you are interested in the invisible substrate of our collective assumptions--many of which we individually doubt--then nearly everything is political. So how is it that even if we don't see the world the way that we are told Joe the Plumber sees it, we still feel limited in some way by what Joe will supposedly swallow? Fictitious weathervanes of public opinion. Was it ever thus? At any rate, advertising, mythologizing, self-narration, romancing, bullying, pep-talking, vogueing, bunkum--these are sister muses. Especially in an age as persuaded by the rhetoric of images as our own.

V recently commented on my feeling located vis a vis all this American stuff. And the troof of course is that I'm no more located than him. We have equal rights to America, and similar scruples about the ethics of authenticy, about the misappropriation of images by marketers. And maybe a similar body memory of the sting when we're reminded that we might be wearing plaid or whatever, we might be out in the same heat working for the same shit wage, but we're still college boys. I spent a summer in California heat moving scrap metal and used car batteries that had accumulated for years in the inferno of the narrow alley between two corrogated metal warehouses. Coming in overheated and with my clothes coming to pieces from the battery acid, and the old guys who worked there year around just laughed at me, never allowed me the honor of being one of them, even insofar as I was doing a job even they weren't willing to do because I had to have the money. And I suppose even so I wasn't one of them. But why, exactly?

Their suspicion is not without cause, of course. Think of the "Tea Party" "movement" with its familiar Reagan era rhetoric of an evangelical Christian national founding and a monolithic set of "American values". This is a fantasy of the American past. Americans have always been deeply divided; the Union was always tenuous; our present sea to shining sea thing would have been unthinkable to anyone at the Constitutional Convention. If you don't believe me, o Koch brothers, read the handsome two volume Library of America record of the proceedings. Interesting and scary stuff.

And the Tea Partiers are not alone in their more or less deliberate revisions of the past. Both sides do it. We all do it. "Revisionism", though,--and the quotation marks are buzzing like flies, here, as they always do around this fecund poop--is just one way of slinging it. How about "reinvention"? How about "self-interested reinvention"? How about "interested but historically responsible reinvention as one important mode of problem solving"? How about that?

Levi's and L.L. Bean have both recently taken an interest in their own past. And in the case of Levi's in particular, their past has real significance as an image of what is worth repeating in the American past. This despite a history of exploiting other peoples' ideas and labor and distorting their own history in various ways. Levi's hired an in-house historian, Lynn Downey, in 1989, and the brand has wheeled out variations on old designs, some of them very good, and made their archives available to the public. The fact remains that you can buy two pairs of sturdy denim jeans, which Levi's actually does make, and they will, with reasonable care, get you through several years of multi-purpose use. The popularity of such practical clothing, and the fact that in the West at any rate, you can wear them most places without being discourteous to your hosts, says something good--to my mind, anyway--about one aspect of our national values. It's a strange brand of populism that is so fearful about manipulations of the market by "socialism" but shows no interest in manipulations of the market by corporations. It is also perhaps a strange brand of populism that characterizes the poor as subject to a kind of hereditary illness, and seems--in its public rhetoric, anyway-- to have a hard time imagining that the poor could share the pleasures of work. Work clothes made of sturdy denim that show the line of the body, allow free movement and are reinforced at stress points with steel rivets? That's not a bad start for a populist platform.

Of course it's marketing for Levi's, and they have no particular scruples about where populism ends and bullshit begins. Their ads are beautiful lifestyle marketing, like so much marketing. But look at this recent ad--short film, really--and this one which uses what is probably a wax cylinder recording of Whitman deliberately reciting four lines of 'America', his voice holding you so close to the four-beat rhythms of the lines that you feel his hairy chest, the cross-tie scratchings of the cylinder clipping through camera frames like a train.

I hate business writing, so bold-face-emphatic and easy-to-summarize, but I recently heard this thing that might actually be true: "A leaders hire A people; B leaders hire C people." So who are you willing to invite into your self-interested reinventions with you? How much of their voice and vision will you let in? Do they get to speak, or will you merely take a couple names in vain? Is this Levis' ad marketing--speech--that dares to enter the room with something truly anarchic and physical? Something like American Eros? To me it is.

