Culture

Temporarily stranded in the last warehouse of my closed business, itself scoured almost clean save a few odds and ends and the massive teak bed I lusted after for so long, since 2002, bought in 2010, enjoyed…well, I don’t know that I enjoyed it quite, as I spent too many uninterrupted months in 2012 laying there looking at the mountainous terrain of sheets, and the violent tropical foliage visible above my half-shuttered windows, and the pink Christmas tree with its tin-winged angel, left up too long, and the local 1960s vanity with the mirrors all découpaged with photos from abandoned HDB flats and pictures from old HK movie magazines–filled to overflowing as always with unguents and near identical shades of fuchsia YSL lipsticks, and jewelry, and my grandmother’s monogrammed silver-topped powder container in cut crystal, from her girlhood in sober 30s font with the initials of Miss Henrietta Drewry Callaway. But the bed was lovely, minimalist with tapered uprights, with a rail for a mosquito net, and it was mildly unfortunate that when we moved from a big house to a condo that it would not fit. I am going to sell it at Expat Auction. In any case, I was sitting on the screed floor of the double-height space, one wall of windows shining, and so I wrote this blog post long-hand with my new favorite pencil the Palomino Blackwing 602. “Half the pressure, twice the speed!” It says that on the side. It may simply be a 3B with an, replaceable eraser. It will take longer to see. We only got them last week. John thinks I should scan it and post the scan, which has a certain justness, as I do have excellent handwriting, but I think it would be precious.

So, I promised you a response to Freddie deBoer’s response to Jonathan Chait’s anti-P.C. cry in the wilderness of having an extraordinary platform to write whatever you want. Why did I not do this immediately? Both my children have been ill since then, and I had Japanese homework, and I have a new art project which I will tell you about later [I am making my own tarot deck as I have dreamed of since childhood, but with Great-Aunt Nora Cloud’s (well, Violet Bramble’s, I suppose, really) Least Trumps from Little, Big.] And I am very sick and you should all feel super-guilty. No, OK really, also I am bone-lazy and a fundamentally unserious person as has been established.
[click to continue…]

I have all these songs cued up and stuff I wanted to say about The Dazz Band (it’s literally disco jazz! What is not to love?!), but then I listened to this track five times in a row today, and I thought, ‘Belle, old bean,’ I thought to myself, ‘why are you being so aintry with “Love Come Down” and bogarting this when you could be sharing it with everybody at Crooked Timber? Why?’ Readers, there is no good answer to this question, so here is Evelyn Champagne King. The first time I listened to this song about a month ago I thought I had a problem with the tinkling synth descent that opens the song and runs behind “ooh you make my love” in the chorus. Then I listened to it again. Then, I listened to it a few more times. Then I realized I loved those tinkling synth chords.

You might think I could be sharing this with one John Holbo, but there is a huge area of non-overlap in the Venn diagram of our musical tastes, and this falls right out there in the “Patrice Rushen, huh? Meh” area of John’s non-overlapping section. I can’t share it with my children because they don’t super go for this either, although, being young, they have frequently widening tastes. I introduced our older daughter to Sufjan Stevens the other day and she likes him a lot; our younger daughter objected after the first 30 seconds of listening to a purely instrumental section, “this is too sad.” I was like, “there’s a happy part here for a bit! Oh, God, no.” What is unquestionably one of the saddest songs ever recorded comes next. Violet: “is she dying? I told you it was sad! Turn it off!” OK, fine. The one verse in that song that truly pains me is “In the morning in the winter shade/ On the first of March, on the holiday/ I thought I saw you breathing.”

