Tuesday, May 1, 2012

Women Second


WR Leader Danielle Smith and Premier Alison Redford

                I can disclaim away, citing my revulsion for male chauvinism, the long line of influential females in my life, my cheerleading of women’s rights, but it won’t matter, someone will take exception to my message or my tone—because I’m a man writing about women.
                And that’s sort of my point, see.
                For my readers outside the confines of Alberta, you may have noted that my dear adoptive province recently had itself an election. It was quite a heated thing, and also one of the more fascinating we’ve seen in this province in years. Don’t let the result (yet another Progressive Conservative majority, preserving a forty-one year old dynasty) belie the drama—it was something to see. The upstart, ultra-conservative Wild Rose Party under Danielle Smith putting pressure on the incumbent just plain conservative PC party under new “red Tory” Premier Alison Redford; as well, the also ran Liberals, NDP, Alberta Party, and (in my riding alone!) Alberta Separatist Party trying their darndest to show that this province isn’t completely mired in conservatism. Ineffectively, it seems, especially because so many of those of us who ideologically lean to the left strategically voted, that is, held our noses, apologized to our gods, and voted PC for fear of the predications of a Wild Rose majority entrenching us in such backwards backwoods philosophies that they would make Stephen Harper giddy with Reformer glee.
                Instead, the PCs landed yet another majority and the Wild Rose were limited to a mere 17 seats, making them the Official Opposition, but hardly with a vice-like grip on the throat of Redford’s party. The dust has settled, we look to the future, some of us wondering just how Ms. Redford will balance her centralist leanings and left support with the traditional conservatives in her party and in her support base. It remains to be seen.
                That’s all back-story. The point of fact is that we have our first female premier elected in Alberta with the first female leader of the official opposition. Rah, womanhood!
                However, this seems to cause some to feel that to criticize their politics is to criticize their gender, in effect implying that because these are female politicians, this should make them immune to criticism, just as if someone were to be a politician whose policies we disagree with, but were Muslim or Native or a person with a disability, they should receive special exception to any criticisms of said policy (he said, staring at the well-greased slope atop which he was perched).
                Although I am delighted to have a female premier and a female head of the double O, I see them as politicians first, women second. Smith has expressed positions on education, health care, and the environment that I find so disturbing she may be the only politician I hold in the same elite company of yucky as our current prime minister. Redford, whom I respect much more than her predecessors, and most of those who she defeated in the PC leadership race, still holds up the tarsands as the solution to the American energy crisis, still supports the building of questionable pipelines—she’s still a capitalist conservative, and I ain’t. I am bothered that my questioning any policies leads in turn to me being questioned for judging them based on which way they face when they pee.
                Analogy: I like Chris Rock, I think he’s a very funny guy. However, so much of his schtick is “black people.” His humour involves pointing out that he is black, comparing white people to blacks, and often the self-deprecation of black people or the send-up of the starched white. I get tired of that. I like Chris Rock the comedian, and yet it is required to always provide the qualifier that he is Chris Rock, the black comedian.
                So it is apparently going with feminism. Here we are, a half century after the Women’s Liberation Movement began, and how much ground have we covered when a man talking critically about a woman’s ideas (that is, not the fact that she is a woman with ideas) is called a chauvinist? I mean, what sort of equality have we created when we put them in special bubbles—does equality not come with the bad as well as the good? In constantly pointing out that this is a woman premier and a woman leader of the opposition, are we not, devaluing them? Are we not enabling those who would see difference as a disability, rather than vive-ing it?
                Analogy: I love hockey, and this year’s Stanley Cup Playoffs are proving to be one of the most boring set of goonfests in recent memory. I like finsesse hockey, hockey where capable speedsters weave their way down the ice in a manner that is almost artistic. I prefer a beautifully-calculated play over a bone-crushing hit. I enjoy elite women’s hockey, I have a friend who has represented us on the Women’s Olympic Hockey Team since the sport was picked up for Nagano. And yet, their game must always be qualified with “women’s style hockey,” as if it’s something of a lesser sport because there’s finesse, athleticism, and a much lesser amount of physical play (though not none). It seems we’re spending as much time providing exceptions as celebrating difference here.
                Because I am a man, I may be questioned and criticized for exercising my right to question and criticize. Men commenting on women’s issues are on shaky ground indeed, but perhaps that itself is part of the issue, that we still keep so much of that territory segregated by gender (or race, religion, or what have you). I have always attested that I am a man raised by women, that the female figures in my life are powerful people who have shaped my thinking and led me to possess temperaments I don’t see paralleled by some of my male peers. Yet, criticism of my right to comment persists.
                I am interested and a little worried to see what our new premier does—as premier. Not as a woman. I’m concerned that our opposition leader will gain support and present ideas to Albertans that I find threatening—because they’re threatening policies, not because it’s a woman presenting them. I hope to tune out any commentary on gender influencing policy, and to simply look at policy alone.
                But what do I know? I’m only a man. (And white, and middle-class, middle-aged . . .)

