Author Archives: Egg Syntax

Hillary Clinton and the Populist Revolt – The New Yorker

[A well-written and wide-ranging essay about Republicans, Democrats, and the voice of the white working class. -egg]

In March, the Washington Post reported that Trump voters were both more economically hard-pressed and more racially biased than supporters of other Republican candidates. But in September a Gallup-poll economist, Jonathan T. Rothwell, released survey results that complicated the picture. Those voters with favorable views of Trump are not, by and large, the poorest Americans; nor are they personally affected by trade deals or cross-border immigration. But they tend to be less educated, in poorer health, and less confident in their children’s prospects—and they’re often residents of nearly all-white neighborhoods. They’re more deficient in social capital than in economic capital. The Gallup poll doesn’t indicate how many Trump supporters are racists. Of course, there’s no way to disentangle economic and cultural motives, to draw a clear map of the stresses and resentments that animate the psyches of tens of millions of people. Some Americans have shown themselves to be implacably bigoted, but bias is not a fixed quality in most of us; it’s subject to manipulation, and it can wax and wane with circumstances. A sense of isolation and siege is unlikely to make anyone more tolerant.

In one way, these calculations don’t matter. Anyone who votes for Trump—including the Dartmouth-educated moderate Republican financial adviser who wouldn’t dream of using racial code words but just can’t stand Hillary Clinton—will have tried to put a dangerous and despicable man in charge of the country. Trump is a national threat like no one else who has come close to the Presidency. Win or lose, he has already defined politics so far down that a shocking degree of hatred, ignorance, and lies is becoming normal.

At the same time, it isn’t possible to wait around for demography to turn millions of disenchanted Americans into relics and expect to live in a decent country. This election has told us that many Americans feel their way of life is disappearing. Perhaps their lament is futile—the world is inexorably becoming Thomas Friedman’s. Perhaps their nostalgia is misguided—multicultural America is more free and equal than the republic of Hamilton and Jefferson. Perhaps their feeling is immoral, implying ugly biases. But it shouldn’t be dismissed. If nearly half of your compatriots feel deeply at odds with the drift of things, it’s a matter of self-interest to try to understand why. Nationalism is a force that élites always underestimate—that’s been a lesson of the year’s seismic political events, here and in Europe. It can be turned to good or ill, but it never completely goes away. It’s as real and abiding as an attachment to family or to home. “Americanism, not globalism, will be our credo,” Trump declared in his convention speech. In his hands, nationalism is a loaded gun, aimed not just at foreigners but also at Americans who don’t make the cut. But people are not wrong to want to live in cohesive communities, to ask new arrivals to become part of the melting pot, and to crave a degree of stability in a moral order based on values other than just diversity and efficiency. A world of heirloom tomatoes and self-driving cars isn’t the true and only Heaven.

Hillary Clinton and the Populist Revolt – The New Yorker

A Glitter-Run Through History: Simon Reynolds’s “Shock and Awe” – Los Angeles Review of Books

[Simon Reynold’s history of glam sounds pretty great. -egg]

This gap between image and reality, rock and theater, advertisement and product, reputation and sales, is where much of glam’s appeal lay. It’s why so many gay, bisexual, and transgender kids have found power and strength in the songs of mostly straight, often-oafish men wearing mascara and fishnet stockings, and why so many future punk and New Wave musicians were born again on the night they first saw Bowie on Top of the Pops. (Reynolds devotes a lengthy epilogue to “a partial inventory of glam echoes and reflections” from 1975 to 2016, with attention to Adam Ant, Prince, Kate Bush, Annie Lennox, Marilyn Manson, Britney Spears’s Blackout, and Ke$ha, among many others.) With glam, the audience is the ultimate star; it was the first pop genre, Reynolds claims, where “fans turned up to concerts dressed like the star performer.” In D. A. Pennebaker’s film of the Ziggy Stardust “farewell” concert, much of the real action is out in the audience. Bowie may be plotting his escape, but the kids are committed, entranced, equals of the star they worship.

To paraphrase Alice Cooper, glam has no class and no principles. It’s a subculture with little of the scene-policing found in punk and indie rock; it’s hard to imagine anyone accusing a glam act of “selling out.” Glam is constantly selling out; it was born to sell out. To be glam is to lack convictions and to steal anything that moves. “It’s a rip off!” Bolan howled in delight at the close of Electric Warrior. Tawdry, ridiculous, pretentious, and crass, glam produced some of the most sublime pop music of its era. Now it has a history worthy of it.