My brother and I were with my grandmother when she died, my father’s mother. He had finally gone upstairs to sleep, at two or three a.m., I convinced him. He had been up for so long, at the hospital, and then fighting to get her back home. My brother and I were just sitting in the room with her, with the TV on, talking, and I was holding her hand, and suddenly we fell silent and my brother said, “look.” It seemed as if she were dead, but the fan in the room was strong enough that her thin cotton nightgown was still fluttering on her chest, tiny sine waves I hoped were breaths. I had ordered ten of those nightgowns custom-sewn for her three years before she died. She only had a few she liked: all cotton, and opened all down the front and closed with snaps. But she had gotten so much thinner they gaped at the neck in too-deep a curve, and she was cold, and got chills that gave her back-spasms. I took one to a dress-maker in Savannah to have it reproduced and she sniffily told me to go to Sears, and I told her I had tried everywhere. I asked how much fabric she would need for each and I went and bought cotton by the yard, white with thin blue stripes, tiny pink polka dots, pale blue squares. And lace. The lady at the dress store didn’t even want to do it, she told me it’d cost more that $100 a gown for the work. I said my grandmother was a proud woman and this was all the clothes she was ever going to have for the rest of her life, and they should be just how she wanted, and they should take the damn money and make them. They weren’t done till after I left town and my dad was mad at me for spending too much money at my grandma’s (N.B. he was, separately, quite right, just not here); I found out later he was appalled by the cost also and had cut back on the nightgowns from ten to eight. I don’t know when I have been so mad in my life. So seeing the cotton tremble I told my brother he was wrong, and we sat in the stillness for a while longer before I really tried to check properly, because I wanted not to know just even for a few seconds more. Now Sufjan Stevens has probed a vein of sadness beneath the sheer pleasure of sharing “Love Comes Down” with all of you, but I invite you to enjoy it in a spirit of good cheer anyway. I think we would all be happy to die at 83, at home in our beds, taking liquid morphine, and with our family around us. Love does not, in fact, conquer all, but surely it snatches a kind of victory from the jaws of inevitable defeat.

When Zoë was maybe 10 and old enough to start randomly looking at things on the internet without much supervision other than Google SafeSearch (well, such a thing was likely to occur; I’m not sure she was old enough per se) I had a little talk with her. And Violet, but Violet wasn’t paying attention. I re-had the talk with Violet later. It went like this: don’t ever go to 4chan, OK? OK. Also, there are weirdos on the internet who are grownups but want to have sex with children. Her: “Whaaaaa–??@? I thought people had sex so that–” Ya, I know. Just, roll with me. They pretend to be other kids so they can talk to kids. So don’t talk to weirdos who ask you a lot of personal questions, and don’t ever tell anyone on the internet where you live, and later when you have photos and an email and attachments don’t send them to anyone. But also if somehow something weird happens and you get scared of someone or feel like something is wrong you should always tell me, and I’ll never be mad at you even if you didn’t do 100% “the right thing,” and it’s never too late to say something is making you scared or feel weird, like, there’s not a crucial window that goes by and then if you miss it you can never speak up because it’s your fault now, because you didn’t say anything before. Also, don’t go to 4chan. Shit, don’t even go to reddit. I’m not saying this because it’s cool and fun, it’s just gross. [Dear CT reader who frequents a perfectly nice and informative knitting sub-reddit that isn’t even sexist at all: them’s the breaks.]

I oke-bray the ules-ray by getting Zoë an FB account for Xmas one year that–her age being the number after ten–was not one of the approved years. It was her top request on her list to Santa. (And free!) I made myself a page administrator, set the privacy settings myself, and said she couldn’t put pictures of herself up. I couldn’t issue a blanket “no anything-chan” rule because of course zerochan.net has all the best pictures in the world. For several years she has obsessively searched for and downloaded both official and (moreso) fan art, and then uploaded it again into massive albums on her FB page. There’s over 5K images on there!
[click to continue…]

So, I was reading The Carolina Low-Country, published in 1931, which is a multi-author description of the physical beauty and lost culture of chivalric uh whatever of the Low Country, with a large section of Negro Spirituals in Gullah. (In practice this means they look as if they were written in old-timesy ‘let’s make fun of black people’s accents’ speak, but since no one knew the IPA and it is a real creole I’m inclined to let it slide.) Naturally its opening contribution is by a Ravenel, Charleston’s most prominent family. One of my father’s favorite stories is of the two drunk men walking along the river in Charleston: one sways and falls, clutching at the other, and they both go into the river, at which point one of them shouts “save me, for I am a Ravenel!” Since this is a True Tale of the Old South it’s almost certainly actually true; that’s just how these things work. If it included more, less probable elements it would be likelier. Like if he was bit by an alligator near Colleton or something. In any case, I came upon this gem (it has been previously established that “most important, and most purely African, is the negro’s highly developed sense of rhythm”):

To say that the spiritual is entirely or exclusively the work of the negro, or that it is “purely African in origin” is absurd. To its development, the negro brought certain highly essential qualities. Other factors necessary for the development of the spiritual he found on this side of the water. The blending and developing required infinite leisure. [emphasis mine] And this he had, for his many and varied tasks required of him in the main purely physical labor. He could, at all times, apply himself to singing while he worked.

