• Journal,  Measures

    Elections, II

    Portrait of a bush-league Führer named Peter Vollmer, a sparse little man who feeds off his self-delusions and finds himself perpetually hungry for want of greatness in his diet. And like some goose-stepping predecessors he searches for something to explain his hunger, and to rationalize why a world passes him by without saluting. That something he looks for and finds is in a sewer. In his own twisted and distorted lexicon, he calls it ‘faith’, ‘strength’, ‘truth’.

    – Rod Serling, from the opening narration of “He’s Alive

     

    This post is a continuation of the rumination begun here.

    It is conference season in BC. This past week, Indigenous leaders across the Northern Region gathered here in Prince George to have their annual governance caucus. Near the end of the event, space was given for reflection on treatment of Indigenous veterans, as Remembrance Day loomed. A speaker shared some firsthand accounts from Indigenous voices dating back a hundred years – from those who had fought in world wars all the way to more recent conflicts in the early twentieth century. Soldiers who had experienced more equality facing bullets abroad than within systems and structures at home. The speaker imparted stories close to home, of family or community members whose sacrifice had gone unacknowledged or been taken for granted, as their fight for civil rights or against discrimination on Canadian soil continued.

    The speaker relayed one tale of Indigenous soldiers being asked to stand aside from their peers during a memorial ceremony, while the Prime Minister and dignitaries walked past. All the veterans present, except for the Indigenous ones, being given a chance to shake hands with the politicians. A gesture congruent with contemporary societal stratification.

    I was sitting in the audience and could not help but draw parallels between the true accounts being relayed and all-too similar fictional narratives in Toni Morrison’s Home, in which the protagonist Frank (a black man) returns from the Korean War, the first desegregated conflict in American history, to a country that refuses to acknowledge his humanity. Morrison rushes us through Frank’s encounters with numerous characters as he tries to search for his sibling. She barely mentions race, because she does not have to; the behavior of institutions and the people they envelope make everyone’s ethnicities blatant. A simple run-in with police is jarring enough for the reader, as the passage is as representative of black tribulations in the 1950s as it is today.

    The stories conveyed at the caucus came two days after we all learned of the election outcomes in the United States. The world’s second-largest democracy having undergone hundreds of votes for its new leader, its upper and lower houses of congress, numerous state governors, and dozens of binding referenda on issues from healthcare to criminal justice reform. The thread that the stories carry – of the historical and ongoing deployment of discrimination by those in power – lies deeply intertwined with history being written as the results of these elections continue to roll in.

    To understand all of this is to not understand it at all. How did we get here?

  • Measures

    Gather Up

    The consistently hilarious What We Do in the Shadows is back for its final season. Watching the most recent episodes reminded me how many great tunes the show has showcased over the years.

    Odd where we tend to pick up songs for our playlists. For me, TV series and movies are a primary source. I have particular appreciation for shows that use the sampled tracks to marry their plots, characters’ emotions and atmosphere in moments of mounting symphony. Breaking Bad was great at this – the lyrics and beats of “DLZ”, “Who’s Gonna Save My Soul” and “Truth” clear examples of classic blends that produced some of the best endings in that show’s run.

    The above melody was written and performed by Matt Berry, who plays the eminently quotable Laszlo Cravensworth in Shadows. Even when he is not delivering a punchline, his cadence is one of the funniest of any comedic character in recent memory.

    A Halloween-themed ditty, submitted for your consideration, as darker days approach.

  • Measures

    Beethoven’s Fifth

    I notice it at night.

    The arrival of an invisible insect and its strangely consistent buzzing. A barely perceptible string of Es smoothed out and perpetual. A monotone whisper; a breeze most unwelcome in the smallest of tunnels. Annoyance proportional to the volume of silence. The sounds from everything else – vehicles on the road outside, voices or footsteps of neighbors, clamors of wildlife, rustling of wind, or the ticking and whirring of appliances – must have ceased. All it takes is a moment of complete stillness for it to creep in. When all other vibrations retreat, this imaginary one takes their place.

    Why does it choose to disturb me at this time? When I am most yearning for peace. Of course, the truth is it is always there. The coarse hum of Tinnitus, a confounding affliction that many manage. One that I have dealt with for a couple of years. Not due to hearing loss, luckily, but devoid of explanation.

