The ethical dilemma of Amazon links, not one faced by B2TW thus far, where we’ve probably raised enough money to cover one dinner at a middlingly expensive restaurant (wine not included).
“The reason why the Stuff White People Like humor genre has so many holes in it is because the vast majority of the things lampooned are not white-specific, they’re creature comforts of the middle class. But the lines between race and class are getting blurrier and blurrier by the day, and there are quite a few people of color being born into comfortable financial situations who will likely never know what it’s like to be poor. Thus, memes like White Person Bingo end up portraying a common theme in popular culture: class stereotyping poorly and tastelessly masquerading as race stereotyping.” Martin Douglas, killing it, and recalling another essay about indie rock, race, and class.
It’s great that the new season of Girls has started, but they only show once a week. To fill the empty days in between, I am watching the two independent web series (Delusional Downtown Divas and Tight Shots) that Lena Dunham made years ago, clearly teaching herself how to make TV series, rationing episodes like sips of water on a lifeboat. I also really enjoyed her conversation with Miranda July. (If you are annoyed by one or both of them, you won’t, though – it is a very Lena Dunham-and-Miranda July conversation.)
Poetry grudge matches: Michael Robbins somewhat-lovingly trashes Dylan Thomas for lines that are “the kind of thing you’d expect unicorns to write.” However, he adds, at least he’s not as bad as e.e. cummings.
[With a debt of gratitude to Greil Marcus’s Real Life Rock Top 10, the Back to the World team is reviewing 2010 on a free-associative, nerve-impulsive basis. I’ve confined myself to things I haven’t already written about at length on this site this year, and discarded all critical-game rules of rank, comprehensiveness or balance. Another week it might be another 10.]
1. Collective redemptions: Auto-Tune the Meme
Antoine Dodson, singer of the year
I don’t know how long it will last but for now it’s a blessing to live when whatever nonsense goes viral will be remixed with Auto-Tune, usually by the reliably silly Gregory Brothers. What was the sonic signature of high-end rap/R&B (and Asian and Caribbean pop) in the ’00s becomes the crazed sound of the inside-out unconscious of the Internet digesting fetishes in the ’10s. Which comes with a disturbing side, of course: What seems fair game for politicians and newscasters on the Bros.’ great, long-running Auto-Tune the News series, and unimportant when it’s Double Rainbow Guy, becomes more complex when it comes to Antoine Dodson losing his shit about a rapist in the Huntsville projects on a local news report.
Without music, it seemed nauseatingly clear people were mocking the way a gay, black man in a poor neighbourhood of Alabama spoke in a state of distress. But the music, I’d argue, really did transform that into a celebration of Dodson’s flair and sincerity, into a tune so distinctive that it can be played without words by a marching band (at a historically black university, fwiw) and still hit the same sweet divot in the brain pain. And the Dodson family was able to buy a house on the spinoff proceeds, inverting the usual consciencelessness of that Internet unconscious.
Would it be too treacly to say that it’s a reminder of how rhythm, melody and harmony are ancient technologies to mediate alienation and generate human connection? Definitely, but grant me an Xmas pass.
2. Candid-camera delusions of grandeur/grotesquery: Destroyer ft. Loscil, “Grief Point” (Archer on the Beach EP)
Destroyer, Archer on the Beach
Another angle on the music/reality blur zone comes from Dan Bejar: This song is how it would be if songs or albums regularly came with the commentary tracks we’re used to on DVDs of movies and television, presuming that the commentaries were written by self-excoriating poets of course. (There’s precedent in the Dr. Horrible musical’s musical commentary tracks, though to more blatantly comic effect.)
Dan voices notebook entries seemingly written while recording last year’s “Bay of Pigs,” the “ambient-disco” song apparently originally titled “Grief Point” (or “May Day,” or “Christine White”) that reappears as the closing highlight of the upcoming Kaputt album, about which much more in the New Year. The way this track keeps up the links in this three-year chain of significance/striptease is part of the pleasure.
I prefer the denser EP version to the superminimal “Making of Grief Point” that Loscil (Vancouver electronic composer Scott Morgan) released earlier in the year: This one better fulfills and thus escapes what Dan calls “the same old shit. A potential, complete ignorance of ambience, real ambience, in that: Can you really construct it, every last bit of it, and just let the listener feel its effects? And is this the right treatment? Always the same question.”
The paradox of the ambient, which is Loscil’s genre, has percolated since Brian Eno coined it: How to listen to music not designed to be listened to, only heard? This track revisits that issue as the life/art problem (blah blah John Cage blah) etched in blood: Trust Destroyer to come up with a genre one could call Brian Emo.
As Dan considers whether to quit music or to be happy that he hates what he’s recording because “it means I’ve changed,” he flirts with the lines between social-media-panoptical self-indulgence and self-celebritizing and the substantive mental torment inherent to making meaning.
That’s what many of the most vital artists’ work currently does – such as B2TW intimate Sheila Heti’s 2010 novel How Should a Person Be?, which found a surprising champion in The New York Observer this week; but then the Observer, name down, has always been the cultural voyeur’s broadsheet.