I was ready to chuckle over the frontispiece and the second Ravenel and the two Pinckneys on the eleven-author list (one of my brothers best schoolfriends, and our next-but-three neighbor in S.C. is a Thomas Pinckney) when I looked a leeetle more closely and saw #5: Thomas R. Waring. Well, at least I’m not a white person who pretends I never personally benefited from slavery! Below, the salt-water marsh of the May River in Bluffton, which opens up to the sea behind Hilton Head Island. They never could grow anything on that. That’s just a place to hunt deer and ducks on the hammocks, and fish, and shrimp, and get oysters and crabs. I say “just” but it’s so beautiful back in there. One place across from us we call “the Lost World,” because the brackish water gets even less salt as it forms a lagoon next to black-water swamp, and the water is clear but dark like strong tea, and every bald cypress and palmetto and pine and little water oak has tattered festoons of spanish moss gray hanging down, and everything doubled in the still mirror of brown-black water. Cicadas are the only noise, making it alternately deafening and loudly silent. I saw the biggest water moccasin in the world back there one time, crazing the black mirror with S-curves. Leisurely, like. Not the rice-planting kind, the other kind.

I can remember back when I was just a wee sleekit lass that read the Economist… OK maybe I was also a bit daft, but I got better when I realized it was, in the words of a recent Gawker article, a news aggregator magazine for people who want to pretend their seat in Economy Plus is a chair by the roaring fire in a manor house. Anyway, they always used to talk about Scottish Devolution and I thought it couldn’t possibly ever amount to anything very serious. But now it seems as if maybe really power will devolve to its utmost, since there’s going to be a vote on independence and everything, and the polls are tight. Scottish readers, are ye voting aye or nay? Subjects of HRH* generally, are Scottish subjects going to keep on keeping on being subjects of HRH, or what? Might she have to give back that big castle she’s apparently so fond of? Who gets the, um, nukes? Enlighten me with an open thread about how Scots maun live in the future.

*Commenters In The Sky and ZM have pointed out that the Queen is HM and only lesser royals mere Highnesses.

Now that Francis Spufford has shown up to do the work of knowing things about the subject, which is what open threads are for (i.e. making the readers do the work) I am hoisting his discussion with SF author Ken McLeod against Scottish Independence up here so that you may watch it more easily. John and I only watched the very very beginning, in which it was explained that Francies Spufford has a very posh accent (which he has come by in an honest, middle-class fashion) and that Lanark is important in some way, which has led us to extrapolate that perhaps giant crabs will come up through cracks in the ground if the two nations are divided, an outcome we naturally deplore. When it is not 10:22 at night and roughly two hours after I took the meds that are supposed to be, welp, going to bed for sure now, so it won’t hurt to take these topamax is very…what now? I will listen more fully and contribute intelligently to the debate. Possibly. Though I have my second Japanese lesson tomorrow! I had to learn katakana and hiragana in a week, that was sort of my own fault though. My brain is oozing knowledge at night in a way peculiar to language-acquisition. Like when I was cold at night and thought I had to curl up in the pages of the big Liddell to stay warm (insufficient heating in SF + Greek MA exams.) Thanks Francis!

So, a new DJ Earworm mashup. This one was getting a lot of bitching in comments, but I like it a lot. Partly it’s because many were complaining that the inclusion of “Happy” made it bad, and I really like the song “Happy.” Partly because it’s “only” five songs. This is funny to me because I have been listening to mashups/bootlegs for a long time, and for many years there were always only two songs, and that was often even the titling: Song A vs Song B, or Artist A vs Artist B. One of the best mashups ever is dsico’s “Love Will Freak Us” (Get Your Freak On vs Love Will Tear Us Apart) (Missy Eliot vs Joy Division obvs.).

Another early classic is Freelance Hellraiser’s “The Strokes vs Christina Aguilera ‘A Stroke of Genie-us.'” I am entirely certain that the popularity of this bootleg made Christina Aguilera’s people write/produce songs for her differently. Really, her music was no question influenced by how good this sounded. (Now you’re going to tell me that there’s still Christina Aguilera in there, so “good” in that previous sentence is not being employed properly but…OK. Don’t like it. It was ground-breaking, though. I think it came out in 2002.

