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Monthly Archives: May 2018

Trumpetry and the Damning Defense of Roseanne

31 Thursday May 2018

Posted by danielwalldammit in Politics

≈ 8 Comments

Tags

Bill Maher, Deplorables, Disabilities, Donald Trump, Racism, Rhetoric, Roseanne Barr, Serge Kovaleski, Valerie Jarrett

I’m often amused at the things that people say in defense of Donald Trump and his supporters. Okay, I’m as likely to be outraged as I am amused, and often I manage to be both, but for the moment, let’s concentrate on the amusing part.

Plenty of time to be outraged later. We get new reasons with each passing moment of the Orange Reich!

One of the most amusing twists in the defending-Donald game has always been the angle many deplorables took on the Serge Kovaleski incident. This would be the disabled reporter that Donald Trump once mocked at one of his rallies. Trump supporters have long since settled on a standard line of defense against this criticism. They will say that Trump’s decision to effect the speech and physical demeanor of a disabled person is actually a common bit that he runs on lots of people. They can even provide evidence for this in the form of several video clips in which Donald Trump mocks a variety of people in a similar way. So, the argument runs that Trump was not really mocking Kovaleski for being handicapped, because he actually mocks lots of people (including those who don’t appear to be handicapped) by pretending that they are handicapped.

…which would of course make him as juvenile as he is cruel.

This whole line of reasoning is a REALLY fascinating defense of Trump, because it amounts to the claim that Donald Trump actually makes fun of disabled people all the time. How this is supposed to prove he wasn’t mocking the particular individual, Serge Kovaleski, for being disabled is beyond me, though perhaps the notion here is that Donald Trump wasn’t consciously making fun of Serge for being disabled, because Donald Trump wouldn’t have been happy to mock him in the same way whether he was disabled or not.

It’s a particularly damning defense.

Seriously, how pathetic is that? That the best thing you can think to say about a man is that he wasn’t making fun of a particular disabled person, because he actually does that all the time.

…also, there is the whole matter of Donald telling us we should see the man before embarking on the whole charade. A reasonable person might take that as an indication that the coming display was a bit more than a coincidence, that it was perhaps meant to illustrate something about his actual demeanor of the person in question. A reasonable person might take it that way.

Not a deplorable.

But anyway, I really do think the most amusing thing about this really is the notion that it’s somehow better if this is a standard act in Trump’s bag of tricks. Of course this is also one of the most sad things about Trump and the politics of trumpetry; the normalization of things that ought to be outrageous. This particular defense doesn’t just ask us to let the whole thing go, it asks us to think of it as a normal thing, an acceptable mode of public engagement for a major politician.

…and thus the movement to make America great again serves in practice to make it a more pathetic place.

***

The nation recently got a whole new dose of that pathetic quality from Roseanne Barr, who, as we all know by now, recently chose to mock an advisor from the Obama administration in racist terms. Valerie Jarrett had her time in the cross-hairs of right wing hacks quite some time ago, and apparently, she is still a favorite target abuse among those whose pornography consists of mocking all things connected to Obama. At any rate, Roseanne chose to suggest that Jarrett was the product of a union between the Planet of the Apes and the Muslim Brotherhood.

There is of course a lot wrong with Roseanne’s joke, but the thing that most seem to have focused on was the racist imagery. The equation of African-Americans with apes has long been one of the major themes of racism, and that theme flourished in political-pornography aimed at the Obama family. Given Jarrett’s own African-American ancestry, it’s not hard to see where Roseanne was going with this.

We all know the fall-out by now. Barr’s show has been cancelled. She apologized. She also made excuses, and she now seems to believe she’s been mistreated. And so on…

One of the more pathetic angles in this already pathetic story is the effort to equate Roseanne’s behavior with that of various left-wing personalities. Much like the right wing response to the Kovaleski incident, those attempting to defend Roseanne show little but their own lack of concern with the very themes in question.

Several have tried pointing to Cathy Griffin, asking why the left didn’t condemn her for posing with a fake severed head. Why doesn’t this work? Among other things, because a lot of people on the left really did condemn Griffin’s gag. Right wingers keep pretending this isn’t so, but it is.

