S.N.O.B

Entries from January 2008

the new angst (did the old one ever really leave us?)

January 24, 2008 · 1 Comment

A lot of these blog posts stem from articles I’ve seen on the web or they are commentary on the ideas and work of other people, people far more talented and advanced in their craft than I am. Sometimes, though, I come up with a concept I want to speak on that stems from my own head! As this blog started with a personal rumination, I figured I’d return briefly to the medium.

In my own writing, I find that a thought worth expounding on often starts with a conversation. It’s why I think I love conversation so very much (and why I love blogging, as it’s a digital conversation). Anyhow, about two weeks ago I had a booze-drenched tete-a-tete with a friend about many things, including music. Late in the night we somehow reached a point where we began to compare knowledge of early Cure records—in particular the so-called Goth trilogy of the early 80s (Pornography, Faith, and Seventeen Seconds). Vodka threw my sense of politeness to the wind and so, in the midst of arguing about what album “A Forest” is on, I asked bluntly” Why do you love this music so much? What does it mean to you?” 

I know why I loved this gloomy atmospheric pop rock, music written just from the edge of sanity (or at least music that tried to make you think it was). One word sums it up: angst. Or maybe a few more words… how about self doubt? It was certainly in reaction to my fear of the outside world, of the distress and disaster on the news, and the overarching bleakness of a planet that often looked like it would either blow up or boil up. Not to mention my fear of eating in a high school cafeteria.

I realized that I was actually defensive of my love of those early Cure albums and protective of what I once thought was an oh-so-special experience with them. They gave me haven from the above-mentioned grief. But why be defensive now, at my age, a good ten years away from the experience? Pretty dumb, especially considering I actually find those albums to be almost un-listenable now.

Since I left adolescence, I’ve learned I was not so alone in my angst. It always surprises me that while I was dramatic in expressing my difficult adolescence, the “normal” kids around me were just as traumatized by high school as I was. They just wore smiles and sneakers. Or they got so high they couldn’t smile or frown. Or they stayed home with their homework and have gone on to receive rich, rewarding, and often scholarship-funded higher educations because of it. When I run into people I knew in high school, often people who I thought were so together, they sometimes confess to me that they were just as fucking miserable and insecure as I was. I guess because I was some sort of symbol of adolescent misery, now, as we are all adults, they want me to know they felt it too! Going to the hometown bar during holidays often results in some kind of “You know, I was unhappy too? I just couldn’t show it like you did.”

I did wear my angst on my sleeve and it was a badge. It wasn’t just the aesthetic of defiance and doom (my personal style was a blend of Siouxsie Sioux, thrift store findings, some post riot grrl messiness, and a lot of red lipstick); it was also an attitude. It could easily be summed up by most of the lyrics on the Smiths’ first record or by the aforementioned caterwauling of Mr. Robert Smith. Or certainly by J.D. Salinger, a Robert Smith for an earlier generation. Or by Rimbaud, or even Sartre, at least what little I could understand of what I was reading.

 “On a high building there is so much to do.” So sang Mr. Smith on Pornography, an album I would sit and “study” alone in my room in the dark while chain-smoking, often with a single candle lit to keep me company. But what happens when you choose to stop thinking about hanging out on high buildings, when you move on from contemplating the bottom? I guess you go to college, you experiment, and you experience all new kinds of unhappiness (including the Junior year “what the fuck will I do with my life?” crisis). You fall in love, you fall out of love, and you keep moving through phases. You change apartments and dorms, again and again. Your twin comforter gets threadbare. You graduate. Maybe you go on to travel to Brazil for a year, or you work in a clothing store before you head off for an MBA. Maybe you go to grad school for language arts. Maybe you get a real job—oh what a plethora of post-teen angst options there are! But where does the angst really go? Does it disappear?

I looked at my friend during this conversation about the Cure and I realized that we are both adults talking about a ridiculous subject. And I’m not the same person I was who listened to that death rock over and over again and I thank the gods for having been able to grow and move past that. However, I’ve still got angst DAMNIT! But I’ve also got a job; I’ve got bills; I’ve got an apartment to clean and a roommate to respect. I’ve got to think about not scaring away potential mates but instead finding some respectable guy to bring to a Christmas party. I can’t yell at my parents anymore because they are old. And they put me through college. And, most of all, because I respect them as adults. I no longer see them as tyrants, but as friends who continue to support me emotionally (and occasionally nag).