I feel obliged to warn you that this video contains scenes of…well, unrelieved priapism? There is no reason that a man crashing through the successive stories of a normal Asian apartment building, and convincing his neighbors to join him in mimicry of unsatisfied sexual behavior should be more sexual or more salacious than girls shaking their almost-naked asses at you and performing sexual congress with the wall of Jason Derulo’s dressing room or whatever, but somehow it is. Zoë says it’s more disturbing “because they look like real people.” This is right; we expect impossible plastic beauties from around the world to shake their money-makers right into the camera. An ordinary Chinese dude in sweatpants dry-humping an old TV is…more sexual? This can’t be right, but it’s right? Anyway, NSFW in some illogical way that is fully clothed and has no one touching anyone. This combines with the ordinary people in the video for “Happy” in a humorous way.

Next time: is Iggy Azalea a drag queen? Is this a kind of reverse blackface where you take the rhymes you want from a woman MC from South Florida and then repackage them in a model-perfect white blonde?

I like this song (“Tous les Mêmes” [corrected, thanks Ezster!]) and video by Belgian musician Stromae. I hope you will also.

I am distracted from his alternate blue-green-male/magenta-female personalities by the fabulous furniture in their apartment. Probably my job has gotten to me too much if my immediate thought is “I want that wall-mounted storage unit!” rather than “this reminds me of when I wondered where they got all those implausibly tall, thin dudes to dance on Soul Train, and whether it was just because cocaine is one helluva drug, or what–no, here’s Stromae!” (I grant there’s a hidden premise.) Tertiary May Day thought inspired by outdoor dance scene: I always read that students were throwing cobblestones, and then I ever saw any and thought, “that must have took a damn bit of effort to get up out the ground.” Also I stepped on Eszter’s post. Sorry!

Tyler Cowen on inequality and the arts.

>Piketty fears the stasis and sluggishness of the rentier, but what might appear to be static blocks of wealth have done a great deal to boost dynamic productivity. Piketty’s own book was published by the Belknap Press imprint of Harvard University Press, which received its initial funding in the form of a 1949 bequest from Waldron Phoenix Belknap, Jr., an architect and art historian who inherited a good deal of money from his father, a vice president of Bankers Trust. (The imprint’s funds were later supplemented by a grant from Belknap’s mother.) And consider Piketty’s native France, where the scores of artists who relied on bequests or family support to further their careers included painters such as Corot, Delacroix, Courbet, Manet, Degas, Cézanne, Monet, and Toulouse-Lautrec and writers such as Baudelaire, Flaubert, Verlaine, and Proust, among others.

> Notice, too, how many of those names hail from the nineteenth century. Piketty is sympathetically attached to a relatively low capital-to-income ratio. But the nineteenth century, with its high capital-to-income ratios, was in fact one of the most dynamic periods of European history. Stocks of wealth stimulated invention by liberating creators from the immediate demands of the marketplace and allowing them to explore their fancies, enriching generations to come.

Corey has [argued](http://coreyrobin.com/2014/04/22/tyler-cowen-is-one-of-nietzsches-marginal-children/) that this passage displays a Nietzsche-meets-Hayek logic under which the idle rich serve (and should serve) as cultural taste-setters for the rest of us. Tyler would very likely disagree. But if he were to disagree, I think he’d have to state why it is better for culture that only the independently wealthy and their intimate dependents enjoy this kind of liberty. Cue [George Scialabba](http://thebaffler.com/blog/2014/04/the_real_and_the_ideal), in a recent post on the history of _Partisan Review._

>There’s a reason why a lot of modern culture was produced by people living on a shoestring, from the New York intellectuals to all those poets and painters starving in their fabled garrets. It’s time-consuming to do something original; it requires bad manners, or at least a lack of automatic deference for received wisdom; and it helps to have an abundance of low-paid but undemanding jobs around–mailman, night watchman, librarian, clerical worker–that one can drift in and out of, as well as a few cheap urban neighborhoods where like-minded artistic riff-raff can congregate. (Russell Jacoby’s description, in The Last Intellectuals, of the ecology of the freelance intellectual has never been bettered.)

>This scruffy, relaxed, undisciplined lifestyle–which rested on a political economy of full employment, free education, generous public services (including, let’s not forget, a fully funded postal service not handicapped by the current huge giveaway of practically free service to the credit-card industry), decent urban mass transit, and public subsidies for culture–is just what a business-dominated society makes it increasingly difficult to achieve, or even aspire to. Globalization, tight money, slashed government budgets, the destruction of unions: the result of all these and the rest of the corporate agenda is pervasive insecurity.

