Wednesday, November 11, 2009

dulce et decorum est pro patria mori


Today is Memorial Day, or Armistice Day as it was originally called, to observe the armistice that ended the unprecedented carnage of the First World War.

Unprecedented as it was, and though it was thought to be the "War to end all war" at the time, it proved to be only the prelude to an even larger and more lethal convulsion 20 years later.

In our own time we don't have such enormous conflagrations. Instead we are faced with never-ending, meaningless, and pointless wars which have no objectives and no purpose, or at least none that can be clearly articulated. These are the product not of human agency, but of a war machine which lurches mindlessly toward an ever-receding horizon while sucking up men, money, and material and grinding out corpses, blood, and suffering.

These faraway conflicts sometimes seem unreal, as if they were nothing more than television productions. But they certainly are real to those who suffer and die in them.

I've chosen to mark this Memorial Day by re-reading the best-known poem of Wilfred Owen, an English combatant in World War I who was killed in combat during the war's final days. The Latin title and final lines translate approximately as, "It is proper and fitting to die for one's country."


Bent double, like old beggars under sacks,
Knock-kneed, coughing like hags, we cursed through sludge,
Till on the haunting flares we turned our backs
And towards our distant rest began to trudge.
Men marched asleep. Many had lost their boots
But limped on, blood-shod. All went lame; all blind;
Drunk with fatigue; deaf even to the hoots
Of tired, outstripped Five-Nines that dropped behind.

Gas! Gas! Quick, boys!–An ecstasy of fumbling,
Fitting the clumsy helmets just in time;
But someone still was yelling out and stumbling
And flound'ring like a man in fire or lime...
Dim, through the misty panes and thick green light,
As under a green sea, I saw him drowning.

In all my dreams, before my helpless sight,
He plunges at me, guttering, choking, drowning.

If in some smothering dreams you too could pace
Behind the wagon that we flung him in,
And watch the white eyes writhing in his face,
His hanging face, like a devil's sick of sin;
If you could hear, at every jolt, the blood
Come gargling from the froth-corrupted lungs,
Obscene as cancer, bitter as the cud
Of vile, incurable sores on innocent tongues,–
My friend, you would not tell with such high zest
To children ardent for some desperate glory,
The old Lie: Dulce et decorum est
Pro patria mori.

Pen and ink drawaing, "Fit for Active Service" by George Grosz, German, 1918.

Tuesday, November 10, 2009

teevee


Madison Avenue's latest greatest thing ever is a new TV series called "V," which is about...actually, I don't really know what it's about because I haven't seen it. However, here's part of the review of the first episode from the New York Pile.

Like Obama, Anna (the "fictional" nation's leader and the protagonist) offers an exciting mixture of the new (she's not a white male; how bad could she be?), the young (her hipster minions promote the new era of hope, with a nod to Shepard Fairey, by tagging the streets with spraypainted "V" logos) and the post-patriotically groovy.

"We don't divide ourselves into countries. We're one united people," Anna says of her civilization. Of his, the self-described "citizen of the world" Obama has said, "I believe in American exceptionalism, just as I suspect that the Brits believe in British exceptionalism and the Greeks believe in Greek exceptionalism."


So the reviewer, Kyle Smith, concludes that this is all a satire on Obama, Obamamania, and Obamaism. I'd say he's about right, from the sound of it; bottom-line message -- "liberals" are "weird," silly, and sinister. Put 'em in power and they become a dangerous bunch of self-righteous little dictators.

In his final graph, Smith says, to conservatives, this is the perfect cigar to savor after a sumptuous meal -- because it says that no matter who is nominally in charge, snaky, disingenuous liberalism is the ever-lurking villain.

OK, good review, but mine's better. Here's mine:

If it's on television, it sucks.

By definition.

There are a few things on TV that don't suck, but if they don't have their own web site (e.g., like Bill Moyers' Journal does) you have to go through the tortures of sucky medialand to get them.

This is a culture of death, and the cyclops in the living room is its primary delivery vehicle. It's an indoctrination machine through which the forces of evil, unbeknowst to the victims, nightly give most everyone in the country a sedative-induced prefrontal lobotomy.

However, it's a temporary lobotomy, and has to be renewed on a daily basis. And that means there IS hope for recovery.

I know this sounds a little like Howard Beale, but I want you to go home tonight and unplug your televisions. Then open a window and throw them out. Your life will begin to improve immediately, provided you haven't had such a massive dose that you're already permanently totally lobotomized.

Then while you're at it, since you've already got the window open, stick your head out and yell at the top of your lungs, "I'm mad as hell, and I'm not going to take it any more."

P.S. -- I forgot to add, if it's on TV and on any cable news channel, it double sucks and also blows large mucousy chunks.

Monday, November 09, 2009

Reality and Perception


Please see Omnem Movere Lapidem for today's posting.

Friday, November 06, 2009

masterpiece

Thursday, November 05, 2009

teabaggers triumph in new york's 23rd district


Bill Owens is the first Democrat to win NY-23 since the first term of Ulysses S. Grant. I looked it up.

But it was a great triumph for the Jefferson Davis Cell of the Glenn Beck Brigade of the conservative wing of the Red-White-and-Blue branch of the Republican Party. For a candidate they apparently were forced to call on the kid who always ate lunch by himself, and also lost the district for the first time since Reconstruction, but at least in doing so they stuck their finger in Newt Gingrich's eye and sent a message to any other ideologically impure, unorthodox infidels who pissed them off this week.

