The Killers have been around for 17 years in multiple forms, always headed by singer Brandon Flowers, but their sound has morphed many times along the way from the bouncy, 1980’s New Wave-revival sound of “Mr. Brightside” to their latest driving hit, “The Man.”
“Mr. Brightside” was all about the angst and agony of a jealous guy imagining his ex with her new lover, lightly papered over with assurances that he’s doing “just fine” followed by admissions that “it’s killing me.” It’s all set to a poppy beat overlaid with shimmering guitar. The song’s video featured the then-young, fresh, innocent-looking Flowers contrasted with a louche, dissipated character played by sleazily handsome actor Eric Roberts (Julia’s elder brother). As the Boston Globe’s Franklin Soults puts it, “Mr. Brightside” is “a song about destructive jealousy so uplifting it [makes] the pursuit of contradiction feel like a life calling.”
All these years later, “The Man” features a taut, lean-faced Flowers playing a strutting, macho Las Vegas performer in Rhinestone Cowboy garb assuring us lyrically that he’s “first in command.” He tells us, “I got skin in the game / I got a household name / I got news for you baby, you’re looking at the man.” With a dark bass line and insistent drum driving his message forward, and supported by disco-era synth and backup singers, the sound of “The Man” is pure cockiness. When set to the brilliant video, however, the story of The Man in question follows another path altogether. It’s a very satisfying display of hubris with all the trappings of success on view, then falling away in under five minutes, a miniature movie that even ends with a film credit screen.
Flowers says “The Man” was inspired by an honest look back at The Killers’ arrogance during their “Mr. Brightside” years. Last summer he said that he regrets the negativity and arrogance he displayed to the public when the band first started out. “Around about the time that The Killers started I guess—that’s where ‘The Man’ harkens back to, and years after as well,” Flowers told NME. “I can live with it, you know. It was nice to sort of go in and inhabit that character, and that figure, and that version of myself for much longer. … I don’t think that was really a great representation, an honest representation of who I am. It came from a place of insecurity and I would just puff my chest out and say things and put a lot of negativity out there. I basically came to regret that and I’m sure a lot of people can identify with that.” The mild, articulate affability of the man in this CBC interview is a pleasant contrast to the entitled, arrogant picture of a youthful Flowers that he paints of himself.
The version of Flowers on offer at The Killers’ concert at Boston’s TD Garden this week was that of a consummate showman, joyfully, confidently swaggering at the helm of a tight band moving smoothly through a perfectly timed set. The arena rock show had the busy laser displays, giant video screens, smoke and bright visual extravagance one expects. But Flowers, slight, a little stiff but poised and dramatic in his spangly western-cut suits, exuded command, control and pleasure. His talent is such that he could have held the crowd comfortably in his hand with much less visual drama, but who am I to turn down an over-the-top feast for the eyes? And though early Killers hits like “Mr. Brightside,” “Somebody Told Me” and “When You Were Young” have a Brit-pop feel far from Flowers’ Vegas roots, somehow seeing Flowers perform those songs in his crystal-covered, western-cut suits bopping purposefully around the stage still feels right.
Flowers was born in Las Vegas and has spent most of his life there, and the influence is evident in his Vegas showmanship, his dress and the tour’s set design. Interestingly, the other band members didn’t share in his aesthetic but wore the usual indie-band attire and haircuts, setting Flowers into more dramatic relief. While Flowers and drummer Ronnie Vannucci Jr. are touring the world in support of their latest album, two of the band’s longtime members, guitarist Dave Keuning and bassist Mark Stoermer, are sitting out this tour. The recent addition of Ted Sablay on guitar and Jake Blanton for this road show made for a strong, cohesive sound, but the band’s emotional dynamics didn’t feel integrated. While the band played well and sounded tight, the event felt very much like The Brandon Flowers Show with little attention shown to other members of the band, as so often happens in bands with especially charismatic singers. The resulting event was highly entertaining but not very emotionally accessible, even though Flowers clearly reveled in the attention and gave his utmost. The Vegas-bright shine made for a fun spectacle appropriate for the giant venue, but a touch of intimacy wouldn’t have gone amiss.
Boxing Day illustration by George Cruikshank (1792-1878), the British caricaturist and book illustrator best known for illustrating the works of his friend Charles Dickens.