Tuesday, April 3, 2012

That Song Makes Me Feel Good

     Although I'll do it until I've lost my mind, it's often hard to argue music due to its subjectivity. One thing everyone can agree on is we all have this sacred collection of songs that make us happy. They might not necessarily be by our favourite bands, they may or may not have nostalgic connotations, or they just might have that je ne sais quoi. These are songs we play because they always put us in a good mood. I never tire of my group .
     While sitting in a downtown coffee shop at 5:30 this morning, I scrawled a list in my journal faster than I could out-think myself. I'd love to hear yours.

1. "Glasgow Kiss" by John Petrucci. If I had an anthem, this would be it. Guitar instrumental I sing to myself when bored.
http://www.youtube.com/watch?v=F8ssuW06eoA

2. "America" Yes version of the Simon and Garfunkel classic.
http://www.youtube.com/watch?v=xdsUPaIueUw

3. "Alive" by Pearl Jam. I will never tire of thee, Stone Gossard opening.
http://www.youtube.com/watch?v=VbhsYC4gKy4

4. "A Quick One While He's Away" by The Who, though I'm happy to hear it as performed by Green Day or My Morning Jacket.
http://www.youtube.com/watch?v=C1ku7QNRudg

5. "Stadium Love" by Metric.
http://www.youtube.com/watch?v=6N4a7RX5x7E&ob=av2e

6. "The Cave" by Mumford and Sons.
http://www.youtube.com/watch?v=sJcvLyoAAnk

7. "Money For Nothing" by Dire Straits. That riff, that riff.
http://www.youtube.com/watch?v=dlPjxz4LGak

8. "Big Rock" by Feeding Like Butterflies, with any of my Good People screaming the "Down to Jericho" part. And it's really hard to find online.

9. "Run Runaway" by Slade. At some point in 1986, I decided that electric guitar was my favourite sound in the whole world.
http://www.youtube.com/watch?v=CJwTvBexyJM

10. "Baba O'Riley" by the Who.
http://www.youtube.com/watch?v=_8_Pf144Qmg&feature=fvst

11. "Kill My Soul" by The Catherine Wheel. I drum it on my steering wheel.

12. Symphony #9 ("Ode to Joy") by Ludwig van Beethoven. Arguably the best piece of music ever, I learned years after deciding that that Mom played it when she married Dad.

13. "Grace, Too" by the Tragically Hip.
http://www.youtube.com/watch?v=eBhDqir7UpA

14. "Army" by Ben Folds.
http://www.youtube.com/watch?v=w-7xb63OBHc

15. "J. A. R." by Green Day.
http://www.youtube.com/watch?v=Na1c-9bm8NU

16. "Not Ready to Go" by the Trews. A song that always makes me think of the girl who would one day become my wife.
http://www.youtube.com/watch?v=fKKYhBYQ2yE

17. "Blind Faith" by Dream Theater.
http://www.youtube.com/watch?v=Kde6bb3ULyc

18. "Get Back" by the Beatles.
http://www.youtube.com/watch?v=-XHgP2rJZhM&feature=related

19. "Rockin' In the Free World" by Neil Young. When I decided I liked head-banging.
http://www.youtube.com/watch?v=bDzL_WU3mmE&feature=related

20. "Alchemy" by Five Minute Miracle. Old Saskatoon band. Fifteen years later I still find myself whistling this riff.

Sunday, April 1, 2012

Two Games and One Tattoo: Three Books


I’ll start with a disclaimer. I am not one of those annoying people who intentionally rags on what is popular. I know that glancing back through my posts it might seem that way, but it’s not. What appears below is me responding to some encounters with popular literature, and for once not trying to have my finger on the pulse.

            I don’t like not liking books. I feel guilty about it. I worry so much about dipping literacy rates that I want to believe that any reading is good reading, but I don’t always succeed.
            It’s a funny line we walk, we who work with and advocate for the written word. On one side we have our desire for people, especially kids, to be reading. On the other, our worry about the quality of what they are reading, that it is challenging. If I were a little higher up the ladder of academic pedagogy, I might be more insistent that people read literature, as opposed to fluff.

                FLUFF: Reading that does not challenge the reader’s ability. At or below the reader’s comfort level. Books found at supermarket checkouts, books that take one or two days to get through. You know when you finish a book and tell someone that it “really makes you think”? These don’t. It should be noted that all readers read fluff at some point, whether constantly, as a break, accidentally, or out of curiosity or perhaps even masochism. I read fluff. My fluff of choice is Viking fiction and the odd graphic novel.