I am writing this because I don’t think it’s uncommon. I think all kinds of people my age have this internal experience, even if they weren’t sad little Goths like me at 15. Whether it is the state of the world, our dire government, the state of your body, the stability of your friendships, general fear of your future, hatred of your daily routine–those anxieties still exist within you. As a younger, more vulnerable person they may have caused you to immerse yourself in soccer, or caused you to be antisocial and/or counter cultural (like me); maybe they directed you to be radically political. Perhaps they drove you to smoke pot everyday before school. Or maybe they sent you hanging over greasy boys at the local gas station?

Right now you’re probably at work and have nothing to do with such habits anymore. You probably drink too much sometimes at parties. You might have some credit debt. You might look at your friends getting engaged and think, “am I next?” You might be engaged—and  you’re freaked. Or right now you might be contemplating leaving your lover to go to another city. You might be secretly smoking cigarettes when everyone else is asleep. You might hate your job but not know how to get out of it. You are probably paying back college loans. You might have had to go to your first funeral recently.

Are these scenarios indicative of the 25-35-year-old person new angst? I certainly know they are the topics of many of my conversations with my peers/friends.

In conclusion, I am still grappling with this—so there are no answers, really. Now that I must deal with the realities of adulthood and with the new anxieties of that adulthood, there isn’t really even that much time to deal with older insecurities that never completely vanished with my early youth.

However, I’m not on a high building with something to do. I’ve actually got quite a lot to do on the ground. You probably do too.

Categories: Uncategorized

Graduate Secretary

January 18, 2008 · Leave a Comment

http://graduatesecretary.blogspot.com/

Discover the art in banality. This goes well with my Beckett mind-set, the January blues and with Fridays.

Also, it’s Gina’s last day. Congrats on using a boring job and making it into a quirky/wonderful art project.

Categories: Uncategorized

Am I Still Ill?: Beckett in Brooklyn

January 16, 2008 · Leave a Comment

I value the referential quality of art, the fact that a work can allude to things or states of being without in any way representing them. The ideas that give rise to a work can be quite diffuse, so I would describe my usual working process as a kind of distillation—trying to make coherence out of things that can seem contradictory. But coherence is not the same as resolution. The most interesting art to me retains a flickering quality, where opposed ideas can be held in a tense coexistence.” –Martin Puryear, 2007

January can be a bitch of a month. Debt. Holiday weight gain. Gray skies. You get the point. So, I am trying to combat the bleakness by immersing myself in culture—as much culture as I can afford after paying off my bills. Of course, sometimes the culture I’m partaking in can be rather bleak.

Friday night I had nosebleed seats at BAM for Deborah Warner’s production of Beckett’s Happy Days, with legend of the British stage Fiona Shaw. My friend had never seen a Beckett play, so that in itself was exciting (everyone must see Beckett!). I have seen Waiting for Godot a couple of times (God, to think I even read it in French in highschool) but was not familiar with Happy Days. I was pleased to find it as “Beckett” (i.e. bawdy, linguistically sharp theatre of the absurd) as Godot.

BAM’s website reads thus: “A piercing bell sounds, and Winnie, buried in rubble up to her waist, awakes. Trapped, she rummages in a bag, brushes her teeth, kisses her gun, and chatters to her husband Willy (Tim Potter), who all but ignores her. And yet, nothing could be better. Samuel Beckett’s two-person masterpiece, Happy Days, offers a portrait in miniature of companionship at its hyperbolic limit: a couple having only one another, and then hardly that.”

fionashaw3721.jpg

Indeed, the entire two act play is made up mostly of Winnie’s monologue. It is only interupted a few times by a some grunts from her half-dead husband and by a shocking audio/visual fright. Shaw, as Winnie, is literally caught inside a spectacular set of glistening, massive rubble, her body placed dead center of it. Sometimes BAM cheap seats can be awful (especially for an intimately staged production) but because of the mammoth set and the hugeness of her performance, it really made no difference to be so far up there. In fact, being able to view over the whole thing was rather exciting (if not a little vertigo-inducing).