Today is Boxing Day, a day traditionally set aside to remind those who have been blessed with comfort to share their bounty with those to whom life has been less generous. The tradition seems to have begun in the 1600s in England when the more well-to-do put together boxes of money, gifts, hand-me-downs and leftover food for their servants who had worked on Christmas Day. These servants were given the day after Christmas off to spend with their families and enjoy the contents of the box.
One of the central tenets of the religion which takes Jesus as its lord is expressed in the following passage from the New Testament’s Book of Matthew: “‘For I was hungry and you gave me nothing to eat, I was thirsty and you gave me nothing to drink, I was a stranger and you did not invite me in, I needed clothes and you did not clothe me, I was sick and in prison and you did not look after me.’ They also will answer, ‘Lord, when did we see you hungry or thirsty or a stranger or needing clothes or sick or in prison, and did not help you?’ He will reply, ‘Truly I tell you, whatever you did not do for one of the least of these, you did not do for me.’’
The true character of a human being is shown in the way that she or he treats those who are in need, those who are suffering, those who have no power. People of character don’t spend time determining that some people are unworthy of human decency. The Jesus lauded as the redeemer of Christians did not trample on the weak or crush those who had erred. He saw no poor as “undeserving,” nor did he believe that some prisoners deserved kindness while others deserved a boot in the face. Jesus said that the way to show reverence for that which was pure and good was to show reverence for and generosity to “the least of these”—those most degraded, despised, troubled and troubling people among us. He said we should focus more of our love, mercy and understanding on these people than on the fortunate few. His concern was not with the inhabitants of any shining city on a hill; he saved his blessings (and, Christians say, his miracles) for those who had the least and needed love most.
We can celebrate the spirit of Boxing Day without using boxes; just choose a favorite charity or two and help them to help others, or do a good deed for someone in need. In the spirit of Boxing Day, I’m giving to my local food bank today. If you’re looking for an especially effective nonprofit to support with your Christmas cash, Hanukkah gelt or secular humanistic savings, CharityNavigator.com is a great place to start.
Blessed are the merciful. Peace be with you today and throughout the new year.
Long before Kurt Cobain displayed the depth of his hopelessness to the world by taking his own life, his fans had known he was suffering. Anyone who has listened to Kurt Cobain sing “Smells Like Teen Spirit” has heard the pain in his voice. Every Nirvana song is built upon a platform of angst—the music, the lyrics, the growls and wails all make the turmoil and drama inside Cobain’s head quite clear and accessible for anyone to hear. This transparency of feeling is what makes Nirvana’s music great and greatly beloved: it taps into a primordial well of anxiety, anger, longing and disillusionment in listeners and makes us feel as if our own personal, raw feelings are being scooped up, wallowed in and worn like warpaint by a rock god for all the world to see.
The obviousness of Cobain’s extreme pain was so evident to millions of people years before his suicide in 1994, so it comes as a shock to watch interviews with his friends and family and see how many cries for help they ignored, how little aid they sought for him, how limited were their resources in guiding him toward hope even after he became one of the most famous people in the world. The very elements of his psyche that made his art so powerful and meaningful to others were the parts that caused him the most misery. His charisma, stubbornness, insularity and difficult personality seem to have paralyzed those who should have seen him clearly and helped him most directly. These same characteristics and his remarkable ability to build a bridge between himself and other disaffected souls brought him a level of scrutiny that made him feel trapped in a dangerous tidal wave of success that he was constantly trying to ignore and retreat from. It’s as if he was hiding in plain sight.
All of this becomes devastatingly clear in Brett Morgen’s excellent new documentary Kurt Cobain: Montage of Heckcurrently in limited theatrical release and soon to be shown on HBO. The first film about Cobain to have the support of his daughter Frances Bean Cobain (who is also one of the film’s executive producers) and her mother, Kurt’s widow Courtney Love, this documentary could never have been made without their treasure trove of audio recordings, videos, home movies, drawings and family photos and access to Cobain’s diaries and notebooks. All of these elements come to life in stunning animated montages that make us feel as if we’re in the room with Kurt, his mom, his wife, his baby and bandmates Krist Novoselic and Dave Grohl. Sometimes we feel as if we’re inside Kurt’s head as well.
