Tag Archives: On Politics

Nothing without its meaning: Mali Blues ***1/2

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on July 29, 2017)

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“Puritanism: The haunting fear that someone, somewhere, may be happy.”              

-H.L. Mencken

African women live through too much hell and suffering                               We should look again at our ancestral beliefs and assess them               Keep what’s good for us, and reject all that harms us                               African women live through too much hell and suffering                            They cut it…stop female circumcision!                                                           Mother, it hurts so much                                                                                                    It hurts so much

-from “Boloko”, by Fatoumata Diawara

Needless to say, self-taught Mali guitarist-singer-songwriter Fatoumata Diawara does not make her living churning out moon-June pop tunes. She is a creative artist who is fiercely and fearlessly dedicated to speaking truth to power. That’s the kind of stance that makes you a lightning rod anywhere in the world (especially if you are a woman), but it borders on suicidal in an impoverished West African nation where Islamic militants have declared war on music and musicians. From a 2012 Guardian article by Andy Morgan:

The pickup halted in Kidal, the far-flung Malian desert town that is home to members of the Grammy award-winning band Tinariwen. Seven AK47-toting militiamen got out and marched to the family home of a local musician. He wasn’t home, but the message delivered to his sister was chilling: “If you speak to him, tell him that if he ever shows his face in this town again, we’ll cut off all the fingers he uses to play his guitar with.”

The gang then removed guitars, amplifiers, speakers, microphones and a drum kit from the house, doused them with petrol, and set them ablaze. In northern Mali, religious war has been declared on music.

When a rabble of different Islamist groups took control of the region in April there were fears that its rich culture would suffer. But no one imagined that music would almost cease to exist – not in Mali, a country that has become internationally renowned for its sound.

“Culture is our petrol,” says Toumani Diabaté, the Malian kora player who has collaborated with Damon Albarn and Björk, to name but a few. “Music is our mineral wealth. There isn’t a single major music prize in the world today that hasn’t been won by a Malian artist.”

“Music regulates the life of every Malian,” adds Cheich Tidiane Seck, a prolific Malian musician and producer. “From the cradle to the grave. From ancient times right up to today. A Mali without music? No … I mean … give me another one!”

In his new documentary, Mali Blues, Lutz Gregor follows popular world music artist Fatoumata Diawara as she prepares for her appearance at the 2015 Festival of the Niger. Originally born in Ivory Coast to Malian parents and currently living in France, Diawara has not been back to Mali since she left at age 19. That is why her participation in the festival has profound personal significance; it signals Diawara’s first performance in her home country since achieving international recognition and success.

Several of Diawara’s fellow Malian musicians also appearing at the festival are also profiled, including Taureg guitarist Ahmed Ag Kaedi, rapper Master Soumy, and ngoni player Bassekou Kouyate. As a guitar player, I was particularly taken with Kouyate’s mastery of his instrument…he’s like the Hendrix of the ngoni. I have never seen anyone play an electrified ngoni before; much less with pedal effects (like a wah-wah). To just look at this oddly rectangular, 4-string banjo-like instrument, you’d never imagine one could wriggle such a broad spectrum of power, beauty and spacious tonality out of it.

Beautifully photographed and edited, with no voice-over to take you out of the frame, Gregor’s documentary plays like a meditative narrative film. In the film’s most bittersweet scene, Diawara performs “Boloko” (her song about the draconian practice of female circumcision) for a small audience of women and girls in a Mali village where she spent her formative years. After a moment of silence following the performance, the women begin to ruminate.

“A song is nothing without its meaning,” one woman says to Diawara, continuing, “You are good and courageous.” And, as this extraordinary film illustrates, a culture is nothing without its music…or its poetry, literature, or art for that matter. Those who would destroy it will never hold a candle to the good and courageous.

We are all Freddy

By Dennis Hartley

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It is often pointed out that the presidency provides a “bully pulpit” for whomever holds  office at the time. But generally, that is a figure of speech; not every POTUS necessarily abuses that “privilege”.  And yes, “they’ve all done it” at one time or another, regardless of party affiliation. However, I think I can safely say that (in my lifetime, at least) we’ve never seen a bigger bully in the White House than Donald J. Trump. And as we all remember from grade school, bullies are empowered by submission. Which is why this was so cathartic:

Of course, due to certain restrictions imposed upon a network TV host, Stephen couldn’t say what we are all really thinking. Freddy?

What Freddy said.