           I like to know what the kids are reading. I like to know what the adults are reading. When it’s a title on lips and its outside the halls of academia, I like to see what all the fuss is about. I don’t like to think I’m such a stuffy critic of literature that I can’t appreciate a yarn for a yarn when it doesn’t exactly fit my high-fallootin’ expectations for quality literature. Curiosity led me to read the outstanding Harry Potter series, the transcendent Life of Pi, the challenging (given its audience) The Giver, and the fluffy Da Vinci Code. Sadly, despite the cries of my students some years ago, I could never bring myself to read Twilight, and I’m pretty sure that my life is no poorer for the oversight.
           Lately, I’ve had three encounters with popular books, books made all the more popular by their recent film connections. In each case, the book is a part of a series, where, maddeningly, advocates tell me that you just need to stick it out after the first one. Who does that? As I told a colleague recently, that’s like marrying someone after they punch you in the face on the first date.
           One of these books (A Clash of Kings) made me wish I was fifteen years younger. I won’t read its sequels, I think. One of these books (The Girl with the Dragon Tattoo) made me think that people are easily duped. I will likely read the second book, though, when I’m feeling fluffy. One of these books (The Hunger Games) made me angry. Seething, spitting mad. Let’s start there.

1. The Hunger Games by Suzanne Collins
                Whenever I hear this book mentioned, whenever I hear talk of its unbelievably successful film adaptation—and keep in mind I work in a school so I hear both a lot—I want to grab the zealot and slap him. I get violent. I. Hated. This. Book.


a)      I once read a critic who said—ironically, I think it was  about a book I liked—that it’s good to hate a book now and again. That it’s cleansing. If so, then I’m downright disinfected.
b)      You may ask why I didn’t just quit reading it. I rarely drop a book (I admit, I did with #3 on this list, but special circumstances). I thought it would somehow redeem itself in the end—Harry Potter’s first book never truly cornered me until the jigsaw came together in the end. I don’t like to quit.

I went in really wanting to like this book. As with The Giver by Lois Lowry or Holes by Louis Sachar, I wanted to believe that them young ‘uns were on to something. I really wanted to see this book be good, and I hate it all the more for being so bad. It could be guilt over being duped.
Often people feel that if you don’t like a kid (or young adult) book, it’s because you expect it to be more than it was intended to be. No, I expect them, that is, the kids, to be more than that book. Excusing a bad book as “just a kids’ book” is to ignore the power of The Outsiders, Anne of Green Gables or the Narnia series. Kids are not stupid, and their books shouldn’t be either.
This is a bad book. So, so, so bad. And not done poorly, actively bad. Criminal. Vile. It’s a video game, a plot, a series of action-oriented events with next to no message sent through.
BOOM—and then—BOOM—and then—BOOM. It’s like listening to a four year old describe a roller coaster. Does the plot have twists? Sure. Do you turn the pages? Sure. Is it well-written with good characterization, clear themes, a good amount of kid-level interest and adult-level behind the scenes (hello Mr. Potter)? No, no, no and hell no.
It’s a bunch of fights. After the fights, they get stuff. Compete properly, and the Gamemasters give them gifts. I honestly was shocked that when Katniss got her first kill she didn’t Level Up. The characters have all the life of a cord of 2X4s. There is no remorse when murder is committed because Collins has copped out and created an easily-slaughtered group of nasty kids for cannon fodder. Three good, twenty-one evil. The potential of exploring twenty-four humans thrust into a “Most Dangerous Game” or Battle Royale scenario is cast off. She doesn’t even toy with making us uneasy by having good people kill other good people. The other kids are, conveniently, rotten little bastards—so we cry out for their blood. This is the novel’s greatest missed opportunity for some significant emotion, for having a real impact. For "makin' ya think."
Mind you, the whole book is a missed opportunity—the opportunity to tell a good and important story, to write a good book.
Alright, enough, I’m ranting. Cleansed, though. Let’s move on to those I feel a tad more conflicted about.