The production did everything my English-major-self remembers what a Beckett play should do—make you laugh, shock you, bore you, and leave you feeling as though life really does have no meaning. While optimism is a pretty strong drug, especially when it enables you to make friends with the objects in your large bag, it ultimately will not save you from a life of pushing up that rock over and over again. Or in this case, it won’t save you from being pushed underneath the rock (a clever play off Camus’s Myth of Sisyphus).

Happy Days is a critique on routine, a satire on a very English way of life. Beckett creates, within a dystopian landscape, a domestic anti-bliss made up of a nutty, babbling wife (complete with lipstick and proper hat) and a slag of a husband who grumbles answers when he occasionally chooses to acknowledge her. I was not surprised that he wrote this not in French (his most common writing tongue), but in English.

Beckett, born an Irishman (like his good friend Joyce), is an expatriate who lived in Paris.  His work–hilarious, black, minimal, and pretty desolate–is often looped into the Absurdist and Existentialist movements of the 1940’s and 50’s that came out of France. As I just mentioned, his seminal Waiting for Godot was written in French; I think any class on French Existentialism will teach the text or at least allude to it strongly. Happy Days, howver, was written after the heyday of the Sartre days (and just before the advent of the Post-Structurlists) in 1960. It is not, then, technically an Existentialist play. I saw it a piece that marries the absurdist tradition to an Orwellian British satirical sensibility (as in his early, pre-1984 work such as Keep The Aspidistra Flying and Down and Out in London and Paris). Winnie is a pathetic British housewife character as much as she is indicative of our suffering as humans as a whole.

Happy Days has a haunting, desolate bite that I won’t forget for awhile. While the second act finds Winnie buried up to her head (no longer having the free arms she did in the first act), she remains optimistic–and chatty. “Oh it’s a going to be a Happy Day” she exclaims! Day and night, though, are concepts which one speaks of “in the old style,” our Winnie tells us. Clearly, in this post apocalyptic landscape, day and night no longer function as markers of human routine. Winnie might not see it, but we do: time is the enemy, boredom is the thing to escape, and madness, while ultimately inevitable, is possible to be put off as long as you can keep pretending you’re living the “happy days.” A perfectly timed metaphor, written just before the world started to explode both culturally and politically in the mid 1960’s.

Intense stuff, indeed!

Later in the weekend, I went to MOMA with another friend, a friend who was visiting from out of town. I love when friends visit because it kicks me in the ass to go do shit in the city that I might not do if they weren’t in New York. I didn’t get a whole lot of time to see the Martin Puryear show, a small retrospective of the Post Minimalist sculptor, but the quote that opened the show affected me profoundly. The idea “where opposed ideas can be held in a tense coexistent” really stood out for me in my post-Beckett weekend.

How easy and yet how hard to understand that one can be utterly despondent and optimistic at the same time? Do either of these states, contradicting each other while coexisting, mean anything? Well, “coherence is not the same as resolution,” goes this quote. And I agree. I’m not sure what to make of the absurdity of existence, still. Twenty five years, nine of them years as a Beckett fan, and I’m still not sure.

But damn, it’s pretty nice live in NYC where I can be reminded of the struggle….in both art and in life.

Categories: Uncategorized

The Beatles

January 11, 2008 · 2 Comments

You know, I think my favorite Beatles song might actually be “Day Tripper.” At least today. It’s that guitar, man!

If you are a Beatles fan, you can chart your life in favorite Beatles songs, year by year. For example:

1993:  In My Life

As a little kid, my dad started crying listening to this song after his mother died. I never forgot that. This was also the time in my life when I read all those Beatles bios and tell-alls and shit.

1994: You’ve Got to Hide Your Love Away

This is where Lennon apes Dylan. At 14, just as I was just falling in love with Dylan, I started to really dig this song.

1995: A Day in the Life 

Tori Amos pointed out that it is the perfect marriage of McCartney and Lennon and since she was God(dess) at the time, I believed her.

1996: Eleanor Rigby

I had just started to wear black and hang out in cemetaries.