Wednesday, November 04, 2009

political viagra


The lead commentary piece by Louis Menand in this week's New Yorker (Nov. 2) is about the White House's recent little kerfluffle with Fox News. From it I learned that Fox has the oldest demographic in the cable news business (half of its viewers are over 63), and that the majority of viewers for the big-shrill Fox offerings such as Beck, Hannity, and Bill-O, are men.

Menand also gets into the importance of niche marketing in today's news business. Watching the programming that comes sandwiched in between the commercials for denture adhesive, Centrum Silver, and topical hemorrhoid remedies you get a pretty good idea of the exact nature of the niche Fox has carved out for itself -- the delusional one-quarter.

It also gives me a better idea of why I generally don't get along with people my own age, particularly men. No wonder. Fox News is where all those pot-bellied old farts go to get their daily anti-Obama erection. Of course, it's not the real Obama they hate; that one's a timid, vacillating, unprincipled and somewhat ignorant opportunist who so far has been almost completely ineffective in his discharge of his duties. Rather, the Obama they hate is the one who lives inside their heads, a tyrranical and corrupt Marxist dictator who plans to install universal government-run health care in YOUR community, then set up death panels to kill us senior citizens so the government doesn't have to pay for our care.

I think about these things, and I wonder how it feels to be such a freak.

I keep telling these guys on the rare occasions I talk to them that it's not Obama and the Democrats they need to worry about, it's people like me. Of course, they have no clue what that means, which is probably just as well.

Now, today on Fox they're probably (I'm speculating here 'cause I don't have TV), probably gloating about the two big victories last night, one where a state involved in the recent rebellion reverted to Republicanism, and the other where an overweight drunk driver beat a corrupt and widely unpopular Democratic hack. But the more important race was the Republican loss in NY-23 where teabagger-anointed Doug Hoffman had shouldered out the GOP establishment candidate in order to run and lose. What's important about it is that it's the wave of the future The teabaggers are planning primary challenges against more than a dozen establishment GOP regulars next year. So that already-weak party is splitting in two.

But even with that, they've got not much to fear from their old enemy the Democrats, who are splitting into fragments themselves. Between the Blue Dogs and so-called moderates is a motley collection of party hacks, corporate whores, and slick operators like Emmanuel and Steny Hoyer, led by an ineffectual and inexperienced amateur who at this point seems paralyzed with fright.

There's a new party coming. It's gathering like the lava dome that formed in the St. Helen's crater 30 years ago. It's coming just like the Republican Party showed up on cue, right before the Civil War. And it's going to be fueled by the continued criminal behavior in the financial sector, who committed the frauds currently causing millions to be out of work and hundreds of thousands to lose their homes. Also it will be in response to the endless war which lurches on without purpose, demanded of us by the war state. And people are going to rise up and say, "No more of this." Look to the progressive wing of the Democratic Party to produce the seed of the new party. That's the party the Fox newsies need to worry about.

Tuesday, November 03, 2009

sincerity


By now everyone knows the story of how rock 'n' roll grabbed the spotlight away from the pabulum-like "product" that passed for popular music during the fifties, eventually putting a merciful end to it altogether. What's less talked about is the fact that at the same time rock 'n' roll was capturing the hearts of teenagers and scandalizing adults all over the country, the modern form of country-western music was also taking shape, and providing another from-the-heart, sincerely felt and honestly-delivered alternative to the plastic nonsense cluttering the airwaves and television variety shows of the period.

The most celebrated of these early C&W pioneers, of course, is Hank Williams, who retains the aura of stardom in the public imagination even today, as much because of his romantic and tragic self-destruction at age 29 as for his musical contribution. In his short life Williams fathered an extensive repertoire of memorable songs, but for my money the best country-western tune of the era was performed by Ray Price and his band, the Cherokee Cowboys. This was a high-powered group of the mid-to-late fifties and very early sixties that at one time or another included Roger Miller, Willie Nelson, and Johnny Paycheck.

The Cowboys released Crazy Arms in 1956 and it went straight to the top of the country charts. To my ear, it seems the perfect country-western song: it's short, simple, direct, straight from the heart, and very cleanly executed. The instrumental accompaniment (pedal steel guitar, fiddle, and piano) is spare but inspired, and the tune is given its driving force by the incredibly tight two-part harmony on the chorus. I don't know who the second voice belongs to, but it sounds like Roger Miller to me.

Price later moved on from his roots, and by 1970 with the release of his biggest hit, For the Good Times, had transformed himself into a lounge act with country origins. And like rock 'n' roll, country-western has pretty much passed from the current scene, leaving a residue of Las-Vegasfied Nashville acts that might best be described as rock 'n' roll for old people. The golden age of the genre was early on, and featured such outstanding performers as Williams, Price, and Patsy Cline, with Willie Nelson presiding over the later manifestation of the form.

It's time for country to take its rightful place alongside rock 'n' roll as an expression of artistic democracy. And lest we forget, there were performers in that long-ago time who incorporated elements of both forms, "rockabillies" such as Jerry Lee Lewis and Buddy Holly. Together, rock and country were embraced by a public which, however willing to swallow junk politics it may be, was unwilling to accept the dreadful and odious cacaphony of ugly sounds Madison Avenue tried to palm off on them as music. The American public may not know much, but it knows what it likes.