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Stuff We Like

  • Jack Rose's Luck in the Valley

    Jack Rose

    Jack Rose died suddenly in December, leaving behind a nice body of work including Kensington Blues, Raag Manifestos, and Two Originals. Noted mostly for his American Primitive solo guitar music, Rose’s previous two records Dr. Ragtime and Pals and Jack Rose and the Black Twig Pickers present a shift to a full-bodied sound featuring other players. Luck in the Valley, released last month as his last album, continues this progression. It is tempting to read the pathos of his death into songs like the excellent “Blues For Percy Danforth”, which sounds closer to his earlier Takoma-inspired work. And in a way, it would be nice to hear more “serious” tracks that can be linked up into some kind of meaning-of-death constellation. For fans with this mindset, Luck in the Valley might be disappointingly happy. But it would be unfair to begrudge Rose’s last album for emphasizing fun and enjoyment over theoretical depth. John Fahey infamously dismissed his earlier work as “cosmic sentimentalism,” a criticism that seems to strike more at the expectations of listeners than the quality of his music. If we move beyond considering Rose’s songs as spiritual mood enhancers, there is a lot of good music to enjoy on Luck. Rose sounds like he was having a good time at the end.  -- Scott Coomes

  • Thump Culture

    Thump Culture

    Described by its creator — talented illustrator Neill Cameron — as "a martial arts rom-com slice of life soap opera," this webcomic is about the lives of the people who run and participate in an alternate universe fight club known as "The Thump." The story, at least the first part of it, aligns itself with the perspective of Catriona, a down-on-her-luck paramedic whose life turns around when she responds to an ad that leads to her becoming The Thump's resident nurse. I like her, because she's spunky and doesn't have inhumanly pneumatic bodily proportions. Equally charming is Alex, who videotapes the fights to later sell on the internet to "a certain kind of teenager that'll lap that shit up." Read the comic, cry when you hit the last page and realize you're all caught up and now have to wait for future installments which might not ever come due to Cameron's being a kickass illustrator who now gets paid for his awesome skills, and then check out Cameron's personal site, which offers a nice peek into his process.  -- Erin Price

  • The Form of Paranoia in All the President's Men

    Woodward and Bernstein

    All the President's Men is rightfully known as the best movie about journalism ever made, but it's most notable for not focusing its paranoia in the form of several nefarious people. The last film in director Alan Pakula's "paranoia trilogy" (which includes Klute and The Parallax View), All the President's Men is notable in the genre for never depicting the agents of paranoia that torments reporters Bob Woodward (Robert Redford) and Carl Bernstein (Dustin Hoffman). Yes, we know them to be agents of the Nixon Administration, but because they're never seen in the movie, it's never clear exactly what constitutes a victory in the fight against corruption. We know that the reporters' lives are in danger, but from whom? The CIA? FBI? Deep Throat says "everybody is involved," after all. Woodward and Bernstein's reports eventually result in the imprisonment and resignation of Nixon and his cronies, yet Pakula downplays it with the perfunctory rattling off of punishments on The Washington Post's press in a manner fitting the lack of closure of lenient punishments for a few solitary figures. The institutional rot went deeper and will persist as long as culprits remain identified. You may not see anyone over your shoulder, but that doesn't mean they're not somewhere.  -- Eric Freeman

From the Vault

Things that died in 2008.

Our president pledged as primary candidate to staunchly defend individual civil liberties and curb the domestic intelligence abuses of the Bush Administration. As the Democratic candidate, he hedged. As president-elect, he made stunning about-faces, notably on immunity for telecommunications companies who cooperated with Bush's illegal requests. Now, as president, he's continued as many of Bush's abuses as he's curtailed. Also, there was a time when John McCain wasn't an unprincipled, dishonorable bigot. He was quite the man, when he was a man. Then came a succubus to hasten his by then inevitable decline.

Buckley, Mailer, and The American Conservative

Kevin Hilke

Norman Mailer, from <i>The New Yorker</i>'s publication of his selected political letters in late 2008

Norman Mailer, from The New Yorker's publication of his selected political letters in late 2008. Photograph by Diane Arbus.

Of the many interrelated reasons to lament the passing of William F. Buckley, the decline in quality of the locus of his particular incarnation of American intellectual conservatism, The National Review, is one of the most moving. The president who will leave office in eighteen days oversaw a decline in the already laggardly American intellectual discussion. Our new president, an intellectual and a minority, has the potential to invigorate and diversify this discussion significantly, but without a conservative wing with intellectual legitimacy, it will be unproductively incomplete.

Norman Mailer, rightly considered a serious liberal intellectual in his prime—and who enjoyed camaraderie and friendship with Buckley, a worthy and beloved sparring partner—understood the necessity of a serious conservative opposition, and so we find him writing to Buckley, in January, 1966:

Dear Bill,

I send you the enclosed not because I love National Review so much, for I don’t—it’s not so good as it ought to be, and often it’s tiresome, especially when one knows in advance what your trusted old line contributors are going to say—but as a personal mark of respect to you. Your letter was the best letter I ever read by an editor asking for funds. . . .

One request. Please keep my contribution in the secret crypts. It is not that I fear public opinion so much as ceaseless repetition. Repetition kills the soul and I would not wish to spend one hundred evenings in succession explaining to various outraged and somewhat stupid people in calm clear fashion my complex motives for giving a gift to a magazine for which I feel no affection and to an editor with whom on ninety of a hundred points I must rush to disagree. They would not understand that good writing is good writing, and occasionally carries the day.

Yours,

Norman

Next to Buckley’s National Review, Rich Lowry, Kathryn Jean Lopez, Jonah Goldberg and the bulk of the rest of the current bunch are a terrible joke, as they proved in their much-glossed reaction to McCain’s selection of Sarah Palin and by the in-house dissent of David Frum and Buckley’s son Christopher.

If any American conservative publication of broad appeal can claim to be a home for conservative intellectuals today, it is not The National Review. It might be The American Conservative—founded, perhaps surprisingly, by Pat Buchanan. Yes, that one. Its regular contributors, of whom Buchanan—one of Mailer’s “trusted old line contributors”—is both the most regular and the most predictable, are individuals of intelligence and expertise who care passionately about the complex ideas required to think the political today. Even when they are wrong, they are willing to take intellectual risks, willing to experiment in the pursuit of what they take to be the greater good.

Take Dennis Dale’s November assessment of Obama’s campaign rhetoric, the first from the popular right I came across to treat it with anything approaching acumen. Yes, Dale is crass. He grossly and offensively misapprehends black culture, in a way that some surely would—and wrongly—cast as racist. He thrives among the solid certain roots of things, speaking unironically of “fundamental truths” and the like, and accordingly fails to see the vacuity of Obama’s as potentially productive, perfunctorily suspecting anyone proximal to it—principally Obama—of attempting to sinisterly exploit it. On substance, he is, from start to finish, almost entirely wrong. But unlike many conservatives, he apprehends well the way the rhetoric functions; he deftly maps its potent vacuity. Whatever we think of his views, he has the right sort of inquisitive, adaptable mind. Whatever his ideological baggage, he is smart and he gives a damn. We can work with that. It is all we can work with.

Category: Art and Culture, Briefs, Policy and Politics, Thought and Society

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One Response

  1. [...] Cockburn on the unlikely integrity of The American Conservative under publisher Ron Unz, which we pointed to last [...]

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