Friday, March 21, 2008

Obama's speech

This may seem a bit behind schedule but I didn't want to jump on it. Felt like I needed to give it room to breathe. At any rate, Barack Obama gave one of the most important speeches on race, in recent memory. While I watched the speech (at work, yes) I kept reflecting on how I've never, in my lifetime I mean, seen a leader speak to people like that. Jon Stewart said something to the effect of, "and on a Tuesday morning in March, a candidate for the Democratic presidential nomination spoke to the American people like they were adults." It was the most honest, reasoned, reserved but at the same time passionate and real account of racism in America I've ever seen from a public figure, let alone a politician. He spoke with a candor that is rare (or nonexistent), not only in American political discourse, but in our culture, as well. I do not want to pick out certain passages that I thought were particularly revealing or that I "liked" because it is not something, I think, that can be taken in bits. It should be processed wholly. However, I will point to this simple introductory section:

Race is an issue that I believe this nation cannot afford to ignore right now...The fact is that the comments that have been made and the issues that have surfaced over the last few weeks reflect the complexities of race in this country that we’ve never really worked through – a part of our union that we have yet to perfect. And if we walk away now, if we simply retreat into our respective corners, we will never be able to come together and solve challenges like health care, or education, or the need to find good jobs for every American.

This is a seemingly simple statement. But within it is the challenge that Obama is consistently putting in front of us. For someone in quest of the highest office in this country, and lacking the support of a particular and important contingency of voters (white males), to make this statement, not to mention the entire speech, is bold.

To be so bold as to come out and say black anger is real, white resentment is real, and call on us to move forward is something some argue is politically stupid. I say it is essential in a leader.

Melissa Harris-Lacewell, of The Root, had this to say:

I think what mattered most to me is that Barack made the implicit and radical argument that black people are human. Of course, we already know that we are fully human: good, bad, hopeful, angry, brilliant, stupid, capable, pitiful, loving, hateful, all of it. But we rarely see a member of our government so beautifully articulate our humanity.

He also spoke to us all, of all races, like we were human. Like we were, as Jon Stewart said, adults. He spoke not down to us, but as if we were capable of understanding a nuanced argument about an incomprehensibly huge subject.


Marc Lamont Hill, also of the The Root and avidly a non-supporter of Obama (he's for Nader), said this:

Instead of merely assuaging white racial anxieties, Obama’s words forced the entire nation to come to terms with its demons. Although he unequivocally denounced Jeremiah Wright’s remarks, Obama refused to reduce him (or his own white grandmother) to a racist caricature. Also, through his evenhanded analysis of both structural inequality and individual responsibility, Obama raised the stakes for racial discourse in American politics.


Matt Bai, in his study of racial integration in the Democratic party for the New York Times political blog , wrote:

A lot of top Democrats have for months expressed their fears that Mr. Obama would lose handily in November if he were the nominee, and the implication in this is that he is too much the candidate of black voters. What was remarkable about Mr. Obama’s speech, though, was the way that this black son of a white mother took issue with the notion that America, outside of Washington, remains defined by its racial bias. He didn’t suggest that somehow he alone had the ability to break down old racial barriers, but rather that those barriers have already begun to tumble and that the political establishment just hasn’t caught up. Indeed, his central criticism of Mr. Wright was not that he was too outspoken or too enraged at white Americans, but that he was too rooted in the past — that he lacked “a belief that society can change.”

The same might be said of the Democratic Party itself. And this is why the success of Mr. Obama’s argument has serious implications not just for his candidacy, but also for a party that has too often feared the worst about white America. If you’re a Democrat and a pessimist about the basic nature of the American voter, you might reject what Mr. Obama is saying as just more wishful rhetoric, a call for the kind of racial unity that has never been visited upon the country. If you’re more of an idealist, though, you might see in his vision the possibility of a country less obsessed than its aging leaders with racial division—and of a party that might one day be led by those who have for so long sustained it.


Barack Obama never once suggested that he was the one who could heal our racist wounds. He puts it on us. Obama is criticized for not being specific enough in laying clear his policies of "change" (this speech was criticized in much the same way). On top of this being for the most part untrue, I find it ridiculous for another reason. He is not, and will never claim to be, a savior to pull us out of the muck. He knows change can never come from one person. So he puts it on us, the people.

I have already said this on this blog, so I'll refrain from going further, except to say this: If Barack does not get the nomination, and years from now, when this speech ("which may be dissected in grade-school classrooms and graduate seminars for many years to come," as Matt Bai writes earlier in his piece) is put into historical context, people will be dumbfounded that we denied this man the chance to be our leader.