2. The Girl with the Dragon Tattoo by Stieg Larsson
                This is fluff, but like Dan Brown, it’s fairly well-researched fluff. Unlike Dan Brown, it’s well-researched fluff that concentrates more on its characters than pissing off the church and the Masons. Larsson knows his stuff. In the end, though, it’s still supermarket fiction.
There were a lot of variables that got to me. The book’s in translation, so many of the techniques that annoyed me might have worked differently in Swedish. For example, every description resorts to simile: “She jumped like a panther through the door that gaped like an open mouth and landed on her motorcycle which was buzzing like a bee.” It starts with forty pages of of economic history only barely connected to the main plot. It features an uncountable cast, many of whom are unimportant members of the central family, or employees of the magazine. It details Mikael Blomkvist’s every meal, drink, coffee, every character’s outfit, what novel they are reading, what movie they’re watching. Some people like that sort of thing. I found it exhausting—so, yes, it transcends fluff at times—but chacun à son goût.
The strengths of this book are its refreshing setting—all that Scandinavian-ness got me misty for the family in Norway—and of course the Girl, Lisbeth Salander. She’s a well-conceived character, although I think created by using an archetype rather than an original creation. I’ve yet to see either the Swedish or American films, but my guess is she’s better to see than to read, to watch an actor interpret than to have our mind dissect. That’s a problem when we’re talking books.
Her one major character flaw, that is, the flaw her creator has written in to her, is also the greatest flaw of the whole book: her susceptibility to the magic wand in Herr Blomkvist’s pants.
Any woman who encounters him sleeps with him (with one exception that would be a spoiler to indicate). Older woman, much younger woman, married friend with benefits, any woman that encounters this dude can’t seem to rip her clothes off fast enough. Oh, and then there’s the excusing it! Lisbeth needs to show how strong she is, the others only want him for his body, no strings attached. Larsson bombards us with rationale for all the sack-jumping. How much of this is one man’s fantasy? I mean, they’re more liberal in Sweden, but there’s a point. I find Lisbeth’s attachment to Blomkvist beyond the professional as insulting—it would’ve worked better with him as a father figure. In a book that sets up every section with a quote about abused women, presenting a smokescreen of feminism by having significant female characters, in the end, they’re still just objects. Women in this book are nymphomaniacs. If that’s not derogatory enough, a character who is good but is not great is limited by the writer’s need to get in her pants.

3. A Clash of Kings by George R. R. Martin
                I read the first book of the Game of Thrones (yeah, yeah, A Song of Ice and Fire) series ten years or so ago. I don’t recall liking or disliking it, but I think it’s telling enough that I stopped there. Maybe it was just a break from university reading. Then, last year I watched the television series, and it worked its magic on me too. I committed the crime of reading a book after seeing the adaption, but worse. Reading the sequel book after seeing the original a-film.
                I quit pretty quickly. For a series of books, Martin’s tale makes a helluva TV series. The TV series cuts out the excess. Much of his writing strikes me as filler, a need to balance all characters when only a few of them matter much, and the rest we could just get updates on.
                The number of points of view is maddening for this reason. So many characters to keep track of, so many threads of narrative. Many of them are unneeded. After we spend a chapter inside a character’s head (or beside it, this being third person subjective), we wonder if he just wrote the chapter to see what it was like to be inside a certain character’s head, because often nothing is done to advance the narrative. The TV series retains only that which matters and—it irks me to say—is better for it.
                My biggest beef isn’t the series’ fault, it’s with all alternate-world fantasy written by anyone whose first name isn’t J.R.R. I gape in awe at the detail and planning in creating religions, politics, cultures, histories, and I say, “All to cheat.” It’s all done out of a need to control a world rather than work with the one we’ve got. I’ve come to see the so-called High Fantasy as a lazy man’s history.

Two all-encompassers.
A)     Anyone who loves these books tells me that they get better after the first one. Are we that series-mad, has Hollywood ingrained in us a need so desperate for sequels, prequels and (in Spider-Man’s case) requels that it’s now a forgone conclusion that you read beyond a first book even if you didn’t like it? I’ll try something completely new and hope it’s good over something I know was bad, thank you very much.
B)      I’ve heard Hunger Games and Tattoo lauded for their strong female leads, and if you don’t like them you’re a chauvinist by implication. Heard the same thing about Twilight. Bull. I don’t know Twilight, having neither read nor seen, but I have been given a gist, and the gist tells me that the message is a young woman should define herself completely by her boyfriend, do whatever he needs, that he is the scope and the limit of her identity. Wholesome.
I’ve already debunked the feminism in Tattoo. Game of Thrones, like most post-Tolkien nerd-feasts, has men in primary roles and women as a place for these tough guys to put their penises. Even Daenays Targaryan, the one strong female lead, takes her place by opening her legs. As for The Hunger Games’s Katniss, yes, she’s fairly strong and keeps her undies on. But she defines herself by her male relationships (Daddy, Cinna, Haymitch, Gale and especially Peeta). She despises older women and she pities younger girls. She’s not a strong female character, there isn’t anything feminine about her, and I don’t care that the author’s a woman. Katniss is sexless. A few quick alterations, with only a stumble at the contrived “romance” plot, and she could be a boy with no real change in the tale. That sucks. You want to show me a strong female lead, show me a lead that’s female, not one who is “just as strong at boy things.” Show me a woman who is a woman and good at it. Like Lisbeth Salander before she swan-dives into Blomkvist’s sheets.
These books are no victories for feminism. They cloud womanhood by saying a strong woman is one who craves sex like a man, or hunts and shoots like a man.