Then of course, there are a variety of people (among them Bill Maher, Keith Olbermann, and Joy Behar) who have said horribly mean things about Donald Trump over the years. Bill Maher, in particular, has been singled out, because he has apparently compared Donald Trump to an Orangutan. No matter how you slice this, it still comes up as pathetic whataboutism, but what’s particularly pathetic about this argument is that it misses the point. Calling someone an orangutan is rude, but calling an African-American woman an ape carries specific racist overtones. Does that seem like a double standard? Perhaps it does if you just ignore the entire history of racism. At the end the day, this argument proves little except that Roseanne’s defenders (who are at this point essentially Trump’s defenders) do not see racism as a problem. To them, Roseanne’s gaff was simply rudeness, nothing more.

Now add Samantha Bee into this mix. What did she do? She called Ivanka Trump a ‘c*nt’. This is at least a little bit more of a concern insofar as that particular term is perhaps the most derogatory insult you can use in American English, and that fact alone suggests use of the term may not be the most helpful thing someone can do if they care about the status of women in American society. Still, does it rise to the level of toxicity one finds in racial stereotypes equating African-Americans with apes? No. Not even close. Once again, the argument proves very little, other than that those fielding it don’t really have a problem with racist imagery at all. To them, this is a battle over rudeness, which is why the efforts they keep making to field a charge of hypocrisy against those on the left focus on rudeness more than social justice. They keep trying to accuse the left of violating its own principles, but they consistently mistake what those princples happen to be.

Of course this is just another example of the meta-hypocrisy shuffle. The right wing is fielding the charge of hypocrisy in order to cover up their own hypocrisy. While we debate whether or not any particular comic can say this or that rude thing, Trump’s defenders celebrate him for that very quality.

…but perhaps, this is fitting after all.

The king (and that is what Trump is to his supporters, not a President, a king) is entitled to certain privileges. Perhaps being able to insult people as he sees fit is, in the mind of the deplorables, simply one of the great privileges to which a man of his stature is entitled. What makes Donald Trump great in their eyes is precisely what would make anyone else terrible.

There are many reasons to reject the kind of rhetoric, not the least of them being the obvious foibles of what aboutism, or false equivalence, or the tu quoque fallacy, or any number of idiotic twists in this hollow game. Yet, the most disturbing thing about these arguments would remain just how little appreciation those making these arguments seem to show for the toxic impact of racism in America. Each of these defenses shows us mainly that those making them do NOT see racism as a serious problem.

…which is why I say this is a damning defense of Roseanne.

Of course the real question here is who will be damned by it? Those making these arguments reveal their own racism in making them, but if they succeed in transforming the issue into one of mere rudeness, then the public at large loses. If these idiots succeed, then we damn ourselves to a world in which Roseanne’s joke is just another form of edgy comedy.

It isn’t!

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Knife to a Gun Fight?

27 Sunday May 2018

Posted by danielwalldammit in Minis

≈ 4 Comments

Tags

Great Lines, Guns, Knife to a Gun Fight, Knives, Movie Quotes, Movies, Quotes, Rhetoric, The Untouchables

“Never bring a knife to a gunfight!”

It really is a bad-ass line. It’s the kind of thing you’d say to put someone else right in line. The line comes with a few variations, of course, but all of them just smack of really great smack-downatude. You think about saying that line, and you can practically hear the people around you going ‘booom!’ as the object of your derision shrinks in abject humiliation.

I wonder how many people remember where this line comes from?

…or how the scene worked out in the end?

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An Uncommon Rosie

18 Friday May 2018

Posted by danielwalldammit in Alaska, History, Politics, Uncommonday

≈ 3 Comments

Tags

Alaska Natives, Anachorage Museum, Art, civil Rights, Decolonization, Elizabeth Peratrovich, History, Museum, Unsettled

Rosie - Copy2Rosie the Riveter is one of those proverbial gifts that just keeps on giving. So, was Elizabeth Peratrovich. She would have been a contemporary of the many women who inspired this icon, which makes it just a little more interesting to see her standing in here for the women (whose real name was Naomi Parker) most of us envision when thinking about Rosie. This poster is part of the Unsettled exhibition currently showing at the Anchorage Museum.