Yet Destroyer was in this territory well ahead of the pack – “your backlash was right where I wanted you/ yes, that’s right, I wanted you,” he sang, before having enough recognition to get backlash. And he approaches it with a half-careless swagger but also a wolfish hunger to make the risks count, this fucking time at last at last.
3. Sex is so much more than sex: You Can Have It All, a performance by Mammalian Diving Reflex, Feb. 12-13, Toronto
"The Best Sex I've Ever Had"
Perhaps Ontario, the home of the old-lady sex Yoda, Sue Johanson, may inevitably eventually have generated something like this performance, but we’re lucky to have artist Darren O’Donnell to nudge it along.
Having advertised on telephone poles and bulletin boards for people “over 65 and still thinking about sex,” he gathered an incredible panel of women and men to first workshop and then publicly talk about their erotic lives in intimate, funny and often wrenching detail.
I can’t reproduce the effect here, except to say how exhilarating it was to hear how recent the participants’ greatest sexual experiences (in their opinions) often were. And conversely how intense it is to talk about great sex with someone now dead. … Funeral speeches that never were.
For all their universality it’s also a very local conversation; every community should bring in O’Donnell to root out these words stirring unspoken among them.
But the thing I was left thinking about most was that all the straight men on the panel dropped out before the performances: Was this just a generational blip or does it reveal something deep and hard to uproot about gender, power and vulnerability? (Including O’Donnell’s own power dynamic as a director, though that seems too simple.)
4. Past, unpassed: Richard Harrow (played by Jack Huston) on Boardwalk Empire
The best TV show I watched in 2010 was no doubt the third season of Breaking Bad, but the best thing on TV was this extraordinary character on an otherwise mediocre series.
Sniper-turned-hit-man Richard Harrow is a veteran of World War 1 whose face was so maimed in battle so that he wears a painted tin mask in public – a historically accurate representation inspired by this Smithsonian Magazine article. He befriends one of the central characters, fellow vet Jimmy Darmody (the anemic Michael Pitt), whose mutilation is less visible but similarly soul-obstructing. Together they use their skills to make themselves other-than-disposable to men in power the one way they know: murder at someone else’s command.
Yet Harrow (despite his wince-worthy, typically Boardwalk Empire-showboating name), as image, and in Jack Huston‘s physical and vocal dance (he is the mess of tics we all would be in his place, but never a cartoon), more than even Steve Buscemi’s ever-virtuosic lead, inspires a sympathetic vibration very near love. At one point, to soothe spooked children, he jokingly calls himself the Tin Man (referring to the book, not the yet-unmade film). Huston (grandson of John, nephew of Angelica) earns the parallel.
Boardwalk Empire‘s fatal flaw is its jones to emulate its media-gangster icons, from The Sopranos (on which its creators worked) to The Godfather and the best films of producer Martin Scorsese. But to do something memorable with the dawn-of-Prohibition lawlessness it aimed at, it needed someone more like David Lynch, who could capture the uncapturability of those silent-film years: the way its sensibility is just out of reach of an audience for whom history really begins with the talky mass-cultural connection that’s come to spell “20th century.”
That there was a 20th century before the 20th century is a fact the tapes in our cathode-ray lizard-brain stems don’t readily disclose. (As a music guy, I’m sad their takes on Eddie Cantor and Sophie Tucker don’t gel, though the Hardini-Houdini’s-brother riff had legs.)
Thus the series can’t give us the uncanniness, the unheimlich feeling of meeting Freud’s day on its own terms. Except with Richard Harrow. In his face we get a time before medicine was anything we’d see as fit for the title, when the compromises had other stakes – the spasms that pushed the modern out its birth canal. Upheavals still felt like phantom pains in today’s post-everything pathologies. What a story that could have been.
5. Mantler, Monody
There were days this year I wanted to live in a ditch. I wanted rats to nibble at my shoelaces and beetles to replace the pupils of my eyes. Too often I got right down in that culvert and dug my elbows into the grime and let the parasites feast on my shit, then come back up and spit it in my ears.
If I knew a little better any given Sunday, though, I’d put on Toronto singer-songwriter Mantler‘s record and then the goat-footed balloon man would come laughing, “Have you forgotten the word ‘mudluscious’? What’s wrong, fetish not got your tongue? Displace a little up-up-and-away into me, and wrap your troubles in dreams till they’re helium-drunk and far and wee.”
That most hospitals were never told about this miracle cure is one of the true scandals of 2010. That it had been six years since the last release of the absintheian elixir that Mantler (Chris Cummings) pours generously out of a cauldron full of white suits and colour organs and herbs that taste like bells is the occasion of every party you should have been invited to when some sad bastard forgot your name.
6. Not ready to make nice: Bernie Sanders’ 8-hour semi-filibuster
Bernie Sanders: Mad as hell and he didn't have time to go round and round and round... but did it anyway, dammit
What I don’t really want to talk about, despite how much it weighed through 2010, is how hard it was to keep supporting Barack Obama (if Canadian support counts). Especially after November, when the tax deal, in particular, seemed to squander a vital “lame duck” opportunity to counterbalance the upcoming bullying of liberty, logic and economic justice by the Republican House.