I will likely read the second Girl book when I need a break. I may someday think Thrones is worth a read, but that’s not likely if the show stays good. As for Collins’ series—girl on fire? I’d burn the whole book. If nothing else, we have reaffirmed that success is not a mark of quality. 

Thursday, March 1, 2012

The Spy Bill


Bill C-30. 
                As much as I’m hating this, I’m loving it. The imposition is almost worth the outcry. Almost.
                Harper’s government introduces a bill wrapped in the guise of a shield against child pornographers and online predators, Public Safety Minister Vic Toews declares in an oh-so-Conservative absolute: “either you’re with us, or you're with the child pornographers,” eighty million taxpayer dollars are earmarked for this project—to pay for what, no one can quite say, and those of us who despise the practices of this arrogant and corrupt government relish the outcry.
                For once, it appears Canadians are united. Olympic hockey and Bill C-30.
                Since forming an under-voted majority eight months ago, the Harper government has unleashed a flurry of mean-spirited, uncompromising and, (I’ll give ‘em this one), totally foreseen bills. They’ve limited debate, refused to respond to opposition (or the Opposition). I mean, why should they? They have a majority, and it’s not like a this is a democracy or anything. They’ve lashed out at any criticism with matter-clouding.
                Now, in the grandest show of hypocrisy, they’re letting you have your guns back and burning all gun records in the spirit of liberty, but they want access to your hard drives in the spirit of protecting your children. Freedom here, fascism there. Any of you who slapped my kids in the face with your wallets by voting for this party care to explain the schizophrenia to me?
                All defenses are hogwash. Giving the police full access to our online activity without needing a warrant is a Big Brother move, period. On Facebook I likened it to throwing a spike strip across the #1 Highway in order to stop speeders.
                I have to admit that I’ve learned to begrudgingly respect Harperco’s methods in appearing like a party without clinging to any ideological stances. Since the formation of his Progressive Conservative / Reform / Canadian Alliance coalition, Harper has striven to prevent another division of the right packaging all policy in a rhetoric of apparent “goodness for all Canadians.” The power has been in what they don’t say.
                He’s referred to his Reformer days—days where he took out newspaper ads attacking gay marriage, and railed against abortion—yet has not refuted that he once held these beliefs. He has said he will not renew debate over gay marriage or abortion, but he hasn’t openly endorsed or attacked them. It’s clever.
                Evil, but clever.
                People who know who he once was vote for his party, and they think he’s a Christian moralist forced into politics. True Conservatives vote for the party because they believe it will put money in their pockets, and that’s their only moral. Both groups feel he represents them first. He refutes neither, by implication backing both (in something of a contradiction). He has a majority (well, because we have a system that misrepresents elected MPs when considering number of votes, but also) because all Conservative policy has become grey.
When something as nasty as Bill C-30 is unleashed, they reword and repackage it, hiding the intrusive and playing up the protective. They won’t be honest about what they’re trying to do, but this time we haven’t been fooled, and it’s damage control. I’ll come to what good it’s going to do in a moment.
Why would they want this information? Well, pardon my cynicism, but during the spring campaign, Harper staffers refused people entrance to Conservative rallies because the individuals turned away were linked to the Liberal and NDP parties. How did the Cons know this? They’d been trolling people’s Facebook and Twitter pages, of course. True, if you want something to remain private, don’t put it on Facebook, but what sort of democracy is it if our government (or potential government) searches every corner of the Internet to ferret out dissenting opinions rather than face them head on? Mind you, what sort of government commits a crime in providing itself secret election funding, and wins re-election? What sort of democracy is it when our government sends phone calls to voters deliberately misdirecting them from polling stations in hotly-contested ridings?
The answer to all, frankly, is a crumbling one.
Bill C-30 is the perfect example of the kettle we’ve been dropped into, willingly. Stephen Harper and Vic Toews dictate policy, mask its intent, and prevent any meaningful debate on it in the House so the Harper-stacked Senate can ram it through.
Finally, as one, Canadians have had it and are voicing unified opposition to the spy bill. Sadly, we’re voicing it to a government that has never shown the slightest interest in listening to the people it governs. This is about one man’s ego trip, and about the acquisition and retention of power. The bill will become a law, and Internet freedom of all kinds, legal or no, enjoyed for nearly two decades in this country, will be profoundly altered.
We have forfeited our rights as Canadians to the interests of the worst prime minister and Cabinet we’ve seen since before World War 2, and we’ve done it without a fight. Almost like we deserve to toss our children’s futures into the gutter.
Hate to say I told you so . . .