    A ripple that will never ebb. The tedious taunt of an uneasy mind.

    I used to chase the hush of night, but now I shun it out of necessity. Some white noise is better than none. A miniscule opening in the window can do the trick; this car city’s abhorrent nighttime echoes provide enough shielding. Or a fan turned to its first setting, a lighter repose.

    But often, I choose music.

  • Frames,  Measures,  Memories

    Montage

    A compilation of some moments from our trip to Chile in September, set to “Montage” by Andy Hull and Robert McDowell. There were many videos I could not include; consider this the most fleeting of glimpses.

  • Measures

    Me Gustas Tú

    I am currently cramming as much Spanish as I can in rushed preparation for a trip to the hinterlands of Chile. The lessons undertaken today gave an overview of the various conjugative couplings of ‘me gusta’ and ‘me encanta’.

    All I could think about was this classic by Manu Chao (who’s wiki page, by the way, makes for some interesting reading). And I have a feeling it will be circling around in my head throughout the coming week. Es demasiado bueno.

    A nostalgia trip for those of us who were playing FIFA video games in the early to late 2000s. This one was featured on numerous discs. How could it not be.

    The countdown continues…

  • Frames,  Journal,  Measures

    Awaiting a More Glorious Dawn

    Thunderstorms roll by in sporadic waves, curses of the cooling summer weather. The wildfire map of Western Canada is dotted with red and orange as towns evacuate people and welcome flames. The roads that afford access to sanctuaries slowly dwindle. A haze settles down for who-knows-how-long, as the smoke intensifies. There is as much anxiety as there is ash in the air.

    All of this, preventable. People continue practices antithetical to our very existence. Consume more. Drive those big trucks. Force workers back to the office. Eat factory farmed meat. Make the carcinogenic choice. But not everything is a personal battle; industry maintains the supremacy of profit while politicians line up to apply band-aids to widening wounds. Who champions fundamental responsibility? Who dares to proffer more?

    I too, find myself escaping rather than engaging. Enough to worry about at work or in waking life; enough to tire me out, discouraging sustained action. Better to dwell on romanticized notions.

  • Measures

    World, Hold On

    It began with a harmless conversation about the credulity we all carry. Our willingness to see past all kinds of falsities, fallacies, inconsistencies, and hokum. Our yearning to believe in something. An evolutionary entrapment that has led us equally to our darkest depths and highest heights.

    A meal and some thoughts shared, and some inspiration found. An umbrella under which too many topics reside. Pseudosciences and pseudohistories of all kinds, bereft of credibility and yet magnetic to their adherents.

    I chose cults as a worthy topic of exploration. Fictional ones, anyway. Perhaps an examination of some genre films to tease out greater truths surrounding collective tendencies powered by individual vulnerabilities.

    The idea was written and the draft started. Then I noticed all the others in my directory. Satellites launched into orbit, as promising as they were unfinished. Gliding along – momentum assured. Undiminished but static.

    Fulfilling ambition a constant struggle when the majority of your energy is demanded elsewhere.

    Something to look forward to.

    Imagination reaching escape velocity. Outpacing the pen, as expected.

  • Frames,  Measures

    Streaks Blue and Red

    Today was the warmest day in Prince George this year. So far.

    The temperature outside hit 35 C. Even though the inside of my apartment was slightly cooler, it only took a few minutes on the exercise bike before the sweat began pouring. For some reason this brought back a memory of walking through the Academy Museum in Los Angeles earlier this year. Specifically, an exhibit on Spike Lee’s 1989 treatise on race relations, Do the Right Thing.

    The exhibit had several engaging behind-the-scenes videos playing in which the filmmakers spoke about their craft and process. The one that stuck out to me was an interview with Ernest Dickerson, the film’s cinematographer. He shared the different methods that his team used to imbue the film’s scenes with heat. Bright, warm color schemes in the architecture; butane-lit fuses just below the camera as it rolled to create a hazy layer that sat between the lens and subject, mirroring humidity; actors sprayed with water before each scene; all in service of a narrative filled with beguiling tension.

    It was generally warm while they shot the film, but they wanted to up the pathetic fallacy. The buildings needed to bleed; the people’s inner emotions needed a worthy reflection in unforgiving asphalt.

