The Most Hilarious Political Mailer

newsom.jpg“REPUBLICANS: PROTECT THIS CITY!” next to a smug, airbrushed photo of Gavin Newsom. Man, with a neck-to-neck mayoral race, it’s good to see printed hysteria (for once) from the other side.

[3/22/04 UPDATE: Newsom was elected mayor and has united liberals with his civil disobedience tactics on the same-sex marriage front. During this time, I demonized him without apology. Not a particularly original way of existing, but an altogether common one. This simplistic cave-in to emotional impulse is what happens when one gets caught up in political fervor. November, and election time in general, is the ultimate way for the mind to degenerate. We throw in the towel with the guy who can get elected and, months later, we demonize the victor, completely forgetting that we elected him. Now that I’m nearing 30, I’m beginning to understand why you shouldn’t trust anybody over that threshold. U.S. politics has become more Machiavellian and deceitful than anyone could have possibly predicted two centuries ago.]

[8/8/2005 UPDATE: And now that I’m over 30, I’m realizing how preposterous this last update reads. Strangely enough, politics has become something intermittent. Often I will avoid it for months, only to be dragged back into it against my will upon reading some horrifying development. Of course, I’m also a lot happier now too.]

Four-Square

There’s a moment in Margaret Atwood’s The Blind Assassin, when the narrator refers to radio as “the four-square beat of heartbreak.” The metaphor’s apt to the character describing it, seeing as how, early in life, she’s experienced a monstrous marriage at a young age. Innocence and pathos, in situ, lost to a scoundrel. The implication is that the emotional shrapnel is buried far beneath the flesh, the damage so insurmountable that even the simple joys are easily recognizable for their artifices. Happiness can no longer be gained or guaranteed. The world’s workings lie exposed, spewing out like oil leaking from a car. It gets our hands grimy. Best to avoid it.

There’s more being codified here than how love reduces us to giggly, internal histrionics, and how radio ballads (the genuine ones from Patsy Cline or John Prine or Janis Joplin, not the treacly messages buried beneath horribly sequenced, aural pillaging from Elton John, Phil Collins or Sting) can, in this delicate state, reduce us to tears, or touch some heartbreak permeating beyond our careful fortifications, the protective walls we build over the years. The music , perhaps, reverts us to a childlike flurry. In some way, it involves an inexplicable surrender that helps us cope. Even if the methodology is less than enviable.

For some people, the “four-square beat” may be all they have. Or it might serve as a way to progress forward. Not nearly as nefarious as television, which only serves to stave off loneliness. But is radio harmful? Or cathartic? I think of how the human spirit, even within the most indomitable individuals, is capable of reducing itself to a woeful, spongy morass. A good thing, because it allows us to feel, helping us grope against the slime, climb out of the cesspool, knocking upon our own portcullis, gaining entry, carefully cataloging our emotions once again, placing the fallen visceral leaves back onto the delicate branches of our all-too-human hearts. A bad thing, because as we’re recollecting, we’re so open to being used, exploited, or damaged by deliberately harmful persons. Or, optimistically speaking, sometimes running unexpectedly into a kind soul, a presence not necessarily there as a crutch, but as a helping hand. I’ve been in this place many times in my life, although I generally keep such reconstructions to myself, for fear of falling prey to the demon with an outstretched hand. It could be paranoid self-preservation, having been burned so many times, and remarkably forgiving towards parties that have wronged me. But I wonder if it’s all as much of a deadly game as Atwood seems to imply. All the same, the process involves trying to understand just why all the veins are twisting, congealing, and then pumping in an entirely new configuration, hopefully representing some improvement over the last one.

Do we play music to help us rebuild? Why do we willingly surrender ourselves to the “soft rock” whims of a DJ spinning his medication from a playlist created and approved by an inchoate corporate entity? Why is there such a positive association between driving solo on a highway and listening to some random tune, whether compiled by DJ or mix tape? The sensation, the notes, the drumbeat, the bass line, the jangly guitars — it all burrows its way into our ears, trancing our inner determination or feeding a flight. But is this a constructive game? Or something intended for a six year old’s recess period?

I realize the voice that posited this metaphor is bitter. But, despite my chronic skepticism, I could never ever become this bitter. If coping’s a game to be avoided, if a lowbrow avenue that momentarily assists us is declasse, if one cannot stoop beneath from time to time (if it helps) and must remain in permanent isolation from the joys of life, then what’s the point of existence?

Too Illegit to Quit?

marty.jpgPopMatters reviews Martin Amis’s Yellow Dog and berates Tibor Fischer for jumping the embargo. Meanwhile, Edward Guthmann interviews Amis in the San Francisco Chronicle, scoring a silly Keith Richards photographic homage and utterly strange description: “His voice is deep and rich, seasoned by a lifetime of smoking — imagine Ronald Colman or Jeremy Irons, only rougher. His mouth, often compared to Mick Jagger’s, is full and voluptuous and, even in repose, suggests an incipient snarl.”