Friday, February 17, 2012

A Tale Told By an Idiot, Full of Sound and Fury, Signifying Nothing



Now to art. Sorta.
                Saturday night I spent the evening in a relatively-typical fashion with my wife. Glass of wine, rented movie, stayed up late enough after the movie for some Saturday Night Live. I went to bed dwelling upon the poor-quality “art” I encountered (namely the movie and the musical guests on SNL), and felt this was a trend I’ve seen a lot lately. Thinking that perhaps I was tired and cranky and over-thinking about the state of the world, I turned in. Yes, by “thinking” I’m sure I mean “hearing from my wife.” When I woke up, I was rested, but in no way consoled.
                That movie sucked.
                That band sucked.
                Okay, okay, that happens. We’ve all seen bad movies and heard bad bands. In fact, bad enough movies or songs can really be quite enjoyable experiences. It’s like a flush of the system, seeing something you hate that much, feels good.
                I could have left it at that, except the film wasn’t just bad, it was horrible, and yet critics, the masses, the supposedly smart and the unabashedly dumb, that is, everyone but me and the missus, loved the film. The band was similar to many I’ve heard and seen creeping on SNL lately. It was bigger picture. Sad state. The world is sucking, we need a revolution (so, I guess this is Part 2).
                The film in question was Drive. I persuaded my wife to watch based on the numerous reviews I had seen and heard just screaming what a grand movie experience this one was. One of those leap out and grab you Forrest Gump or Little Miss Sunshine or (closer, but still not there) Taxi Driver types that everyone gets something out of. Well, if anger counts, count me as part of everyone. An art house action thriller, huh? Half-way through we realized that it (and, for my suggestion, I) were unforgivable. What a hunk of crap! Taking a gory snoozer with a paper-thin plot, no characterization, no discernible theme worth mentioning, then slowing it down (presumably because if you played it in real time it woulda been, like, 25 minutes long), screwing with the lighting, using Blade Runner’s soundtrack and then unimaginative “guy driving and thinking” scenes (Taxi Driver again) does NOT ART MAKE! In doing everything to put together anything butt just another action film, Nicolas Refn used all of the above to try to toss together a film with substance. Then he told us it had substance. Then the critics told us it had substance. It’s like people who brag about reading an especially hard book that they didn’t get at all, but pretend they did for fear of looking stupid, ignoring the fact that it probably just sucked.
                It’s been so revered, that I went through a moment similar to the analogy above where I thought either I’m stupid or everyone else is. In this case, sicerely, I must say it is everyone else.
                Sitting through it hoping it might redeem itself, too lazy to shut it off, guilty for having paid for it so feeling we must ride it out, we experienced relief when the end credits flashed. Here we clicked on SNL (I won’t address the skits, which appeal widely to moods as suited, and never express to be art), and took in the band. Who they were doesn’t matter. Wait, that’s not quite right. Who they were matters because they don’t matter, because they were so typical, the kind of band you can get twelve of for ten cents, as the saying goes when butchered.
                I try not to get too caught up in that thinking that the music I grew up with is best. This can be hard for anyone, and I do find it trying at times because the music of the first half of the 1990s was reactionary in many ways. There was something revolutionary there. Like punk before it, “grunge” (shudders, but admits ease necessitated) and its ilk cast off the excesses of the previous cycle, in this case the glam and sheen of hair metal and the worst pop ever,  music that reflected the materialism of the 1980s.
                Fifty years ago, when modern popular music was well under way, a revolution occurred. At this point they were saying—for the first time ever!—that rock was dead. The pop, doo-whop, she-boom, ooh-baby themes was being hucked aside for more experimental music, more revolutionary music. Music with meaning and message. Someone read a book, they wrote a song. George Harrison dabbled in Indian mysticism, he wrote a song. Neil Young lost a friend to heroin, wrote a song. Bob Dylan saw inconsistencies in a wealth-driven society, song = written.
Suddenly pop stars had become activists, leaders. Everyone on earth was already listening to their voices, so many of them tried to say things that mattered. Success varied. (This has remained a mandatory job requirement in musical stardom, for better or for worse. They are expected to form and express opinions. Never mind that most of them failed to even finish high school, or were so wealthy at such a young age that they can’t ever be accused of being in touch with reality on any level. What does Angus Young think of the famine in Africa? What, can’t find it on a map? Immaterial!)
So, when the same happened in those early 1990s, heroes like Pearl Jam, Sinead O’Conner, REM, U2 (hanging on from the 80s), started standing for issues. We, the youth who worshipped them, made decisions about these issues as well.
How we need a revolution of thinking music now.
Back to my disgust at the past few musical guests I’ve caught on SNL. With only one exception—Lady Ga Ga, whose spectacle is only matched by her talent—the groups have been composed of airheads. Doofuses who couldn’t form a concrete thought on anything outside of Twilight and the kind of shoes they want to wear if their hairstyle depended on it. And so many doofuses! Why do you need seventeen members in a band if you’re playing fewer chords than the Sex Pistols on one string? What’s the deal with that guy who just hits something with a stick once every second verse? Or that dude doing jumping jacks in the back? What's he for? Why does every group need to have an overweight black man? That stage is getting so crowded that the two lead singers in skinny jeans or pleather tights or whatever can’t properly strut as they spout “nu-uh-uh” or “yo-oh-oh.”
Excess and excrement, that.
Talk like this can come off as sounding crotchety, outside the times. I have a healthy respect for that opinion, although I don’t share it. Just am aware. As with all other matters on which I like to electronically opine, in music I know my fair share of older folks who have a decided “with-it”ness. A favourite uncle of mine is approaching sixty, and he has not lost step with what is current in music since the Beatles were still together. Because I’m not happy with the state of popular music should not see me labeled as a middle-aged codger. I have an awareness of what is now and the ability to appreciate what is GOOD in something that is not MINE. These navel-gazing whinies with their grandiose yet simple, loud but unlistenable nonsense is the sign that, hopefully, we’re about due. That musical revolution is a-comin’. Punk did it to stadium rock in the 70s, grunge (ugh) did it to glam in the 90s, we’re about due for that two-decade shift. But be sure to grab hold and love it while you can, because it only lasts for about seven years before Hanson and the Backstreet Boys take over.
Mainstream art is at a low. All this 80s worship has us producing art like in the 80s, a decade notable for the great distances between works of relevance. Flash and dash, sound and fury, little substance.
My hope is the wheel, or the worm, is set to turn. 