But then there was this bit of performance art in opposition to tax cuts for millionaires at the expense of the vanishing middle class (and not just in America) by the only avowed democratic socialist in federal American politics, and nearly the only mensch (well, along with Barney Frank). It was just what I wanted for Christmas and Hanukah. This shit is the gelt.
Sometimes you speak truth even knowing power is deaf. And abusive. And would rather look good at basketball than take, to revisit a theme, a goddamn risk.
7. Stretching for substance: Taylor Swift, “A careless man’s careful daughter” in “Mine” (Speak Now LP)
From the "Mine" video: I didn't post the rest 'cuz it's awful
This year Taylor Swift fell into a tabloid-tell-all mode that’s warped the naturalism that served her so well, not to mention overmilking the princessy crap. And where her nemesis Kanye at least freaked out creatively about their encounter of the 2009th kind, making it the sub-theme of his fine (if overpraised) new record, she was all too level and dull on the topic, on an album that marks her predictably awkward transition from teen songwriting prodigy to young-adult celebrity.
Notwithstanding, a key line in the record’s lead single has followed me through the months: “You made a rebel of a careless man’s careful daughter.” It may be the most writerly moment in her career, at least in a chorus, with its un-Nashvilley cram of syllables. You can tell how proud she is of it because she puts it in the repeated pivot point of the song. You almost want to come back with the old saw of writing-advice, “Kill your darlings.” But a songwriter in her position might need her darlings in a way a poet or novelist wouldn’t, as a creative love-rival to fame’s blandishments.
In “Mine,” we never hear anything more about the father, but the line tells us enough about who the protagonist is, and who the boyfriend is (his version: “I fell in love with a careless man’s careful daughter”) to double the narrative’s heft.
That reversal of P.O.V. when the boyfriend assuages her fears could seem rote as craftsmanship, but in pop, rote narrative moves that sync up just right are the ones that get you teary-eyed. Hell, it’s not that dissimilar to the move Stephin Merritt makes in one of my favourite songs, “Papa Was a Rodeo” – it just lacks the knowingness about itself as a move.
I’m not sure why it’s so effective at lumping my throat. Maybe it’s that I’m a careful man’s more careless son. I’ll keep mulling the question in 2011. But I hope that in the next few years, Swift stays proud of it and fills more of her songs with lines like it, till they become adult stories. She’s a country songwriter, after all, and she’s got examples like Dolly Parton and Merle Haggard to show that if you hold true to your craft, hang your heart on those pivot points, they can take you anywhere. It’s not about being as fancy a syllable crammer as Elvis Costello, who just as often is hoist on that petard. There’s so much that suggests Swift could get there, and so many reasons to fear that she won’t. Grant me another Xmas pass here while I bet against the house.
8. The medium isn’t such a mess-age: The San Francisco Panorama
After years when there’s been nothing but gloating and/or despairing obits for the print media in which I mostly make my living, I want to give thanks to McSweeneys/The Believer for demonstrating that death isn’t the only possible future.
Their one-shot example of what a glorious print newspaper could look like (it came out in late 2009 but was widely available in 2010) may be starry-eyed, but it makes concrete what I often say to my peers: Losing the position of first choice for news every weekday morning doesn’t doom newspapers. Play to strengths: weekend features, investigative reporting, physical scale and, well, “eye-feel” (the way foodies talk about mouth-feel). And – well, maybe not a 96-page books section, where the publishers played too aggressively to their strengths, but a books section, because those other people of words are allies. I think people would pay, and they’d stay.
My paper took baby steps this direction this year but those booties need a harder sole (soul).
10. Sex is so much sexer than sex: The collected works of Tonetta; Good Intentions Paving Company by Joanna Newsom, 4:35 to end.
It’s been a long year. Remember when all we could talk about was Lady Gaga? But finally some serious sensual competition came along in the struggle to make humans delirious, delusional, demented by delight. Toronto’s own Tonetta might have occupied my whole year if I were still writing a locally centred music blog (good thing there was someone around to fill in). You could shorthand it as Jandek meets Gaga meets Iggy in your pervert uncle’s basement, but the catchy hooks and obscenity and freak-flag-fluttering come with a poignant sense of a man finding himself in the act of losing himself (this is his post-divorce project). Social-media-voyeurism comes in for a lot of bashing, but Tonetta suggests one of its graces: Helping us discover what in us is worth gawking at.
Joanna Newsom has had that kind of gnosis for a long time, even too much so – she’s less sharp about what to leave out. Still, there are also great grasshopper artistic leaps on her 2010 album Have One on Me, including a verse that leaves me dizzy with desire – not for its singer (however deserving, vide the lascivious montage above), but with thoughts of people in my life who can reliably and relentlessly render me this way:
But it can make you feel over and old, Lord, you know it’s a shame / When I only want for you to pull over and hold me/ Till I can’t remember my own name.
And as she casts this invocation, horns and strings rise restless from every corner as if to redecorate the room for their sex-magickal rites. (RIP Peter “Sleazy” Christopherson.) May that be your benediction in the gloaming of 2010, and as 2011 rises, aroused.