1997: While My Guitar Gently Weeps

I developed a crush on George and decided his songs were actually the best ones. I also had a real life crush on a boy named Zach who was into Eastern Religion. I think that’s where this stemmed from. 

But I recant this now: Lennon/McCartney songs (the ones truly written together) are the best ones. Duh. It’s still a really pretty tune, though and without George’s Indian fetish, we would not have the Brian Jonestown Massacre, right? Yes, so this one, along with “Something,” certainly George’s best.

1998: Dear Prudence.

It was actually the Siouxsie and the Banshees cover that made me love this one. Again, still actively Goth at time.

1999: Tomorrow Never Knows

Experimentation phase.

2000: Polythene Pam

There was this awful girl in my senior class named Linda. She thought she was really hot (and so did a bunch of boys who played lacrosse and shared a single cigarette between like 8 dudes in the parking lot before practice); however, my friend and I realized that despite all the work she put into this “hotness,” she could do nothing about her mannish shoulders. She was built like a man. Hence we called her Polythene Pam: “she’s so good lookin but she looks like a man.”

2001: Drive My Car

As one of the only girls with a car on my floor in freshman year, I did a lot of driving people around. I totally sympathized with this song.

2002-2003: Julia 

I had just started to get really into Cat Power and Elliot Smith at the time. Consequently, “Julia” also came on a lot on my cd player during those late nights after the parties when I’d come home alone to my dorm and fall asleep to songs about loss.

2004: Rock & Roll Music (a cover)

This was the height of my love of garage rock (along with every other fuck who went to Lit on Thursday nights and Bar 13 on Sunday nights in NYC), so I guess it makes sense.  This works well at parties right after “Psychotic Reaction” by the Count Five 

2005:Helter Skelter

This was around the same time I decided Led Zep ain’t that awful.

2006: Across the Universe

“Nothing’s gonna change my world”…very soothing to listen to after a rough day at the office.

Categories: Uncategorized

Some thoughts from another feisty redhead

January 9, 2008 · Leave a Comment

“Her argument against Obama now boils down to an argument against idealism, which is probably the lowest and most unlikely point to which any Clinton could sink. The people from Hope are arguing against hope.

At her victory party, Hillary was like the heroine of a Lifetime movie, a woman in peril who manages to triumph. Saying that her heart was full, she sounded the feminist anthem: ‘I found my own voice.’”  -Maureen Dowd 

Read Mo’s kickass Op Ed: http://www.nytimes.com/2008/01/09/opinion/08dowd.html?pagewanted=1&_r=2&hp

Meanwhile let me suggest a fun work diversion: if you can find time, do simultaneously listen/watch Hillary’s breakdown with “I’m Not Crying” by Flight of the Concords. It’s magical!

Categories: Uncategorized

writers are music dorks too

January 4, 2008 · Leave a Comment

1. http://www.largeheartedboy.com/blog/archive/book_notes/

This is the best website ever. Ok, maybe not ever. But close. It shows how most writers are also total music dorks, a fact which makes me feel not feel quite so alone in this world!

2. Give it up for Obama in Iowa. So for reasons why Obama is our best answer, read Andrew Sullivan here:

http://www.theatlantic.com/doc/200712/obama

3.  I have finally overcome my issues with Sufjan Stevens and now I keep listening OVER AND OVER AGAIN to his sweet little hippie voice sing about crying and kissing children and making mistakes and escaping himself and praying over sick people. This event at Southpaw changed it all for me. Listen up! And check out his cute hat: http://www.pen.org/viewmedia.php/prmMID/1857/prmID/1502

4. Speaking of Atlantic Monthly (which I usually love), well, want to read the meanest, most bitter review ever of any book, let alone a book that is actually quite brilliant? http://www.theatlantic.com/doc/200712/vietnam

Ouch! Whatever. It won the fucking National Book Award, so I don’t think Denis Johnson has anything to worry about.  Also, never trust a review that begins “Having read nothing by Denis Johnson except Tree of Smoke”….who hasn’t fucking read Jesus’ Son???? It’s like 100 pages.  Can’t you just read it on your lunch break for a few days?  You’re a fucking book reviewer!

Categories: Uncategorized