His violent and disturbing drawings, his remembrances of distressing moments in his personal history and the pained, sad stories of those with whom he lived and worked make abundantly clear how lonely, frightened and angry he was from a very early age. But the home movies of him as a baby and child show a heartbreakingly sweet and pretty little boy with a beautiful voice. He was hungry for attention and constantly in need of deep soothing that he rarely received. It hurts to see him so fresh and so loved, and to know that his overwhelmed parents, stepmother, siblings and friends had no idea how to deal with his enormous kinetic energy, his destructive impulses or his lack of self-control. The things he needed most—stability, understanding, unconditional love and safe ways to soothe himself—seemed nearly always out of reach, so he went for one dangerous activity, addiction or relationship after another, and that resulted in self-loathing and mental disintegration.
Two interviews really stand out among those in the film. One was with his stepmother, with whom he had a very difficult relationship. She recognized how abandoned and unwanted he must have felt when he was kicked out of his parents’ houses and moved from one to the other, then went off to a grandparent and moved back around through the family again. She expressed regret that she hadn’t recognized his pain at the time but could only be frustrated by his acting out and worried about the effect of his behavior on his siblings. Bandmate Krist Novocelic, long his close friend, expressed great sadness that he was unaware of how serious Kurt’s problems were during his life even though he saw evidence of Kurt’s rage and watched him self-destruct. He says in hindsight it is obvious that Kurt was in extreme pain and that there were numerous red flags and cries for help, but he wasn’t able to recognize their seriousness at the time.
Novocelic also noted something crucial to an understanding of Kurt’s enormous antipathy toward fame and success: he said Kurt had a huge fear of being humiliated. As we watch Kurt in films and videos and hear his words, it becomes clear that he hid his fears with bravado, dark humor, dramatic performances, drugs and acting out. He derided establishment values and behaviors and deliberately set up barriers between himself and those who might have been best able to recognize and help him. And of course, it is that raw, urgent ugliness inside of him that sometimes comes out in gruesome drawings, in his bashing his guitar to smithereens on the battered wood floor of his own house, or in refusing to bathe or wash his hair for days, or living in squalor and backing out of major tours so he could go home to do little but play guitar, have sex and shoot up for days or weeks on end.
It is that very grunginess in his personal life that bled, sometimes almost literally, into his music, and made it so accessible, thrilling and fresh to a youthful audience tired of the smooth, highly produced technopop of the 1980s. Cobain’s squalor and literal stink combined with a vulnerability, a gritty poetic streak and a compulsion to create helped him build a dirtily sexy persona, but they also pushed him into a dangerously intense public world that made him endlessly terrified of being exposed, embarrassed, ridiculed, overadored and ultimately used up. So he used himself up in a hurry before life had a chance to do it to him.
The urge to create and the urge to destroy, including the urge to self-destruct, were always living side by side within Kurt Cobain, and his overwhelmed family members shunted him back and forth among houses a number of times during his childhood, recognizing his neediness but experiencing it always as a destabilizing and dangerous force that they couldn’t control and couldn’t stand. He also had a long history of serious and excruciating abdominal pains that caused extreme and frequent pain and sometimes bloody vomiting, but there was little money available until the end of his life for psychological help or appropriate medical care. So he developed dangerous ways of self-medicating with food, drink and drugs that exacerbated his ill health. By the time he had the money for proper mental health support and medical care, his dangerous habits were well ingrained, and his beloved companion and wife Courtney Love was herself so drug-addled, angry and self-destructive that she could only feed into his addictions and his rejection of others’ attempts to offer help. When her eye started to wander and he recognized that even she, the partner whom he thought understood and loved him better than anyone, was on the verge of betraying him, he lost all hope, attempted suicide, and then successfully finished the job with a gun a few days later.
Why would someone want to sit through two hours of this dark story with so many regretful loved ones sitting stricken in front of the interviewer and recounting their memories with wringing hands and guilty eyes? Because the pain of his story, like the pain in his music, is compelling even as the details are sometimes repellent. Some of his memories, words and images are grim and disturbing, but watching the intimate dynamic between him and Courtney, drug-addled and gritty as it often was, shows why they were drawn to each other—admiration, understanding and humor are all evident, as is a certain pleasure in courting death and mayhem. It hurts to watch him hold his baby Frances with such loving tenderness and read and hear his words of devotion, then later see him barely able to hold her on his lap, so drugged-out and nearly incoherent is he in one awful scene. It is hard to watch knowing that Courtney, a friend filming the scene and another helping with the baby were all present, and, like everyone else in the film, they observed the clear self-destruction of the man but no one either would or perhaps could do anything to pull him back from the brink.