# # #

UPDATE 5/6/17– Are you fucking kidding me? From Rolling Stone:

The chairman of the Federal Communications Commission revealed Friday that the agency is considering whether to fine Stephen Colbert over the Late Show host’s controversial joke about Donald Trump and Vladimir Putin.

On Monday’s Late Show, Colbert quipped that “the only thing [Trump’s] mouth is good for is being Vladimir Putin’s cock holster.” The joke drew accusations of homophobia, a viral #FireColbert campaign and FCC complaints against Colbert.

In an interview Friday, FCC chairman Ajit Pai told a Philadelphia radio station, “I have had a chance to see the clip now and so, as we get complaints — and we’ve gotten a number of them — we are going to take the facts that we find and we are going to apply the law as it’s been set out by the Supreme Court and other courts and we’ll take the appropriate action.”

Pai added, “Traditionally, the agency has to decide, if it does find a violation, what the appropriate remedy should be. A fine, of some sort, is typically what we do,” Variety reports.

On Wednesday, Colbert commented on the controversial joke. “At the end of that monologue, I had a few choice insults for the president,” Colbert said. “I don’t regret that.”

However, Colbert admitted that, in retrospect, he wishes he chose his words more carefully. “While I would do it again, I would change a few words that were cruder than they needed to be,” he added.

As for whether the joke was homophobic, Colbert added, “I’m not going to repeat the phrase, but I just want to say for the record, life is short, and anyone who expresses their love for another person, in their own way, is to me, an American hero. I think we can all agree on that. I hope even the president and I can agree on that. Nothing else. But, that.”

Stay tuned for state-controlled media…

Paging Harry Caul

By Dennis Hartley

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Pre-Twitter: Nixon used to wander the White House in the wee hours, drunk as a skunk, talking to paintings of dead presidents.

At least he kept those 3 am ramblings to himself, God bless ‘im:

Trump really needs a new hobby. Maybe he can learn to play the sax.

Thus spoke Nostradamus

By Dennis Hartley

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Michael Moore called it (again). From my 2016 Trumpland review:

It was clearly Moore’s intention that Trumpland (filmed October 7 and released a scant 2 weeks afterwards) would ideally be seen by as many people as possible before November 8. However, he was careful to cover all his bases. If there is one consistency about Michael Moore’s films, it is that they are prescient…and already, I can identify at least one nail he hit squarely on the head.

This comes in the form of another speculative scenario Moore lays out, this one for Trump supporters to envision, should the election go their way. Moore assures them that he feels their pain; as a fellow Midwesterner from a manufacturing town in neighboring Michigan, he “gets” the frustrations that have been building up within the ranks of a certain white, working-class demographic, why they are feeling squeezed out, and why Trump might appear to be their savior.

Suddenly, in a wonderfully theatrical flourish, Moore seems to shape-shift into a Trump voter. He talks about how they are going to feel on Election Day, how incredibly empowering it will be to put that “x” in the Trump box on their ballot card. It’s going to be the “…biggest ‘fuck you’ ever recorded in human history” when their boy takes the White House. “It’s going to feel REAL good,” Moore assures them, “for about…a week.” Uh-oh. “A week?” What’s he mean by that?

It will kind of be like Brexit, Moore explains after a suitable dramatic pause to let things soak in. Remember how eager the Brexit supporters were to shake things up in their country, and give a big “fuck you” to Europe? Sure, they “won”. But then, buyer’s regret set in. There was even a desperate stab to petition for a re-vote, spearheaded by many of the very people who supported it!

OK, so maybe Trump voters haven’t quite reached that stage yet, but they will. Their soon-to-be Fearless Leader is sending up oodles of red flags with kleptocratic cabinet appointment after kleptocratic cabinet appointment. Now, that seems to be in direct contradiction to his campaign stance as champion of the working class…d’ya think? So…just give them time (and pitchforks).

Well, at least one Trump voter has had an epiphany about the man who wrote The Art of the Con Deal. One down, 59,999,999 to go.

All rise for the ice road trucker chucker

By Dennis Hartley

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As the confirmation hearings continue for Trump’s Supreme Court nominee Neil Gorsuch, we’re getting wind of some interesting rulings he has made through the course of his judicial career.  “Interesting” in the sense of giving us a glimpse of his character.