Tuesday, February 14, 2012

So I Say I Want a Revolution. Well, y'know . . . (Part 1 of Many)


                When you get old enough (as opposed to just “old”), you start to notice the patterns. You start to see that culture, society, nature, life in general, all turn on great wheels, intersecting with each other at certain points, and in certain variations. Given time, a wise enough person or a good enough scholar of history will note the number of variations is finite, and repetition is inevitable. One can predict literal and figurative revolutions, if I can get Asimov-y on ya.
                Those of us who are feeling particularly jaded with today—those of us who are anti-war, anti-capitalism, anti-Harper, pro-environment, pro-Occupy, pro-the future—see that we’re at a very ugly out-turn of the wheels. We are saddened by this and anticipate—crave, even—a revolution, a change in sensibilities.
                Everyone who reads my blog frequently or interacts with me via social media (digital or no) knows my opinions on this. Having lived through the greed and materialism of the 1980s, as well as its constant fear that the end was near, I then lived through the subsequent hope of the 1990s. Politically, Reagan, Bush and Mulroney gave way to Clinton and Chretien (not to say the latters were without fault, but anything was better than the formers). Walls came down, Cold War ended. There was a real sense of hope in many ways as the 20th century wore itself out. It would be foolish to ignore the Rwandan genocide or the war in the former Yugoslavia (as examples), but as a young man living through that time I felt an awakening hope that the First World was going to start doing the right thing for the Third, and that the Second would rebuild itself. But all the hope in the world means little when—within a decade—the wheels cycle and we enter the world of W. Bush and Harper, of Islamic fundamentalism, of the War on Terror, of tarsands and environmental apathy, of banks acting like banks and the economic (insert noun indicating anything from a slowdown to an all-out, grab-your-monkey-and-run-for-the-hills-crisis here).
                We want a revolution, those of us. But who, exactly are we? Who exactly am I because I’m not, strictly, one of them. I have friends on the poles (or wings, if you’re chicken), right out there in the extremes. I’m extreme in some regards, less so in others. I can say that I feel that if you find the current similatrities with our world and that of the 1980, politicially, socially, culturally are good things, then you don't love your children. Fact. 
              Over the next little while I’m going to be posting some bloggity blogs detailing the revolution that I see and crave. These will range from the global and pertinent, to the trivial. Whatever tickles my fancy. 

Wednesday, February 1, 2012

10 Reasons I Love Living in Alberta (and 5 Issues I Still Have)

     In March of 2003 I moved to Alberta to work, and the following fall I made that a permanent transition. I have been here longer than anywhere I lived since leaving my home town at eighteen. When Calgary hosted Grey Cup a couple of years back, I wrote a blog reacting to all the Saskatchewan-bashing I see here, and how I had resolved where I'm from despite where I am. As a result of that blog, I was asked 1) if I love Alberta and 2) assuming I do (and I do), what do I love about it.
     I've been experiencing a lot of contentment lately with where my life has ended up, and with where it's still going. With that contentment in mind, I'd like to present my 10 favorite things about my new(ish) home province, as well as 5 things that still bug the hell outta me.
     (Things like my wife, kids, friends, and band which are ALL Albertan obviously come first. I mostly want to address the quasi-universals here. [How does one express the universal provincially?] Oh, and this will have something of a Calgary-centric, Southern flavour.)

1. The Mountains. Being prairie farm-boy stock, I still look out the window at the Spine of the West with my jaw dropped. Daily. Though I have no desire to live where the sun goes down at three and winter starts in the summer, I visit them as much as possible. That ready access to the world's greatest mountain range should not be taken for granted.