  • Journal,  Measures,  Memories

    Embers of Empire

    Brexit referendum voting card

    Allow us royal subjects, commonwealth citizens governed by neocolonial pressures, we who have lived through dying embers of empire and observed the revolving door of mediocrity in British politics over the last decade or so, our quiet judgments and tempered schadenfreude. With the approval of an ailing monarch, the Conservatives will finally find their way out of power in the next few days. Their replacements will wonder where to start; this election is not exactly a mandate-providing affirmation, rather a denouncement of what came before. The public did not chase an inspiring vision; they voted for the hope of basic competence. The unfortunate truth – a bittersweet relish – that we from afar can savor in a twisted way, is that there will be brevity in this grand feeling of change. A new team dominating the game does not necessarily change the sport being played.

    – / – / –

    A kingdom voted. Kingdoms tend not to hold too many consequential votes. Democracy is not a requirement under divinely blessed royalty. But this kingdom is United, you see. A constitutional monarchy, they say. It delegates freedom under colonial architecture; a parliament hardly parochial. Its subjects are free to exercise their voice – an inside voice, mind you. Nothing loud enough to disturb the foundations of those lovely palaces and their inhabitants, or a growing body of unelected nobility who specialize in slowing down legislation already outpaced by the most sluggish of snails.

    This is not the land of brave trial-and-error politics, but one of rehashing failed ideas given cosmetic treatments. A country that has offered largely static views on economic and foreign policy for over four decades. In a time when large blocs of nations grappled with the right combinations of Keynesian, Marxist, or Monetarist ideas, the UK tried austerity… and nothing else. A reminder that the last Labour governments championed the Iraq war and continued the Tory project of privatizing health services to undermine the NHS. I wonder how long it has been since a party in power was actually sympathetic, in action, to the marginalized or the working class. And how much sympathy they elicited from the House of Lords or head of state.

    But this may be a reflection of the populace. At least, the politically active, participatory factions. This foreigner and brief interloper observed a small ‘c’ conservative political landscape. People of all ages within the conglomerate territory appear risk-averse in their volitions. Whether it was through apathy, complacency, or fear of novel approaches. Even in Edinburgh – filled with youth and committed to a more liberal republican future – one could not escape the feeling that there were certain red lines that could not be crossed. Jeremy Corbyn’s name was all it took to send people into fits of anger, no attention paid to the myriads of scandals that followed those actually in power. The press system, dominated by tabloids, periodicals, and punditry apple-skin-shallow, reduced everything to soundbites and everyone to caricatures. Complex narratives were impossible to find in the mainstream.

  • Measures

    Earth-Sized Company Towns

    For a program that has created so many original, prescient musical numbers, South Park’s most blunt commentaries on common complacencies are sometimes found in straightforward reflections scored with throwback tracks. The decades-old song usually functioning as two reminders in one – of the cyclical lessons we face and their almost routine repurposing behind different masks.

    Some people say a man is made outta mud
    A poor man’s made outta muscle and blood
    Muscle and blood and skin and bones
    A mind that’s a-weak and a back that’s strong

    This version of 1946’s “Sixteen Tons” (itself referring to a coal mining practice in the 1920s) was sung in 1955 by Tennessee Ernie Ford. It relays, as effectively in 2024 as back then, the forceful allying to an exploitative entity. Except today, the company towns are earth-sized; the swelling digital monopolies that tie themselves to our collective political economies at immeasurably large scales. The Titanics that carry with them the fate of markets, elections, freethought, and our environment.

    You load 16 tons, what do you get?
    Another day older and deeper in debt
    St. Peter, don’t you call me ’cause I can’t go
    I owe my soul to the company store 

    It is a strangely vanilla, yet efficient, montage in an episode with quite a few absurd zeniths. (Not every day does a man in a box end up the leader of a union drive.) No mystery why it came to mind as I went out to grab some takeout today. The two individuals ahead of me were on their phones, each awaiting a number of orders to be placed within a large, thermally insulated bag, each with a different food delivery app’s logo stamped across it.

    I was born one mornin’ when the sun didn’t shine
    I picked up my shovel and I walked to the mine
    I loaded 16 tons of number nine coal
    And the straw boss said, “Well, a-bless my soul”

    The laboriousness of labor may change, but its structure remains consistent. And we have done not-too-well to find ourselves in similar places in relation to the power brokers of society, nearly a century apart.