As I said, the speech should be heard or read in its entirety. If you haven't seen, heard or read it, I urge you to.

"A More Perfect Union"

There was one feeling, on top of the countless others that came up throughout the speech, that lingered, even as I read response after response after response (which came at an alarming rate). It was, as my buddy Ron put it, Finally.

mark.



Thursday, March 20, 2008

Gnarls Barkley is Good!

Continuing the trend of great bands working against the contemporary model and status quo of record releases, Gnarls Barkley took it upon themselves to release their new album, The Odd Couple, without prompt on March 18 instead of its original release date April 8. Never the ones to let themselves be confined in any way, and always working to keep us on our toes, Cee-Lo and Danger Mouse (who ?uestlove calls "the last great living and WORKING soul singer under 40 and the most creative and intuitive producer maniac music has seen in a sec," respectively) have dropped 13 body-rockin', mind-bogglin', psycho-soul tracks into our laps while we were all preoccupied with Barack Obama and race or whatever (more on the later). I'm personally elated about the decision as I was getting antsy having to wait so long. I'm listening to it right now and can say that it would've been worth the wait. At first glance, it seems to have all the emotional energy and intensity of St. Elsewhere and maybe even a harder edge. That's already been made clear from the first two singles from the album, Run and Who's Gonna Save My Soul.

So now they're not only genre-bending but music-industry-rule-breaking. They're signed to indepedent label Downtown (which also includes Mos Def, Justice, and Art Brut among others). Way to go Downtown. Artist control!

Monday, March 10, 2008

About that last little rant...

Just found this, which speaks to all that stuff I was writing about a few minutes ago but in a much more logical, less emotional way, and points to Clinton's desperation as the reason for her being awful.

And, regarding all this, it doesn't matter, anyway. Obama winning is the only logical outcome.

That's all on that. I don't want this thing to go in that direction.
mark.

American Phoenix

I posted a link last week to an article called American Adam, which ran in The New Republic. It is about Barack Obama and, what it argues as, his quest to help America break from its past. This is a response to that article from The American Prospect online that argues that what Obama is really doing is urging not a new beginning completely, but forging a new future from what has come before. It dispels the claims that Obama's message is easy, sugary hopefulness, which are dumb to begin with. But this article does it in a way that brings to light that what Obama is doing is actually a challenge to the American people.

He is preaching an inclusive civic nationalism—an American ideology with deep roots in post-Civil War America onward—and juxtaposing it to a discredited ethnic or racial nationalism that sees blood and race and the entitlement they bring as constitutive of national creed.

Its a quick and interesting read and one of the countless pieces focusing on Obama's importance as a historic American figure. He is certainly more so than any one I've seen in my time as a conscious American.

...

And while America's greatest intellectuals and political thinkers are writing about Barack Obama at a fervent rate, Ms. Clinton is proving to me to be a disgusting political player. I've tried and tried to keep her in good favors because of this or that, like we just need a Democrat in the White House blah blah blah or that she really has done some good for the country blah blah blah, but she just keeps sinking lower and lower, like extending a suggestion to Obama that he consider a Vice Presidency (even though he is the front runner, not to mention it is mathematically impossible for her to come out ahead of him in pledged delegates), leaving the doors open on the outlandish claim that Obama is a Musilm, and even intimating that McCain would make a better President. She is sabotaging this and it makes me sick. It is damaging to everyone. Except John McCain.

Excuse me.
mark.

Saturday, March 8, 2008

Friday, March 7, 2008

Checkpoint: March (Heavy Rotation)

A brief word on what we're digging into right now. Seems like a transitional and kinda weird time for all. The weather's changing, daylight savings is coming (losing an hour when sleeping patterns are already fucked up to begin with), and a protracted campaign is wearing on us all. How are we getting through it?

Mark-

1) Beach House, Devotion - Deceptive album. I put it on to be washed away and end up more wide awake and freaked out.

2) Bon Iver, For Emma, Forever Ago - Stunning album. Beautiful voice and songwriting. And so unsettled, as the times go.

3) Cat Power, Jukebox - Huge blues without wailing in my face. Possibly my favorite Cat Power release ever. "Metal Heart" yeah! I want my dad to listen to this.

4) My Morning Jacket, Z - I'm just coming to this one and it's immensely enjoyable. It makes me rock out on the subway.

5) The last three tracks on Vampire Weekend's Vampire Weekend - The whole album is fun but these songs work really well and I don't really need the rest. I'm not tweaked out over these guys but I like Paul Simon and its nice to have something that's just a lot of fun to listen to. As an aside, "M79" is the most conscious attempt to get oneself onto a Wes Anderson soundtrack I've ever witnessed.