2. Calgary venues. Saskatoon will always be my frame of reference for city experiences. Everything is compared with there. Calgary is bigger, Red Deer smaller; Regina colder, Edmonton comparable. Though I'll always love Toon town best, and defend it to its critics, cities of 200,000+ get overlooked a lot when it comes to music and sports. Having access to one of Canada's biggest centres has given me all the concert, big-venue culture, NHL and CFL I can handle and afford. No, it doesn't have to be big to be good, but at least now I know to compare.

3. Culture. This will never be the jewel in commerce-mad Calgary's crown, but on any given day I have access to a wealth of museums, cultural attractions, historical sites. I don't just mean the city, either. There's Head Smashed In Buffalo Jump, Tyrell in Drumheller, Rosebud, fringe and folk festivals, Wordfest. So rich I have to be choosey. Oh, and if I ever choose to go, I'm told Stampede is all right as well.

4. Booze. I like a bevvy now and again. The low prices in this province aside (my brother moved back to SK and had to give up scotch, ouch), this area's rich collection of micro-breweries, those BC wineries, Kensington wine market, etc. all keep me on the happy brink of Hemmingway-hood.

5. BC's right there! Hey, it's a gorgeous province. So's Alberta (and Saskatchewan), and I'd never want to live there, but to be able to travel in a day to the Okanagon, or to my pals in Vancouver, to the island . . . I mean, no one in Regina says, "Plus, we can go to Manitoba whenever we want!"

6. Camping and hiking, and with some variety. I love the outdoors here. That touch of alpine je ne sais quoi really plays on me, after years of pitching tents in the prairie grass, or down shrub-lined river valleys. On any given day, I have the choice of prairie river, mountain park, grassland, Badlands. Fishing, hiking, skiing, climbing. Rah, rah, rah.

7. Jobs. Yes, the cost of living is higher. Yes, I have a job that is (proven) transferable all over the world. Yes, education is an oft-crapped-upon service in money-mad S. Alberta. However, I work in a great school, with great support, and I'm hardly collecting chalk nubs to use next fall.

8. Chinooks. The last winter I spent in Regina, we were under what the weather dudes called an "Arctic Dome" for two straight months. My last winter in beloved Saskatoon, it was -30 from November to early March so near consecutively that you barely noticed the release. Hereabouts, even the hope that a Chinook could be over the horizon of the next forecast, even the hint, gets me through any cold snap. However . . .

9. Winter. I love it, I do. That's not like a person claiming they like mussels and eating them just to show how tough they are slurping a slimy sea creature from its cold shell. I truly do like winter. Sensible winter, no Arctic Domes, please. Skiing, snow forts, ice fishing, the hush that falls at night during a heavy snowfall. This area gets some of the most violent and pleasant winters. Manic depressive weather, maybe, but it keeps you attentive, right?

10. Topography. My particular home is a prairie town surrounded by farm and grassland decidedly flatter from where I grew up in Saskatchewan. Yes, really. But Strathmore's dominated by a historical canal system that built the Palliser region. It's a half hour from the Bow River. The Badlands and their hoodoos are just down the hill. Foothills and mountains in short reach. Really, all we're missing is ocean, but then we don't have to worry about earthquakes or hurricanes.

The Bad. I'll try to be brief for fear of contradicting the good vibe I've cultivated above.

1. Politics. Maybe because I didn't grow up here, experience the NEP, or don't have an inherent hatred for the colour red, but I've never gotten the "a vote for the Conservatives is a vote for the West" nonsense. People back right-wing parties like they're hockey teams out here, never really looking at the issues.

2. Oil is god. I have many friends who work in and around the oil and gas industry, and yes many other jobs are tied to that industry (though not on the molecular level the O and G folks would con us into believing). But, c'mon, what's good for oil doesn't mean it's good for the rest of the province, and Big Oil is a group pf un-altruistic corporations first. Fact.

3. Expense. High quality of life comes at a pretty damn high cost. The "Alberta Advantage" sure hasn't done much for escalating fuel, energy and food costs, and Calgary's rapidly-growing homeless population aren't all there because they're lazy.

4. Calgary overall. It's the city I access and I like having that access, but it's an exploitative relationship, I've got to tell you. 1, 2, and 3 on this list alone are my biggest beefs with what we satellite folk refer to as "The City," and that doesn't even cover urban sprawl, weak culture, and pathetic public transportation. Fortunate location does not equate to greatness.

5. Those Jonses. It's worse in parts of BC, especially the cities, but that urban and American drive to race your neighbors to a finish line that's been carved by the keen blade of the cutting edge, to have the newest thingy, to be the expert on the newest trends, to one-up those about you sure seems an obsessive pursuit out here.