I saw the film in Seattle’s Egyptian Theater, which is right in the neighborhood where Cobain had his last meal. One block from the theater is Linda’s Tavern, where he was last seen alive on the night before he shot himself through the head. The film is currently in a few theaters around the U.S. and in the U.K., and is garnering high praise for its intimate portrayal of the man and his life and his ardent, nearly compulsive need to create. I’m glad to have enjoyed it in a cinema where the never-before-seen concert footage was especially powerful and immersive and the intimate moments felt even more immediate. I’m even gladder that it will be available to so many more via HBO television showings.
While the film has received mostly very good reviews, some have complained that it is uneven and a bit jumbled because of the lack of a narrator and the sometimes abrupt switches between interviews with those who knew him, private film footage, concert footage, images of his writing and art and montages of animation and recordings. Boyd van Hoeij of The Hollywood Reporter wrote that the film is “impressive in parts, but wildly uneven as a whole.” I found this unevenness and the montage style particularly appropriate for the story of a hyperkinetic, often drugged-out man with serious mental and emotional problems. I might have found the style more annoyingly disjointed had it been used to tell the story of a different subject, but in this case the style illustrates how overwhelming it must have felt to live inside of Cobain’s brain and body. The barrage of images and sounds approximate the cacophany of a grunge concert, a life of rock and roll excess and the disabling and endless waves of chronic and extreme physical and emotional pain he felt. All of that is shown amid reminders of how much love and admiration those around him felt and wanted to share with him alongside the frustration and confusion they felt over his extreme emotions and behaviors.
The film, which gets its name from a musical collage made by Cobain with a four-track cassette recorder before Nirvana became famous, is no feel-good movie. It is often funny, sometimes darkly beautiful and occasionally mesmerizing, but it is also a very raw view of the life of a dangerously mentally ill and emotionally damaged human being. Even though it shows how difficult and ugly he and his life could be, it also helps us see his vulnerability, humanity and his hunger to create, and it makes clear his devotion to his wife and child.
This film helps to humanize Kurt Cobain without lionizing him. Seeing how far back his deep emotional illnesses went also helps us to empathize with him and feel sympathy along with the disgust his actions sometimes inspire. The film shows how off-puttingly, determinedly filthy, squalid and unhealthy his lifestyle often was (though he and Courtney did sometimes live in luxury hotels in Seattle and elsewhere once they became wealthy), and interviews with his mother and his widow give some glimpse into their own sometimes impaired ability to see how much of a part each of them played in his feeling unsupported and betrayed.
David Fear ofRolling Stone described the film as “the unfiltered Kurt experience,” noting that Cobain is shown “not [as] a spokesman for a generation,” but as “a human being, and a husband, and a father.” Frances Bean Cobain said at the documentary’s premiere in Los Angeles, “After seeing it, I thought I could only watch it once. But the film that [Morgen] made—I didn’t know Kurt, but he would be exceptionally proud of it. It touches some dark subjects, but it provides a basic understanding of who he was as a human, and that’s been lost.”
I was talking with my daughter the other day about something I enjoyed that was a little creepy, and we laughed about that creepiness. I’ve always thought of myself as someone who doesn’t really DO creepy—I detest horror and zombies and vampires and gore. I loathe scaring people. I hate practical jokes and nasty surprises and causing people fear.
But then it dawned on me that I love The Twilight Zone, which I think of more as a source of slightly chilling campiness than creepiness. When I received a box set of every Twilight Zone episode as a Christmas gift a few years ago, I actually burst into tears, I found it such a touching and generous gesture.
I thought a little further about what constitutes creepiness and I realized that I love cemeteries, which I see as beautiful memorials to lost love. I seek them out in my travels and I have hundreds of photographs of headstones. Indeed, on the walls of my home hang several small casts of particularly lovely elements from New England’s grave markers.
I followed this train of thought a bit further down the track, and I had to admit to myself that I get a kick out of hiding weird disembodied hands and arms from antique baby dolls in my houseplants. I see them not as frightening but as absurd and laughable when they’re stuck randomly in nonsensical places. I also love them because I collect hand-related art—it reminds me of creativity and connecting with people and holding out one’s hand to others. To me, those creepy little hands are actually a mental shorthand for being willing to lead people toward something funnier, less expected, better. I don’t assemble them into horrific tableaux; I use them to accessorize my home and inspire me to stay close to those I love, to beauty, to my muses. My creepy baby hands also keep me from taking myself too seriously. They remind me to stay goofy, which I think is vital to staying human.
Then came the epiphany: Creepy people never think of themselves as creepy.
It turns out that I’m a creep. I’m a weirdo. But I’ll bet I’m the perkiest little creep you know.
In December 2005 researchers at England’s University of Bath released the results of a study that found that children, especially girls, see torturing and mutilating their Barbies as a common and enjoyable form of play. An article in the London Times stated that “mutilation ranged from cutting off hair to decapitating and putting the dolls in microwaves.” Children ages seven to eleven were said to “see Barbie torture as a legitimate play activity, and see the torture as a ‘cool’ activity,” according to the article. The children were aware that they were being exploited by “over-marketing and over-charging” and that rejecting the doll was a “rite of passage” engaged in by children who felt they’d outgrown their Barbies. “Barbies are not special,” said the researchers. “They are disposable, and are thrown away and rejected.”
I’ve thought about my history with Barbies, and my daughter’s, too, and I take issue with some of the article’s findings. Cutting Barbie’s hair isn’t really an act of mutilation in the way that putting her in the microwave is. Children know that cutting their own hair gets them in trouble, and cutting Barbie’s hair gives them the satisfaction of distorting her appearance and messing with the standard and approved way of viewing her, it’s true—it also lets them know what it feels like to cut hair without getting in trouble. The Barbies I grew up around often had missing toes; this is not because we wanted to bind their feet golden-lotus–style and further fetishize their sexual-fantasy-based bodies, but rather because chewing the rubbery plastic felt good. Gnawing away at them resulted in their coming off completely in the mouth in a pleasant if slightly disturbing fashion. Pulling Barbie heads off was common when I was a child, not because we were acting out scenes from Robespierre’sReign of Terror but because we wanted to trade them around among dolls with different features and outfits. We also pierced our dolls’ ears (leaving them looking grey and infected) and bent their knees back and forth so much for the sheer pleasure of hearing the click click click of their joints that their skin tore.
But do people take pleasure in creating their own torture tableaux featuring Barbie, Ken and all their plastic molded-bodied friends? Of course. Their constantly perky expressions and injection-molded perfection do invite children to challenge their prefab poise. They look so inviting in the box, but take them out of the vivid fuchsia packaging and their clothes are hard to put on, and their hair gets bunched up and never lies flat again and gets permanently dull and stringy when Barbie is invited to play in the bathtub. Ken’s spray-painted hair wears off and he ends up with flesh coloring showing through in patches that have nothing to do with standard male-pattern baldness. Barbie is not only free of genitalia, but sometimes has molded skin-colored patterns simulating underwear built right into what would be her buttocks if she had any gluteal musculature.
Barbie’s original design was based on that of the Bild Lilli, a sexually suggestive German doll from the 1950s. A German brochure from the 1950s states that Lilli was “always discreet,” and that her wardrobe made her “the star of every bar.” When Barbie debuted in 1959, many parents found her obviously sexual nature disturbing. Of course, this aspect of her is partly what has always made her so alluring to children. She’s the premiere socially sanctioned sexualized plaything, and she allows young children to engage in pre-sexual roleplay and pretend to embody the roles they think are expected of them as they mature. Children live out stereotypes with Barbies, but they also challenge and laugh at them.
The widespread delight that children take in trashing their Barbies when they feel they’ve outgrown them might be a reaction to the stereotypes, the expectations and the mass-merchandizing overconsumption extravaganza that Barbie represents, at least in part. But often Barbie’s mutilation is an unintentional byproduct of trying to personalize her and make her more interesting and individual. When such an attempt results in a Barbie who is less appealing, her loss of allure and inability to be made into something uniquely appealing make Barbie a sorry remnant of a time of earlier naivete, as well as a reminder of failed attempts at creating more individualized beauty. Rather than feel bad every time we see what our attempts at beautification have done, it’s easier to dissociate her from her former status as beauty icon if we take her destruction even further. If she’s ugly and all the gloss and perfection that we once admired in her is gone, why not turn her into a doggy chew toy, or see what happens if we take nail polish remover to the paint on her face? If we turn her into a science experiment, we feel less disappointed in her lost glory.
Barbie’s reputation for mindlessness was bolstered by the 1992 release of Teen Talk Barbie. This talking Barbie spewed forth phrases like “Math is hard!” and “Will we ever have enough clothes?” A group calling itself the Barbie Liberation Organization soon became famous for engaging in acts of Barbie sabotage, exchanging Barbie’s talking guts for the voice hardware found in Mattel’s Talking G.I. Joe dolls. The BLO repackaged three hundred dolls and slid them back onto store shelves. When unsuspecting little girls tried their new Barbies at home, the fashion dolls grunted out “Vengeance is mine!” and “Dead men tell no tales,” while little boys’ new G.I. Joes cooed “Let’s plan our dream wedding!”
Of course, some toys are less than glorious to begin with, and only become more disturbing or ridiculous with time. Others begin attractively and grow frightening with disuse or misuse. Such are the toys found at DisturbingAuctions.com. The site’s home page states that Disturbing Auctions “is dedicated to the research and study of the most bizarre items found for sale on Internet auction sites. Not the obviously fake auctions, like the infamous human kidney, but truly tacky stuff that people really, honestly, believed that someone would (and in some cases did) buy.”
DisturbingAuctions.com features home furnishings including the velvet painting of Jesus blessing an 18-wheeler; accessories like the purse made of a bull’s scrotum; clothing like used gym shorts and a matching used jock strap; and haute cuisine, including 200 freeze-dried pork chops. But nothing can compare to discovering the hideous figurines, including the “Check Out My Ass Clown” (make sure to look at the optional magnified view for ultimate flamboyant clown perusing pleasure), the items classified as Terrifying Dolls, or, my favorites, the Emotionally Scarring Toys.
The Terrifying Dolls category features the pained, shriveled and body-part-challenged Puppet Assortment, the pinheaded Li’l Head Doll, and Baby Tears-Your-Flesh, a.k.a. Little Dolly No-Head. Big Hands Baby and the Saddam Hussein puppet also get honorable mention.
Clowns have a special place on Disturbing Auctions; here you’ll find a clown brooch, a clown ashtray and a vicious Cranky Clown Lava Lamp, among other items. Dead stuffed frogs also have their places, as does the stuffed and mounted genuine Deer Butt. The Clark Gable candle puts one in mind of a wax-covered severed head, and why the seller of the Inflatable Ladies’ Legs had to mention that they fit in the mouth when not inflated is anyone’s guess.
Still, the Emotionally Scarring Toys is the biggest, juiciest treasure trove of outrageous kitsch. From the Dean Martin Hand Puppet to our beloved Big-Ass Donkey, from Darth Small to the marvelously named Pooduck, it’s hard to find an entry that isn’t deeply, horribly, hideously wrong down to its very core.
While most of the site has stayed static for years, there is a related site, DisturbingAuctions.com/daily, where visitors can post their own horrific online auction discoveries and attach their own witty (or, more frequently, just vulgar) commentaries. There are occasional gems to be found here, but the older, original DisturbingAuctions.com site has the most consistently hideous and perfectly captioned offerings. All hail the Pooduck!
[Revised from an article which originally appeared on Laura Grey’s Little Hopping Bird blog.]
Here’s some exquisite angst for you—a gorgeous cover of Nirvana’s “Heart-Shaped Box” by Icelandic folksinger Ásgeir Trausti Einarsson. Ásgeir has toured the U.S. singing in English and Icelandic, and he now uses Ásgeir as a mononym. He also plays guitar in the Icelandic band The Lovely Lion.
Ásgeir’s spare piano arrangement, his high and softly plaintive voice, the careful but effective use of echo and percussion and the mounting layers of synthesized sound create something unique and lovely. This introverted, ethereal version has a very different energy than Nirvana’s original, but I find it every bit as captivating. In fact, it’s even more enthralling than the original for me; instead of pressing itself into my space insistently, it wraps its tendrils around me and pulls me slowly but inexorably into its dark heart.
One of the most sophisticated and exquisite of all jazz standards was written by a black, gay, teenage boy over the course of five years in the 1930s. Billy Strayhorn, who later became famously close to his mentor and writing partner Duke Ellington, wrote the majority of the elegantly jaded lyrics, surprising internal rhyming schemes and beautiful, unusual melody that became “Lush Life” when he was just sixteen years old. The song begins:
“I used to visit all the very gay places / Those come-what-may places / Where one relaxes on the axis of the wheel of life / To get the feel of life / From jazz and cocktails. / The girls I knew had sad and sullen gray faces / With distingué traces / That used to be there, you could see where / They’d been washed away / By too many through the day / Twelve o’clocktails.”
An incomplete but representative list of my experiences of sexual harrassment and assault:
• The obscene phone calls that started when I was 13.
• The coworker who stalked me from floor to floor in our Cupertino Apple building, cornered me, grabbed my hand and licked my wedding ring.
• The flasher at the park.
• The museum guard who followed me around the museum gallery in Washington DC and then came up to me to comment on my ass.
• The coworker in Menlo Park who moved his work station underneath the stairs so he could look up my dress when I went upstairs.
• The construction workers in Palo Alto who made loud bets about what I’d be like in bed.
• The bully sitting next to me in seventh-grade math who loudly accused me of stuffing my bra.
• The Livermore yahoos in pickup trucks who shouted obscenities and made kissing noises at me as they sped by me on the street when I was eleven years old and walking to the grocery store, the record store, the movies or just about anywhere. That kept up through high school, and a new crop did the same thing to me when I visited Livermore again in 2013.
• The San Jose coworker who asked about my breast size in front of my colleagues and referred to me as Sweet Buns until I made it clear that THAT wasn’t going to be tolerated.
• The coworker at a temp job who went to the lunch room when I did but brought no lunch, sat at the table next to mine and stared me down while I ate, refused to stop when I asked him to, and ultimately forced me to eat my lunches in my car for several months.
• Yet more, highly disturbing obscene phone calls that I received during my twenties, some of which included violent fantasy commentary and one of which incorporated a recording of my own voice taken from my outgoing work voicemail message.
• The supposedly liberal and forward-thinking Portland artist and friend of a friend who openly and blatantly assessed my body and spoke only to my breasts when introduced to me at a gallery opening.
• The man whom I supervised at Apple who announced that his wife was away for the weekend but that he had an open marriage, so I was welcome to come home with him.
• The beggar at the crowded Seattle bus stop who responded to my giving him bus fare by telling me what he’d like to do with me in the nearby building’s stairwell until I loudly told him to leave me alone, drawing the attention of 40 people or more, not one of whom spoke up or asked whether I was okay.
• The man in Rome who walked directly up to me on a very crowded sidewalk and grabbed both of my breasts hard before rushing away, which surprised not a single Roman.
• My daughter’s school bus driver who assumed that my daily “good morning” and the cookies I gave him at Christmastime constituted a come-on. This resulted in his grilling my neighbors about my marital status and hugging me close and hard against my will when he ran into me at my daughter’s school, resulting in my having to stop going to the bus stop and driving my daughter to school for the rest of the school year.
• The old man sitting behind me in the cinema in Nice, France, who stuck his hands through the gap in my seat and groped my ass when I was 16 and watching a movie with my friends.
• The Apple coworker for whom I babysat who suggested that the cure for his boredom was to have an affair with me.
• The harassing ex-boyfriend who texted and called endlessly to tell me that despite what I said, I actually loved and needed him, then stalked me, then wrote me to comment angrily on the book he saw me reading (in a city he had no business being in) and to tell me what my choice of book said about our defunct relationship, what my thoughts about him were, and why I was wrong.
Vice News has created a powerful documentary on the murderous fascist violence that took over Charlottesville last weekend. It is hard to watch, but important to see. We must all bear witness to what is happening and not turn away from it but fight it together.
Fascism has been an undercurrent in American politics for many decades and has never been wiped out. But it now has thousands of newly emboldened, well-armed adherents who feel safe leaving their shadows, rifles in hand. They see themselves as part of a holy war. Aided and abetted by Trump and Bannon, American Nazis have gained the confidence to come out, threaten, attack, even murder. They act out more forcefully now because they fear no reprisals—they believe God and Trump are on their side. This makes them a much more powerful force for evil than they were only months ago.
Unless we stomp this fascist uprising down hard and fast with the rule of law, show immediate intervention between sides at rallies where fascists appear, and disallow armed proponents of violence from threatening others and brandishing weapons in the streets and elsewhere—unless we legislate against the legal arming of members of hate groups who actively support the murder of innocents and the overthrow of our government—we may enter an age of increasing white fascist terrorism.
The president has spit in the face of all who fought the Nazis during World War II. He has made a dirty joke of the sacrifices of all who were tortured and slaughtered by Hitler and his followers. Trump has all but welcomed the Klan into the White House. He daily proves himself to be an utterly unfit and illegitimate head of state, a leader opposed to his own people and his own nation, a traitor in support of a malign foreign power and a man with a malignant and severe personality disorder that keeps him from thinking rationally or caring about any interests other than his own.
If Trump should eventually be impeached and ousted by those in power who recognize his instability and moral bankruptcy, we may hear and see threats made against those who oppose him. Extremists who feel their fascist president was toppled by a communist coup d’etat will go after both liberals and conservatives who finally feel too soiled and disgusted to carry water for an unhinged tyrant who seems to be in league with Putin against the United States.
Whether Trump stays in power or not, he has unleashed heavily armed monsters without morals or mercy. So far, they have been given the benefit of the doubt by police and government agencies when they should have been held back. Legislators in the pocket of the NRA have allowed people with documented mental illness and histories of domestic violence to own and use deadly firearms and even purchase semi-automatic weapons of mass destruction. Our nation has been willing to coddle supporters of violence and support them in their efforts to arm themselves like professional soldiers and build up huge personal armories.
Fascists do not stop at threats. They do not stop at murder. There is a good chance that, emboldened by irrational hatred and violent tendencies, some will believe that it is their holy duty to engage in what they see as righteous war against members of the U.S. government. No, they cannot topple our government, but they have already infiltrated it. They are massively armed and exist in larger numbers than we have seen in decades. They are likely to continue to do great damage, and to distract us all from helping those who are in need and watching how international affairs affect us. We must speak against tyrants, demagogues and terrorists. We must change our gun laws. We must be ready to bring fascists down.
Keeping people employed is a great goal. However, pouring huge resources into and propping up a dangerous and polluting industry that damages the environment and gives people deadly black lung disease is a bad long-term investment in both people and resources.
Yes, it’s sad when people who have traditionally worked in a field lose the option to carry on. But the main reasons so many families have long worked in coal mining for generations is because they were often poorly educated, untrained for other work, and they lived in areas that had few if any other reasonably-paying jobs. Mining has long paid especially well for a job that requires no college education.
Fewer than 77,000 Americans work in the coal industry—compare that to the 3,384,834 Americans who are directly employed by the clean energy industry. That’s right: there are 44 times as many jobs in clean industries, and that number is growing every year. Offering free job training and education to America’s coal workers and making sure they and their families have medical insurance, food and housing support to keep them going for a couple of years while they re-train would result in enormous social benefits to them and those in their communities at relatively low cost. Such an investment in their retraining would provide permanent improvements and social benefits that would help them and their local and national tax bases for the rest of their lives.
Investing in coal miners in this way for just two years would make them healthier (meaning they wouldn’t need huge medical interventions caused by black lung later), much more employable (meaning they’d put tax money back into the local and national economies) and better educated (which makes them more independent and engaged citizens). Many could be retrained to work in the alternative energy sector, which is currently booming. Dragging out the coal industry’s lifespan just postpones the inevitable day of reckoning, exposes more people to killer diseases and further dirties our environment and contributes to global warming.
If we want to improve the lives of coal workers and make American cleaner, safer and stronger and Americans smarter and more employable, investing more resources in coal miners instead of in coal mines and their owners would be the patriotic and financially (and morally) responsible thing for our country to do.