----------------------------------------------------------

Seth -

1) Samamidon, All is Well - Gorgeous detailed arrangements giving old folk classics room to breathe and find new life. Amidon's voice is perfectly suited for these dark tales of heartbreak.

2) Brian Wilson Presents SMiLE/SMiLE Bootleg (Sea of Tunes)/Smiling Pets - A Tribute to the Beach Boys: Brian Wilson obsession? Comparing original recordings with the 2004 release and again with other experimental artist's interpretations of the work is nerdy, yes, but also incredibly informative as to what makes these magical compositions tick.

3) Bob Dylan, The Freewheelin' Bob Dylan - Winter melting away always brings this album out. How does it still reveal new depths?

4) Brian Eno, Here Come The Warm Jets - I have been currently obsessed with how Eno uses oddly abstracted but incredibly specific (and often hilarious) lyrics to highlight his dense musical landscapes.

5) Atlas Sound, Let The Blind Lead Those Who Can See But Cannot Feel - Sounds worlds away from Deerhunter hype of last year, Cox uses his love of Eno and other ambient artists to craft his own beautiful and mournful world.

"The country does not give back what its history promised..."

More Griel Marcus mind-boggle. The following passages are ones that I found in the chapter (the first chapter, no less) wherein Marcus meshes together analyses of two American novel trilogies, John Dos Passos U.S.A. trilogy and Philip Roth's American Pastoral, I Married a Communist, and The Human Stain as well works and lives of Herman Melville, Ralph Waldo Emerson, Sinclair Lewis and many others, all the while harkening back to speeches by Abraham Lincoln, Dr. Martin Luther King Jr., Thomas Jefferson and many others, connecting them all to numerous references in culture (pop and otherwise) to come up with a blindingly real impression of American identity.

This-
The country charges its citizens with the mission to create themselves, just as the republic was created--but if each American carries the republic within himself or herself, then each American can become a lost republic. "This country is frightening": part of what is frightening is the apprehension that the republic itself can vanish in an instant, leaving each American unknown to every other, with nothing in common, in a state of nature, "a war of all against all," where the mob can come for anyone at any time. Jefferson opens a continent; it is filled up with great cities bursting with speeches and commerce. Blink your eyes and it is filled up with the zombie cities of Invasion of the Body Snatchers...with the citizens bent on the destruction of liberty even as an idea.



I love his language here. Its a challenge. Accountability, self-discovery, good will toward man--all of that. And more. It's like he's scaring us into it. Marcus is a smart man--is that what it's come to?

And this-

...the U.S.A. is a place and an idea and a speech of the people that always maintains its power to surprise and shock anyone who thinks he or she has seen it for what it is, because...American identity cannot be taken away any more than it can be granted. It is found discovered, made up, a declaration that each must make.

This, at once, gets to what it is great and awful about America--a fist in the air to the confusion and frustration and a charge to those of us who claim America has no identity of its own to dig a little deeper, into the country and into ourselves. This also puts us on the same playing field as our "founding fathers," for what do they got that we ain't got? We're just as American as they are, no older no newer, because we are constantly reinvented. Each day a declaration of independence. And here is why--

In a country based on an idea, made up, not merely the Declaration of Independence promulgated and the Constitution adopted but that nation promulgated and adopted, you don't [ever really] know. As captured in a few of Lincoln's words even more than in its founding documents, America is an idea--an idea that mapped the landscape and shaped the people in it, or failed to.


We need this right now. We will decide where to take our country in the next few months. And though I used to think that voting was the most important thing because it was all we had, I am realizing that we have way more. And it starts with US.

mark.

Tuesday, March 4, 2008

Happy Ultra Duper Duper Tuesday!

Well it seems as though we have another one of those days where the race for the Democratic nominee for President is supposed to be decided. Hooray!

In Super Tuesday fashion, I've compiled some of my favorite political writing from the past couple of weeks for your reading pleasure if you're interested or really, really bored.

First, we'll start with Ben Smith's blog at Politico. It's a nice, well-reasoned, non-partial (as far as I can tell) account of the campaign. He'll probably be live-blogging during the primaries today. Won't that be fun?

Also at Politico, this article by Roger Simon on Clinton's two-step tactics, which sometimes smack of Bush/Rove and make me a little sick. It gives the sense that either campaign could fall apart at any moment.

A couple things from The New Republic:
John B. Judis, who is unsympathetic to Obama, wrote an article called American Adam, which paints him as a harbinger of American rebirth, something I touched on yesterday.
And this piece called Race Man, making a pretty unsubstantiated attempt to accuse Obama of reverse race-baiting during his campaign.