The New York Times offers their Notable Books of 2003 list. (user: dr_mabuse, pw: mabuse)

Record label Murder, Inc. shall henceforth be known as “the Inc.” I haven’t seen anything this silly and squeaky-clean hit the hip-hop world since M.C. Hammer shortened his name to “Hammer” — an eleventh-hour career move to appear edgier.

Dark Shadows AOL IM Icons: Granted, this 1960s soap opera, now available on DVD, is an inexplicable form of crack cocaine, despite pillaging every known story in the classical horor canon. But who knew that people would get this obsessive?

And it appears that those sharp minds at the National Institute of Standards and Technology have decided to ask the dead for help in their September 11 investigations. What next? Enlisting an Ouija board for first-hand testimony? (via MeFi)

[3/16/14 UPDATE: As I fix the linkrot, there are a few surprises. The Dark Shadows buddy icons page isn’t a dead link! When this blog post appeared, people communicated through instant messaging. Twitter, Facebook, and smartphones didn’t yet exist. Back in San Francisco, I was acquainted with quite a number of tech innovators who have since become millionaires (and have forgotten me). But I remember encouraging many of them by IM. Today, any avatar you upload will be automatically resized. But in 2004, you had to resize it yourself using Photoshop or Paint Shop Pro. Deirdre Day-MacLeod’s Yellow Dog review has been removed from PopMatters. But I’ve found it and added a link to Fischer’s review. I’m also pleased to report that Ms. Day-MacLeod lives online here. The LiveJournal entry that I linked to is password protected through Web Archive, and I cannot find the original Metafilter thread. The Martin Amis photo is by Katy Raddatz.]

Of Demagogues and Political Photo Ops

My memory is often hopeless beyond compare, but there are things I remember. Important things. Things that come back in the most unexpected of ways. Back in June 1994, I had the misfortune of listening regularly to Rush Limbaugh on the radio. I was working in a Sacramento copy shop, one of several jobs I was working to save up cash for my move to San Francisco that fall. The jobs had me working anywhere from 60-80 hours a week. I was a scrawny underfed kid, nineteen, just on the cusp of twenty, inexperienced. Despite my ability to type 100 wpm, I couldn’t seem to land so much as a lucrative data entry job. But I somehow talked my way into this morning copy shop job through a temp agency. (Some of my other jobs included doing filing for an insurance company, telemarketing funds for the Sacramento Symphony, working as a movie usher, working as a short-order cook — the job I probably liked the best and took the most pride in — and toiling at a Target snack bar. The latter was the worst job I have ever had. At Target, after you had spent the entire day immersed in grease, often without breaks, after cleaning the fryers and unleashing the remainder of your strength scrubbing the grill, they would literally lock you in the store and force you to restock before you could leave, which meant unpaid overtime and sometimes ten hours recorded as eight. And people wonder why I don’t shop at Target or Wal-Mart. But I digress.)

normandy.jpegThe shop was owned by a quiet, portly and agreeable man with thinning sandy hair, egg-shaped spectacles working wonders accentuating his two thin horizontal slats into an owl-like visage, and a bristling moustache. He was a friendly guy, fond of chatting with the post-teen, pre-college transfer hired help. He outsourced desperate young plebeians like me for low wages to perform mind-numbing tasks that he wouldn’t dare perform himself: in my case, collating thousands of high school newspapers and bland user documentation put out by fledgling startups.

Like many small business owners, he had a radio to get him through the day. On this radio, I was inducted into the world of Rush Limbaugh first-hand.

Limbaugh boomed and blustered like the strange charm of William Shatner gone horribly wrong. There was an element of McCarthyism in his voice. And there was no way to escape his DSM-IV cadences, even with the radio turned down. Perhaps because politicians had softened their voices for the tricky subtleties of television, Limbaugh compensated for radio by regurgitating the flamboyance of Winston Churchill and W.C. Fields. He talked as if he needed complete command of the entire AM radio bandwidth. So in performing my mundane job, concentration was of paramount consideration.

I tried to zone out by delving into the paperwork like a savant, thinking of things I was reading. Raskolnikov’s guilt or the exploits of the Pickwick Society, eagerly awaiting return to those pastures, magical places I had little time to wander through. But this was difficult, because I’d hear the word “liberal” every other minute, inscribed with the same hatred given to words like “cunt” or “nigger” or “motherfucker.” As far as I could tell, I was one of those “people,” even though my politics were rudimentary at best. (In my high school politics class, I was one of only two students to defend the right to burn the flag. The other person ended up as my brother-in-law. Go figure.)

One day, I had come in to the copy shop extremely tired. I had worked about sixteen hours the previous day, managing only about three hours of sleep. (My girlfriend at the time, whom I almost never saw, was exceptionally forgiving of my crabbiness.) Limbaugh came on. And I could no longer keep up the sanguine face, or control my sighs and dismay. The copy shop owner saw this, but was surprisingly forgiving. I confessed I wasn’t exactly a Dittohead, but I did ask him why he liked Limbaugh. He replied that he thought that Limbaugh was funny. Funny? Perhaps. Funny, if introducing terms like “Feminazi” was funny (although admittedly warranted in the cases of extremists like Valerie Solanas, whose legitimate points were undermined by the same hatred extant within the Moral Majority). Funny, if declaring anything even remotely left as Bolshevist was funny (on paper or in relaxed environs, yes; but with blathering audio while performing a mindless task, decidedly not).