If you want to argue that Piketty (and other critics of inequality) fail to appreciate how inequality fosters the “dynamic productivity” of culture, you really need to show how culture is more dynamic under high inequality than it is under conditions of low inequality. Otherwise, your argument is beside the point (if all that you’re saying is that high inequality has some cultural payoffs while admitting that low inequality has greater payoffs, your criticism is probably not worth articulating in the first place). More precisely, you want to show that confining cultural production to a small minority of independently wealthy individuals (or those who can be supported by wealthy families or patrons) is better than allowing a larger, and much more heterogenous group of people the necessary freedom “from the immediate demands of the marketplace” to produce art and culture. Otherwise, your argument for the cultural benefits of high inequality undermines itself. If freedom from the marketplace is a good thing for culture, then, as per George’s discussion, it surely should be spread around among a wider variety of people.

Congratulations to Harry on his new US citizenship! Perhaps English people rock the whole YOLO thing a little more like this:

Soultrain.com sort of alleges itself to have the HD video, but I can’t find it there. In any case, this is a great song, killer outfits (I want all those! All I own is the pants of the dude with the hat. Hm. OK, her pants, but I don’t like them on me.) and Don Cornelius is rocking…just…is that tie 6 full inches wide? It is, right? Right on.

Wishing you peace, love, and soul, gentle readers.

Today something wonderful happened to me. I was thinking yesterday, “Bruno Mars has got an incredible voice. There are so many pop stars that can’t sing for shit, and their voice isn’t just using Auto-Tune as a crutch, nnn hnnn no it is not, their voice isn’t even the sort of thing that has legs at all, most likely, and their manager probably just set it in an Auto-Tune wheelchair and got panicked and pushed throw pillows up all around. And then? Then it sings “Roar,” and may the Good Lord keep us [do not click on that link. I was morally obligated to provide it in the interests of completeness]. Bruno Mars can legit sing. And he’s a talented guitarist. And he’s pretty as hell–where are all the so, so many Bruno Mars songs that I love?” Now, “Locked Out of Heaven” is a really good song. It references the early 80s turn towards well-Policed reggae in a way I really like. Many pop bands did a reggae thing during that period that [here Belle draws shape of ‘square’ in air with forefinger of each hand] was often too rightthere on all ‘eff oh you are’ beats, ironically lacked any freedom to move, and was one of many musical equations asymptotically approaching the x-axis of the Sisters of Mercy. The drum machine in the Sisters of Mercy was named Doktor Avalanche, and he was an actually important person in the band.
[click to continue…]

Salon magazine reports another instance of CP Snow’s observation that all ancient traditions date from the second half of the 19th century. This time, it’s the Tooth Fairy. As you would expect, the Tooth Fairy turns out to be a codification and modification of a bunch of older local practices, many involving a mouse or rat.

This seemed like a good time to rerun one of my posts that stirred up plenty of trouble at the time, making the point that we are “now living in a society that’s far more tradition-bound than that of the 19th Century, and in some respects more so than at any time since at least the Middle Ages”.

I’ll just add that CP Snow was writing in the 1950s, pretty much equidistant between the late 19th century and the present day, strengthening my observation that the “invention of tradition” is now something of a traditional concept (though the phrase itself, due to Hobsbawm and Ranger, is a mere 30 years old).
[click to continue…]

As I am certain every one of you knows, the extraordinarily talented actor Philip Seymour Hoffman died recently of a heroin overdose in New York City. In what is a very heart-wrenching aspect of the story, he had been clean and sober for over 20 years before relapsing onto prescription painkillers and booze a few months back (people say.) He had been going to 12-Step meetings even close to the time of his death, and he’s leaving three young children behind. A total bummer.

What’s weird is that the police decided to go on a manhunt for the specific people who sold the drugs he OD’ed on, and then arrest those people in particular. Why? People must die of heroin overdoses in NYC all the time, right? More than one a day, surely. Does it matter especially much if a famous person OD’s on your drugs? As opposed to, say, a struggling single mother, or a homeless person? They first tested his body to see if the heroin had been laced with fentanyl, a pharmaceutical heroin analog, which has caused deaths in nearby Pennsylvania. It hadn’t. He had just gotten good old regular drugs, from his dealer, who did him a solid there. The internet briefly hyperventilated about how there were 50 bags of heroin found in his apartment. This also seemed stupid. He’s rich and famous–he’s supposed to walk out in the freezing cold to Avenue C every single day? The man can’t stock up? Isn’t there a polar vortex or something?
[click to continue…]

You know the game I mean. As per Chris Brooke, I look forward to your Iroquois Confederacy joke.