Sunday, November 7, 2010

IKNOWYOUHATEMEBABYBUTDON'TBREAKTHENEEDLE


When George W. Bush posited that "thee hater freedoms, thee hater wayalife," my greatest fear was that a bunch of American religious radicals would combine with religious radicals in other parts of the world and that they would collectively take aim at the mid-tempo alt-country rocker, which is the freak flag of guys like me, and is the only vessel fit to enskull the mythy conscience of my race, narrowly defined in the 19th C sense which guys like me know what that means.

The idea as I understand it is this: if a given song could not be discussed in a conference session entitled The Dust Bowl and the Radicalization of the American Folk Ballad: From Dust to Grit or Is the Answer Still "Blowin' in the Wind"?, then the songwriter must keep revising. And if, in mid-discussion no one raises an index finger, pad up, to the dropped conference room ceiling and mentions Springsteen in half-ironic reverence or reverential irony, then keep revising--(note bene: prolly needs cars). And these conferences really are worth something, a lot maybe. When Pete Seeger, who really was pretty fucking courageous, sits all knees and elbows and chin and bangoneck across from Hugh Hefner and has a televised conversation about the history and implications of playing an African instrument at a groovy televised sexual liberation party with bunny ears and cotton tails and Hef is really listening and asking groovy perceptive questions, then something good is happening. This really happened and I suspect it could not, now.

And I like all this stuff, truly, but it smacks of tourism.

(Why is it that we need to keep coming back to poverty in order to say anything smart about democracy. I think we do.)

But so. A couplethree weeks ago I went on a whim to see a local(-based) band called J. Roddy Walston and the Business. I'd heard a couple songs on the radio and I liked. Reminded me of a sort of cross between early Cheap Trick and Dr. Professor Longhair. Boogie-woogie piano and mic-assaulting caterwauling a la Aerosmith or James Brown or Bon Scott. And I'd been listening to and writing (Gawd hep me), yes, mid-tempo alt-country rockers for so long. In fact I graduated to them from G-major artmurmur poetgurgles that I wroted in the dry well of my soul. I do my best, really I do. But I'm really not sure that the message of rock and roll is :be here now", John Lennon having made the ultimate sacrifice notwithstanding.

This is a little bit interesting: the opening act was this guy who looked really good in blue jeans and wrote mid-tempo alt-country rockers and who it was real easy to tell rode his wallet in his front pocket and made a big point of being intimate good friends with the next opener, Shooter Jennings. Now Shooter Jennings is the more photocerebral--and somewhat shrunk as if abandoned in the parking lot of a Sunglass Hut in a steady drizzle--son of Waylon Jennings. And he wroted an album demanding that the O be returned to "country" and has pursued this whole plan of wearing country duds but more beat up (cf. 'poverty, fake') and being photographed in psychedelic colored lighting from arty angles. But his latest plan involves a concept album co-written and dramatically narrated by Bangor, Maine's own Stephen King about the last era-closing broadcast of an independent rock and roll radio station before the Total Take-Over of a Rock and Roll Hating (because duh) Totalitarian Regime that curiously resembles Abercrombie & Fitch except without those louver blinds. So Shooter strapped on one of them Madonna mics (even less plausible in a tiny club in Baltimore) and straddled a little crotch-level keyboard with also a guitar dangling from him and counseled us rockingly to abjure our conformist ways. He had one of those guitar players with girl-long hair who can't be fucking serious but who maybe is. And the thing is, Shooter just screamed and kept screaming, hitting some serious notes with complete and desperate conviction. And the guitar player just shredded scales and doubled big notes with power chords until I sort of stopped smiling and began to think, fuck, these boys mean it. They're goofy but that's not the issue.