Funny, yes. But with humor occluded by the dreariest of labor, possibly a bona-fide authority after years of a small business owner working long and hard for nothing.

clintoncairn.jpgBut one day, Limbaugh eventually revealed his colors. On June 6, 1994, Clinton was in Europe to recognize the 50th anniversary of Normandy. And like any President, he staged the predictable photo ops. Clinton gave a speech. He walked lone along the beach of Normandy, preparing a cairn. Hardly surprising. All politicians are forced to embrace artificiality at some point. It’s only the most gifted politician who can make every moment feel natural.

And it’s hardly the kind of thing that someone would use as backup material for the shameful liberal cabal. But that didn’t stop Limbaugh. He tore into Clinton as if the photo-op was the very embodiment of evil. He declared it an insult to the men who lost their lives. Clinton should be ashamed of himself. And why hadn’t “the mainstream media” picked up on this? To this very day, it is one of Limbaugh’s textbook examples of Clinton’s “phoniness,” ironically enough, standing comparatively against Bush’s honest and sterling nature.

It was then that I knew that Limbaugh was unquestionably an irrational chowderhead let loose on the airwaves.

bushthanks.jpgWhich makes the recent Washington Post news that Bush ‘s Baghdad turkey was decorative all the more hilarious.

Ask yourself what is more artificial: (1) Standing in an admittedly staged position placing a stone upon a cairn, but with the process itself actually standing for some genuine expression of loss or (2) bringing a turkey to Baghdad, posing with reporters with it, but without anyone going to the trouble to eat the turkey! Shouldn’t Limbaugh be drawing upon the same duplicity here?

Personally, I’d rather see a President stumble a bit through a photo op than fall flat on his ass playing 52 Pickup with the flimsiest deck of cards in Washington.

[3/16/14 UPDATE: In addition to some corrected spelling errors, I was forced to update the links. An original version of this post directed to Valerie Solanas’s SCUM Manifesto, as hosted at an MIT page run by Olin Shivers (dead original link). I haven’t looked at this little essay in ten years, but, today, I work much harder for a lot less, although I enjoy all the work. If anything, the terrible labor conditions that I experienced at Target have become much worse in American life. In the late 1990s, it was still possible to accrue any number of part-time jobs. But a visit to any drugstore or a grocery store now reveals an overextended staff working around many closed registers. Who knew that retail conditions would deteriorate further? I wonder whatever happened to the guy who ran the copy shop. I was far too hard on him. He was very kind to give a job to a cocky young loudmouth. One thing I didn’t mention in this piece was my stint at Rally’s, a burger joint in Sacramento that stood on the southeastern corner of Madison and Manzanita — now long gone — where I worked my way up to cashier. At the time, and this was when I was in high school, a few customers compared my theatrical delivery through the speaker system to Rush Limbaugh. Limbaugh was really peaking at the time. I had never listened to Limbaugh for an extended period of time until those weeks in the copy shop. Perhaps there was a part of me that feared turning into him.]

The Towers Are the Players

Original Post As It Appeared (December 4, 2003):

Gollum raps. (via Quiddity)

Addendum (May 21, 2013):

The Flash video I linked to was created by Ned Evett, who has since removed the video from his site. I found the link through the blog Quiddity, which I still follow ten years later. But there’s no trace of her original entries. (She has moved to Typepad.) And I have managed to find the old “Towers Are the Players” rap video on YouTube, but I can’t embed it on this page because the user who uploaded prevented this. Furthermore, even though Evett’s video set the precedence for Gollum rapping videos (and is still quite funny), the then groundbreaking visuals are primitive-looking by 2013 standards. And the popularity of Evett’s video has been superseded by a Gollum vs. Smeagol Rap Battle video uploaded on December 30, 2012 and that became quite popular on YouTube (to the tune of 1.6 million views). Nobody has thought to go back to the original Ned Evett video, which is somewhat irksome. I’ve emailed Ned Evett and asked him if I could interview him about these fascinating issues.

Second Addendum (June 19, 2013):

Ned Evett kindly answered my email.

“I’m currently overhauling my YouTube channel to include almost ten years’s worth of video content I’ve let go unmanaged online,” writes Evett. He hopes that the Gollum rap video will be included in this overhaul.

He hasn’t thought to update the video: partly due to time and not having the right idea.

“I tried to strike again but just couldn’t get a funny enough video going.”

Evett has since shifted his filmmaking energies to a series of Roadbot Videos, which ended when Evett directed this video for Joe Satriani in 2008.

He hasn’t had time to work on additional videos because he ended up touring the world with Satch with his band Triple Double. Evett also recorded an album called Treehouse in 2011, produced by Adrian Belew.

He says that he’s working on another Joe Satriani video and an original animated series.

Third Addendum (September 6, 2013):

Ned Evett’s latest animation has just been released. It’s a music video for Joe Satriani’s “Lies and Truths”: