life or something like it
“You want me to act like we’ve never kissed, you want to forget; pretend we’ve never met, and I’ve tried and I’ve tried, but I haven’t yet… You walk by, and I fall to pieces.”
Patsy Cline
Sticker spotted on La Gran Via, Madrid. October 2011.
Find a subject you care about and which you in your heart feel others should care about. It is this genuine caring, and not your games with language, which will be the most compelling and seductive element in your style. I am not urging you to write a novel, by the way — although I would not be sorry if you wrote one, provided you genuinely cared about something. A petition to the mayor about a pothole in front of your house or a love letter to the girl next door will do.
- from the 99 percent
On Wednesday night, Comic superstar Adrian Tomine had a signing at (the awesome) Desert Island in Williamsburg to launch Optic Nerve 12. I won’t pretend to be any kind of expert in the graphic novel realm, but in the case of Optic Nerve, I’m a major fangirl.
I distinctly remember the first time I came across it – a friend was having a big sale/clear-out of his record store, and there was a copy of an early issue on the coffee table (not for sale). I opened it to a random page, and then had to sit down to read the next page, and the next… I spent the next hour ignoring everyone and everything around me. I couldn’t put it down.
There’s something so captivating and honest about his characters, and you end up reading the spaces around them as much as their expressions or words. So it was amazing to meet him in person and have a chat to him while he drew this for me, and customised another book for a friend. It’s awesome to meet your heroes and discover they’re just as approachable, sincere and funny as you imagined they’d be.
I don’t think it’s an exaggeration to say that David Simon has transformed the way many of us think about the interconnectedness of the social issues that plague our cities and communities in the C 21st. The Wire zoomed out, from the street corner to city hall, weaving an epic narrative on the political and economic pressures fracturing labor rights, hollowing-out education and crippling policing.
At the very least, he changed writing for television, and raised the bar for all comers.
So of course I was stupidly excited to hear that he’d be speaking at the BMW Guggenheim Lab on the LES. Simon took the mic and spoke honestly, angrily and informally, without notes, for two hours straight. I found myself agreeing with almost every point he raised. I stood on the edge of the crowd and took notes till my thumbs hurt.
Here’s all the quotes I managed to capture. They’re a bit random and disconnected, but you’ll get the general idea of the tone of his talk.
David Simon, NYC. August 31, 2011.
What I have found myself writing about is the end of empire: what happens when the affluent decide not to pay their share.
What we’re looking at now is the moral equivalent of a gated community…. I’ve got mine, so fuck him.
What we are looking at is the triumph of capital. I would date it to 1980: there has been a class war, and my class is winning.
Capitalism is the only way to build mass wealth: it is not a meaningful blueprint for a just society.
It’s a casino: if you mistake it for a mechanism that will build a just society, you do that at your peril. We’ve been doing that for 30 years.
The good news is that it’s going to get worse… It won’t be in NY, it’ll be in St Louis or another place like that… It’ll happen in places where the game is so rigged, where the crumbs that fall from the table are so small, that people will rise up.
The thing that made America great is organized labor… If you look at what labor gave us, it didn’t just give us a living wage. It created a consumer class, people who were willing to buy shit, that is the engine that drives the American economy.
If you come to NY you feel like the center of the universe, everything happens first here… It’s the triumph of NY that the rest of the world doesn’t matter that much. The problem is that whatever cancer the rest of the country is experiences, you don’t feel it here.
People are being thrown away, people that we dont need, people being trained for the corner. When you just don’t need 15-20% of your population anymore, economically, all you can do is make them chow for the system. It makes economic sense to make money off human misery.
Our prisons are publicly traded companies. How do you get 6 or 8% profits when you’re running prisons? You have to make it a growth industry: you have to send more people to jail.
We have more people in jail in America by sheer number and percentage than China, than any other state in the world…. Criminal justice is the largest growing lobbying group. The core chow is people trying to move to a better life, and low-level drug offenders.
Capital has not only achieved this for itself, it has also purchased the government that you might want to use to do something about it.
Two things: opt out for drug wars, acquit low level offenders.
Question time: usually 50% of questions about Omar
Question on the response to Obama’s healthcare plan: this is about the upper middle class, the middle class, and even the working class saying: if someone is below me, fuck em. What do you think the concept of group healthcare is? It’s socialistic. What they’re saying is I want socialism for me, for people who look like me, who work where I work. When people who are affluent do this, that’s a society in decline.
I’m not looking for moustache twirlers: I just think money routes itself. I think the collapse of high end media isn’t a conspiracy, I think that it’s just good luck for capital.