And this has gotten so long because I don't even know what to say about J Roddy Walston and the Business. It was they who were the second opener. But what they really opened. Was my heart. (I mean it.) J Roddy swung his dirtyblonde ringlets at his (actual upright) piano and pounded and pounded and screamed out the sum total of all Anglo-African horror and longing, and spattered us with the cumulative effluvia and sifted gold of all patient river deltas. It was just blues and only rock and roll but Professor Longhair was there with magnolia breath, and I saw Jerry Lee Lewis with his half-kidnapped brides, Blind Willie Johnson testifying in oil-skid feathers like a pigeon, Dylan or maybe Jehovah in a prayer shawl of lightbulbs and hubcaps. And when I walked out ears ringing as if the room still hung ringing around me, there were thunderheads blowing in, and the storm smelled like rust and like honeysuckle and like the sea, and it descended in black tatters over the harbor and Fort McHenry until the last of summer broke in sheets of rain.

Io Sono L'Amore Orange Preoccupation Pumpkin Pie



Zest of one orange in the crust
2 cups squashed up roasted pumpkin
1 1/2 cups of half & half
4 oblong chicken eggs
1/8 t each of allspice, nutmeg, clove & cayenne
(N
ota bene: as you add the cayenne, briefly imagine one daughter saying that she just likes pumpkin pie regular, and another daughter asking why do things have to get different, and then put in)
1 t of ground ginger.
Then in the whipped cream: ground fresh ginger, crystalized ginger cut up real small, the zest of another orange, powdered shug, and a passing afterthought of vanilla. (Things are getting less precise by this point.)

Serve with Belgian ale or a squinch of whiskey or do what you think best.

Saturday, November 6, 2010

Enemies and Friends, Updates

Enemies
Deer
The Internet
God

Former Enemies Now Listed as Friends
Tobacco
Romance Novels
My Penis

Friday, November 5, 2010

Io Sono L'Amore


I am confused and a little embarrassed by the responses to "Io Sono L'Amore". Even the people who praise this movie are embarrassed by it. The Manchester Guardian is careful to slobber on Tilda Swinton's Wellies before tut-tutting without eye contact through another 9 paragraphs. Even Manohla Dargis from the NY Times, whom one would think could get this sort of film because she's really hot, is careful to mention that she's familiar with the whole art-film-as-bodice-ripper thing, and that if she wept a bit it was just that damn gorgeous but literate molar twanging away. Ah, yes--the senses. We took a class in those at Fillintheblankfordbridge.

Even Anthony Lane, who seems almost unembarrassable, begins by separating himself from those who may have just wholeheartedly loved it. First line of his review: "The best sex you will get all year, if that’s what you crave in your moviegoing, is between Tilda Swinton and a prawn." Funny, sort of, but also through-away for someone like Lane, and mostly useful as a kind of Purell for sincerity.

Part of what all this makes me wonder is. Well, first of all it makes me wonder if I'm an emptyheaded goof. And it's partly the frequency with which that question comes up that leads to my other, also perennial, question: Is a certain sort of sensual knowingness actually an innoculation against the senses? Because in my experience if you open yourself to the senses they will fuck you up (that lovely mulled wine phrase). We all have our stories, and it's hard to tell them because they are specifically beyond words. They're about how we come to remember that something is beyond words, about how a single full sensory experience can mobilize years of thinking.

"Io Sono L'Amore" is about that. It's also about the growing and preparation and eating of food, about various shades of saturated orange, about the way that gorgeous interiors come to have the appearance of a real world and ensnare us, and about the difference between bodies when they are owned and bodies when they are royal. It gives itself to certain excesses. But I think what embarrasses people is that the camera lingers on the textures of things in the way that the senses actually linger. Before we drag them back to the task "at hand". So many tasks never so much as civilly greet the hand. (I love that cloth also has "hand".)

And but love. It is a pagan eye that ranges from the grasshopper on a tendril to the spires of the Duomo di Milano, and finds oranges and reds everywhere--Swinton's hair, upholstery fabric, flecks of light on skin and on clay, spices and fruits--everywhere shades of orange. And when Swinton makes her final appearance, or disappearance, pumpkin orange and a gold that seems to trap light spread from the saffron wool rug that marks her sudden absence to illuminate the memory of everything you've seen for the last two hours. Please see this.