Elizabeth was a major figure in the movement to combat discrimination against Alaska Natives in the 1940s. She is memorialized every February 16th, the day in which the Alaska Territorial Government signed the Anti-discrimination Act 0f 1945 into law. You can learn more about her work on civil rights at Alaskool.org. The quote featured in this poster is commonly thought to have been part of her testimony at the Alaska Territorial Legislature during hearings over the Anti-Discrimination Act. It isn’t entirely clear whether or not these were her exact words, though it probably says something about her actual testimony that it has become something of a legend in itself. The wit would certainly be right at home with other things that Elizabeth clearly did say.

Seriously, the woman kicked ass!

Apayo Moore, the artist behind this particular piece has the following to say bout it:

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Shhhhhhh…

09 Wednesday May 2018

Posted by danielwalldammit in Movies

≈ 7 Comments

Tags

A Quiet Place, Context, Emily Blunt, Film, Horror, John Krasinski, Movies, Silence, Terror

MV5BMjI0MDMzNTQ0M15BMl5BanBnXkFtZTgwMTM5NzM3NDM@._V1_SY1000_CR0,0,674,1000_AL_You learn pretty quickly how things work in A Quiet Place. Make a sound and you just may die of it.

Why?

For reasons left largely unexplained, the world has been overrun by creatures that quickly chase down anything making a sound and kill it. They are quick, powerful, seemingly indestructible, and completely without mercy. To survive in this world, one must be utterly silent, at nearly all times. A momentary lapse of discipline will bring a swift and cruel death.

The best part of this premise is that it reaches right through the screen and into the movie theater. Watching a family struggle to survive on screen in this world shaped by monsters, the audience itself struggles to maintain its own silence. It’s difficult. It’s especially difficult for a room full of people still settling into their seats and trying to enjoy their concessions. But we learn the cost of noise early in this film, and nobody wants to be the one who spoils the soundscape for the rest of us. The silence on screen demands silence from its audience. Every candy wrapper threatens to ruin the experience. Every sip from a soda pop  threatens to bring the monsters pouncing. So, we all try to be quiet, and we fail miserably. The whole theater is filled with sound, and with people trying desperately not to make those sounds.

As we all adjust to the need for silence, the restlessness of the audience comes excruciating. The teenagers in the row beside me keep moving about in their seats. They are trying to hold still, but they just haven’t found a comfortable position yet, and the results are excruciating. The sound of a straw sliding through a plastic lid somewhere in the room echoes through the whole theater. We can all hear that straw push through the ice and into the corner of the cup. Lacking a straw, myself, I quickly come to realize how much the ice in my own cup shifts with every drink I take. Taking those final gulps, I feel almost as though I’ve betrayed the whole back section of the theater. Someone down in the front is arguing with his neighbor. His words are soft, but we can all hear him; “No, you watch it!” I amazed this idiot hasn’t gotten us all killed. A woman behind me is extra startled by events on screen. She can’t help but vocalize her distress to her companions. It’s risky, or at least annoying, but who could blame her? That much drama demands an outlet! It’s an outlet that would get her killed up on the screen, but it’s understandable in itself, if also more than a little distressing to a room full of people trying desperately to be quiet.

…which is the genius behind this film. The premise doesn’t just threaten us with monsters; it transforms our own nature into a source of terror. It turns the focus of horror onto the very human quality that is our own noisy nature. We all make sounds. We bang on stuff. We cause our seats to creak, and the ground crackles beneath our feet as we walk. Every once in awhile, we want to say something, even to say it loudly. All of this is perfectly normal until you walk into a theater to watch THIS movie. Then it becomes terrifying. Most anybody can be quiet for little awhile, but can you live your whole life in silence? I know a theater in Anchorage full of people who didn’t manage it for an hour and a half. Oh sure, we achieved a modicum of silence at about the half way point, but not the kind of silence it would have taken to survive in the world up on that screen. Had these monsters entered our own world, I’m not sure any of us would have made it to the third act.

The woman behind me at least would have been toast!

It’s tempting to see political analogies in this story-line. Some have seen it as direct commentary on the present state of American politics. Both John Krasinski (who directed and star in the film) and his costar Emily Blunt have denied that was the original idea. Instead, they suggest the point was to say something about families.