I took my buyout (from The Baltimore Sun) before the Internet, with 100 other reporters, when the Sun was making a 37% profit. This wasn’t a technological issue: only one thing makes society and people that stupid: money. They could make more money putting out a shittier product. All we have left is Barnum, putting our hand in the next guy’s pocket. If they can make money now, they don’t care if the industry survives the next three months.
I think things can change: I think the first good sign is the Times charging for content.
Question on whether is is better to make these points through art, than journalism: I get more attention: I get to do nice things like talk to you about cities tonight because I made a television show… I wouldn’t have been invited here if I was the police reporter for the Balitmore Sun.
It doesn’t work because it’s more expensive than journalism: it costs HBO $30 or 40 million to make a
season of the Wire or Treme… That’s too much money and it takes too long.
Question about filmmaking: I dont know anything about making a film. I have a general studies degree from the University of Maryland.
I can’t tell a story in a medium where you have to stop every 12 minutes to sell people shit. You need to keep eyeballs…. And you can’t tell a story that is dark, much less something that is tragic, because no one wants to watch that shit and then go out and buy iPads and Lincoln Continentals… Premium cable has taken that dynamic and shattered it…. Now that it’s about DVDs and on demand, the ratings mean even less. That economic model makes possible storytelling that is plausible.
I tend not to hire TV writers: I think it’s easier to bring journalists and novelists through the keyhole into TV. If they make tv I don’t want them: I’m scared that it’ll end up too much like TV.
Next show: We can’t find anyone who is willing to do anything on organized labor. I’d love to do mini-series on key moments in organized labor, but no one is interested. It’s like talking about a museum piece for most people.
I see the American middle class as a person at a casino with the hand on a machine, not noticing everyone around them going bust. All they can see is the guy two rows over who is winning, and all the bells and whistles are going off… There is the secret notion among all these people who are getting creamed that one day I might be the guy on the machine that wins. It’s that level of perfect greed that our political demagoguery takes advantage of to get people to vote against their own interests.
What people forget when they bitch about welfare is that 99% of that money goes straight back into the economy. When rich people make money is goes into the bank.
As in: “That girl really photobummed both these shots of Stephen Malkmus and the Horrors.”
Candy Chang is a public installation artist, designer, and urban planner who likes to make cities more comfortable for people. She’s also a 2011 TED Fellow and will be at the mythic conference this week to talk about I Wish This Was, her endearingly low-tech community engagement project.
Chang believes that public space can better serve the people who live, work, and play in them. Cities like New Orleans, where she lives, are filled with abandoned buildings, empty storefronts, vacant lots, and people who need things, but are devoid of the most basic necessities like grocery stores. So Chang came up with the project, ideal for its super low barrier of entry, to allow her fellow citizens to offer their ideas. The responses, which run the gamut from Disneyland to a bike rack, heaven to an art supply store, reflect, says Chang,”the hopes, dreams, and colorful imaginations of different neighborhoods.”
- from good.is
- from Contemporary Art Daily
I watched Gasland today (more on that to come) and then came across this work by Katharina Grosse, which triggered all kinds of thoughts about how humankinds shapes and colours our landscape, transforming ecosystems and even our geology… I understand Grosse is more focused on transforming the gallery space and working directly onto the surfaces of galleries, but to me it speaks about the human need to leave a mark on the environment… for better or for worse.
Osborn Handcrafted – Aaron Jumps! from chris keener & goldenbear on Vimeo.
I’ve got a black and white pair of these shoes (in the crazy Guatemalan print towards the end) and I get tons of compliments every time I wear them… nice to see the founder is as nutty as his prints are!
Our political system protects and enriches a fantastically wealthy elite, much of whose money is, as a result of their interesting tax and transfer arrangements, in effect stolen from poorer countries, and poorer citizens of their own countries. Ours is a semi-criminal money-laundering economy, legitimised by the pomp of the lord mayor’s show and multiple layers of defence in government. Politically irrelevant, economically invisible, the rest of us inhabit the margins of the system. Governments ensure that we are thrown enough scraps to keep us quiet, while the ultra-rich get on with the serious business of looting the global economy and crushing attempts to hold them to account.
- from The Guardian
Prophetic Initiatives (P.I.) is a multifaceted collaborative project which began in 2009 with artists David Capra and Leahlani Johnson as a ‘ministry’ to the art world. Through performance and installation P.I. projects aims to highlight the art world’s ability to house experiences that surpass the rational realm. One of the branches of Prophetic Initiatives is their street ministry, Prophetic Art Stall, an interactive performance between created personas and the spectator. Documentation of these exchanges at Mori Gallery and Mop projects (both 2009) can be viewed at www.propheticartstall.blogspot.com.