And this brilliant op-ed with a great title from my personal favorite political commentator Frank Rich of the NYT. If you read nothing else today, please read this.

Finally, a piece that came out today from David Brooks, also of the NYT, who doesn't seem to care for Clinton or Obama, about the night Obama pulled the rug out from under Clinton and the conventional wisdom of the entire Democratic Party. And, just for fun, let's link that speech at the Jefferson Jackson Dinner.

Okay, that ought to keep us busy for a while. Hope your super-mega-ultra-make-or-break-or-do-or-die day is fine (it's going to spring rain in New York!) and to all our friends in Texas, Ohio, Rhode Island and Vermont (because we have tons of friends in Texas, Ohio, Rhode Island and Vermont) please remember to exercise your right to tell someone you think they're better than someone else.

Word up.
mark.


Monday, March 3, 2008

St. Vincent at Bowery Ballroom (2/29)


I had no idea she was so punk rock.

Annie Clark played Bowery (her "favorite venue in the whole world" or some trumped up claim like that) on Friday. I liked it quite a bit, but my expectations were completely flipped. I came away with much more respect for her as a musician and her album, and I found out that she is someone I wouldn't really like to hang out with.

I mean she's stupidly cute for god's sake. I'd think that "cute" is, then, the last thing she'd need to go for. But when she chats up the crowd, it's what she's doing. Like her completely inane story about some truck stop in Montana and taxidermy and a pony (which did provide one funny anecdote, "I don't know if any of you have ever left New York city ever, but...") all to get to the point of playing a solo cover of The Beatles "Dig A Pony," which turned out to be a highlight of the evening. "Why, oh, why," I wondered, "with the lame convo, Annie?" I attribute it to her being a hell of a lot better at expressing herself through song than chit-chat.

I was floored at times by how much rocking was going on. Her band was balls out--that fiddle player, shredding horse hair all over the Bowery stage. The drummer had a penchant for overindulgence, going a little overboard when it wasn't necessary ("drumboree" I like to call it). But I'll take that over being all reserved. The crowd didn't seem to dig it too much. They started to bounce (not literally--I mean leave--this is New York after all, the land where no one dances) about 2/3 of the way through the show (it was way cold in there, too, something that can possibly be attributed to lack of performance energy coming from the stage, or the disinterest teeming from the audience, or both).

She's a helluva guitar player--very precise and rhythmic with a crunchy tone. Her sporadic flitting in triplets, which causes her hair to balloon up over her face, makes her guitar cough and hack. It's quite jarring and a lot of fun. She's a really tense player, which has an effect on her voice (which isn't amazing to begin with--peculiar but not sound).

There was an overall explosion of the songs on Marry Me (a standout record of last year, to be sure)--a surefire arena-rock ending to "Now, Now", a Sonic Youthesque grind to "Your Lips Are Red". "Paris Is Burning" was perhaps the most exploded--a slow dirge to begin and ended with a celebratory storming of the Bastille. The songs were wild and at times out of control. She seemed much more at home, much more honest when enveloped in these explosions she created than when confronted with an audience.

I think her cuteness persona is what deceived the Bowery crowd. They came expecting something whitebread, something lukewarm, something Feist-y and got something colder, rawer and more rock and roll than they bargained for. I'm cool with that, its at least an interesting method of deception. But I'd ask Ms. Clark to kindly not do that next time. Just be real with us.

mark.

(Photo St. Vincent @ Bowery Ballroom NYC courtesy of Amy Wagner)

Happy March...

Spring is certainly all up in the air. Its nice to be outside again, the sun is shining, and maybe--just maybe--people will start to be a little nicer, and it won't be s'damn cold in my apartment in the morning.

I found this last night reading Griel Marcus' The Shape Of Things To Come. Its an intense and difficult (read challenging, strangling) book about, essentially, America's constant cycle of betraying itself and the promises it was founded on (and that it keeps making). He looks a lot at how American artists, politicians and public figures (David Lynch, John Dos Passos, Abraham Lincoln, Martin Luther King Jr. to name a few) prophecy this betrayal. It is an eye-opening and frightening read to delve into while we are in the throes of trying to reinvent ourselves as a nation (yet again), coming off the heals of a fierce betrayal heading potentially into another.

For spring time--for election year:

The pursuit of happiness is a national drama played out before an imaginary audience, an audience that includes all Americans, living and dead. As an actor, one seeks oneself; one also seeks to fulfill the aspirations of all those less brave, knowing that to fail one's own quest means the betrayal of everybody else.


Coming upon this during a particularly difficult night, it ruined me.

Happy March.
March on...
Mark.