Whatever messages the film-makers might have intended to bundle-up in this movie, it seems easy enough to understand why people would see this film in political terms. The pressure to remain silent is something just about everyone has experienced in one form or another. For most of us, that pressure has been limited to fears of looking foolish, losing friends, or perhaps some reasonable fear that one could lose a job. Others have lived through the very real terror that speaking up could cost them their lives. Perhaps, their loved ones too! The premise here thus has the power to resonate with all manner of audiences well across the political spectrum. Whether the threat was trivial or genuinely hazardous, most (perhaps all) of us can recall the experience of stifling our own voice because of someone out there. In A Quiet Place that message becomes any sound whatsoever and that someone out there becomes a monster ready to rip us apart. It’s a metaphor easily mapped onto all manner of real world problems.

You can really feel the power of this theme in the rare moments when character do speak in A Quiet Place. The transgression of actual sound is shocking; the sense of liberation is powerful. When someone actually does shout in this film, it comes across as a  supreme act of defiance. The character may have been shouting at a monster; but any one of us could well imagine the freedom to finally shout something at somebody or something in our lives.

…preferably without being ripped apart as a result.

Okay, so yes, I liked this movie

***

Also, the ending? The very last moment of this film?

Fucking brilliant!

 

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Poe Appropriates a Proposal

07 Monday May 2018

Posted by danielwalldammit in Movies, Native American Themes

≈ 1 Comment

Tags

Alaska Natives, Betty White, Cultural Appropriation, Dance, Film, Get Low, Haida, Sandra Bullock, The Proposal

I will admit that I enjoyed the Proposal, but I’m not so sure I liked it.

Well that makes sense to me at any rate. So anyway…

There is one scene in this movie that sits in my memory like a stone in my shoe. I just don’t know what to make of it. It’s this one:

Don’t get me wrong, it ain’t no hangin’ matter as far as I’m concerned, but I have to wonder. Didn’t anybody involved in this production question the wisdom of having two women perform other people’s music and dance? First Betty White pretends to carry out a Haida ritual, adopting the stilted speech patterns of native movie characters for the entire scene. Tasked with joining her in the performance, Sandra Bullock ends up channeling Lil Jon and the East Side Boys. So, one of these women engages in faux native spirituality and the other effectively turns in a rap performance. It’s all at least a little appropriative.

It’s also more than a little cringe-worthy.

To me anyway.

I am admittedly prone to cringitude.

It’s a light comedy anyway, so I guess I shouldn’t expect them to take these issues any more seriously than the rest of the subject matter appearing in the movie. Still, I can’t help but shake my head at the apparent cluelessness.

…but then I wonder!

I come back to my original question; didn’t somebody question the wisdom of this scene? Wasn’t somebody aware that it’s more than a little odd to have two white women finding their bliss in the performance of other people’s music, dance, and ceremony. Wasn’t someone on set at least cognizant of the issue?

And then I wonder, what if someone was?

Could that have been the point?

Quite unexpectedly, the spirit of Nathan Poe haunts this scene!

The whole performance is so completely over the top, I find myself wondering if it isn’t an intentional parody of precisely the kind appropriation I’ve been talking about. Which would make it kinda cool after all.

…I still cringe.

***

I’ve looked around a bit to see if some movie reviewers can shed light on the scene, and I can’t say that I’ve found much. Newspaper Rock comments on the matter pretty directly, but he doesn’t seem to have any extra information on the production itself. The late Roger Ebert seemed perplexed by the scene, particularly insofar as it related to the Alaskan sunrise. Most reviewers seemed to skip the subject altogether. Here is an interesting blog post on the house where they filmed the movie. (I know, that’s a little left of the actual topic here, but it’s just kinda cool.) The Orlando Sentinel quotes Betty White as saying that she had to learn an ‘Eskimo’ song for the film. The Daily News has her explaining that the language was actually Tlingit. I can’t say that any of this sheds much light on the matter, but that’s about enough of this.

Ah well!

My girlfriend will be calling me ‘Danno Downer” after she reads this.

Guilty as charged.

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