Source: A Glitter-Run Through History: Simon Reynolds’s “Shock and Awe” – Los Angeles Review of Books

Deep/Young Ethereal Archive : current exhibits : Day-Long Duet (The Day The World Went Away)

[Video of the continuous 24-hour performance of the tail end of the Nine Inch Nails song “The Day The World Went Away” in which I recently had the pleasure of participating. The piece was conceived and organized by Curt Cloninger; my compatriot was Abigail Griffin. -egg]

Deep/Young Ethereal Archive : current exhibits : Day-Long Duet (The Day The World Went Away)

Stunning coral timelapse

[Maximize your screen, turn up the brightness a bit, and sit back & enjoy. I’m pretty sure you won’t regret it. -egg]

 

Interested in documenting one of the oldest animals on Earth, Barcelona-based production company myLapse set to capture the minimal movements of brightly colored coral, recording actions rarely seen by the human eye. The short film took nearly 25,000 individual images of the marine invertebrates to compose, and photography of species, such as the Acanthophyllia, Trachyphyllia, Heteropsammia cochlea, Physogyra, took over a year.

The production team hopes the film attracts attention to the Great Barrier Reef, encouraging watchers to take a deeper interest in one of the natural wonders of the world that is being rapidly bleached due to climate change. You can see more up-close images of the coral species featured in this film on Flickr. (via Sploid)

The “new liberal economics” is the key to understanding Hillary Clinton’s policies – Vox

[Well worth reading. -egg]

The Great Recession and its aftermath shattered the policy consensus on economics. What would come next? It’s taken a while, but we’re witnessing the emergence of an important new vision.

Before the crash, complacent Democrats, whatever their disagreements with their Republican peers, tended to agree with them that the economy was largely self-correcting. The Federal Reserve possessed the tools to nudge the economy to full employment, they thought. What’s more, government programs, while sometimes a necessary evil, were likely to be an inefficient drag compared with the private market. Inequality was something to worry about, sure, but hardly a crisis, and policies were correspondingly timid and market-focused.

But there’s been a quiet revolution in thinking about economic issues — at least on the left. Call the developing consensus the “new liberal economics.” Emerging from a wide range of academic research, popular writing, and activist energy, it reflects an economic liberalism that is both more comprehensive and self-confident than what was produced during the era of conservative dominance. Yet it’s not a nostalgic throwback but a forward-looking set of ideas and policies building out of the failures of the old paradigm.

Source: The “new liberal economics” is the key to understanding Hillary Clinton’s policies – Vox

Understanding Hillary: The Clinton America sees isn’t the Clinton colleagues know. Why are they so different?

This is not a profile of Hillary Clinton. It is not a review of her career or an assessment of her campaign. You won’t find any shocking revelations on her emails, on Benghazi, on Whitewater, or even on her health care plan.

This is an effort to answer a question I’ve been struggling with since at least 2008: Why is the Hillary Clinton described to me by her staff, her colleagues, and even her foes so different from the one I see on the campaign trail?

Source: Understanding Hillary: The Clinton America sees isn’t the Clinton colleagues know. Why are they so different?

Making Sense of Modern Pornography – The New Yorker

Pornography has changed unrecognizably from its so-called golden age—the period, in the sixties and seventies, when adult movies had theatrical releases and seemed in step with the wider moment of sexual liberation, and before V.H.S. drove down production quality, in the eighties. Today’s films are often short and nearly always hard-core; that is, they show penetrative sex. Among the most popular search terms in 2015 were “anal,” “amateur,” “teen,” and—one that would surely have made Freud smile—“mom and son.” Viewing figures are on a scale that golden-age moguls never dreamed of: in 2014, Pornhub alone had seventy-eight billion page views, and XVideos is the fifty-sixth most popular Web site in the world. Some porn sites get more traffic than news sites like CNN, and less only than platforms such as Google, Facebook, Amazon, and PayPal. The twenty-first-century porn kings aren’t flamboyant magazine owners like Larry Flynt, whose taboo-breaking Hustler first published labial “pink shots,” in the mid-seventies, but faceless tech executives. The majority of the world’s tube sites are effectively a monopoly—owned by a company called MindGeek, whose bandwidth use exceeds that of Amazon or Facebook. Its C.E.O. until recently was a German named Fabian Thylmann, who earned a reported annual income of a hundred million dollars; he sold the company while being investigated for tax evasion.

The millions of people using these sites probably don’t care much about who produces their content. But those who work in porn in the United States tend to draw a firm line between the “amateur” porn that now proliferates online and the legal adult-film industry that took shape after the California Supreme Court ruled, in California v. Freeman (1989), that filmed sex did not count as prostitution. Since then, the industry has been based in Los Angeles County’s San Fernando Valley, where its professional norms and regulations have mimicked its more respectable Hollywood neighbors. In “The Pornography Industry: What Everyone Needs to Know” (Oxford), Shira Tarrant explains how that industry works in the new age of Internet porn, and sets out to provide neutral, “even-handed” information about its production and consumption.

It’s not an easy task. Since the “porn wars” of the seventies and eighties, when feminists campaigned against the expanding pornography industry (and other feminists sided with Hustler to defend it), talking about pornography in terms of mere facts has seemed impossible. The atmosphere of controversy makes it hard to avoid moral positions. Even to suspend judgment may be to take sides.

Source: Making Sense of Modern Pornography – The New Yorker