So far, it’s pointing south of “empathetic”. From Democracy Now:

One of the most riveting moments in the Gorsuch hearing occurred when Minnesota Senator Al Franken questioned Gorsuch about his ruling in a case involving a truck driver who got fired after he disobeyed a supervisor and abandoned his trailer that he was driving, because he was on the verge of freezing to death. The truck driver couldn’t drive off with the trailer, because the trailer’s brakes had frozen. In the case, Judge Gorsuch cast the sole dissent ruling in favor of the trucking company against the trucker. 

[…]

SEN. AL FRANKEN: There were two safety issues here: one, the possibility of freezing to death, or driving with that rig in a very, very—a very dangerous way. Which would you have chosen? Which would you have done, Judge?

JUDGE NEIL GORSUCH: Oh, Senator, I don’t know what I would have done if I were in his shoes, and I don’t blame him at all, for a moment, for doing what he did do.

SEN. AL FRANKEN: But—but—but—

JUDGE NEIL GORSUCH: I empathize with him entirely.

SEN. AL FRANKEN: OK, just you’ve—we’ve been talking about this case. Don’t—you don’t—you haven’t decided what you would have done? You haven’t thought about, for a second, what you would have done in his case?

JUDGE NEIL GORSUCH: Oh, Senator, I thought a lot about this case, because I—

SEN. AL FRANKEN: And what would you have done?

JUDGE NEIL GORSUCH: I totally empathize and understand—

SEN. AL FRANKEN: I’m asking you a question. Please answer questions.

JUDGE NEIL GORSUCH: Senator, I don’t know. I wasn’t in the man’s shoes. But I understand why he did—

SEN. AL FRANKEN: You don’t know what you would have done.

JUDGE NEIL GORSUCH: I understand—

SEN. AL FRANKEN: OK, I’ll tell you what I would have done. I would have done exactly what he did.

JUDGE NEIL GORSUCH: Yeah, I understand that.

SEN. AL FRANKEN: I think everybody here would have done exactly what he did. … It is absurd to say this company is in its rights to fire him because he made the choice of possibly dying from freezing to death or causing other people to die possibly by driving an unsafe vehicle. That’s absurd. Now, I had a career in identifying absurdity, and I know it when I see it. And it makes me—you know, it makes me question your judgment.

He seems nice.  While that case is getting a lot of press, it’s only part of a larger pattern that emerges when you study his past. Corporate America will have a real SCOTUS bud in Neil Gorsuch; because they  can rest assured they won’t lose any more of those $400 handcarts:

Trail of fears

By Dennis Hartley

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Last night, the Great White Father in Washington decreed before a joint session of Congress that there is a new sheriff in town:

(from The Independent UK)

Donald Trump will form a new agency to publish a regular list of all crimes committed by immigrants.

During a speech markedly softer in tone than his inauguration address, in which he dialed back his trademark brash rhetoric, he revealed that he would set up a special agency for “immigrant crime”.

The agency is expected to publish a weekly list of all crimes committed by what it terms “aliens”.

That does not seem to refer only to undocumented migrants – suggesting that anyone who has moved to the US could find their name on the public list.

Audible groans greeted the President’s announcement, during a speech that was mostly met with applause from lawmakers.

“I have ordered the Department of Homeland Security to create an office to serve American Victims,” he said in the speech.

“The office is called VOICE — Victims Of Immigration Crime Engagement. We are providing a voice to those who have been ignored by our media, and silenced by special interests.”

He went on to list a number of people who he claimed had been killed by immigrants that he would have banned from the country.

“A weekly list of all crimes” Hmm. Sounds awfully familiar:

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The headline above roughly translates to: “Jewish Murder Plan Against Gentile Humanity Exposed”.  Der Sturmer  was the weekly Nazi tabloid founded in 1923. It was the brainchild of Julius Streicher, who was tried, convicted and executed for crimes against humanity in Nuremberg after the war.  The paper regularly issued tallies on alleged crimes committed by Jews against Gentile German citizens; with names, dates, and descriptions that were limited only by Streicher’s fevered imagination.  Fake news of the worst kind.

My heart went out to the grieving families of murder victims that the POTUS had stationed in the gallery expressly for this portion of his speech.  However, as Digby Tweeted back to me after I observed that the manner in which Trump went on to exploit their pain went “beyond bad taste”, it was more aptly described as  “grotesque”.

But it also got me to thinking about the way Trump put the emphasis on the word “Americans” in reference to the victims, as well as the specificity of  his new agency’s moniker: “Victims Of Immigrant Crime Engagement”.  Historically, there is only one group of Americans who can lay genuine claim to this victimhood. So let us take a moment to remember one of the American victims of “immigrant crime engagement”…

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The body of  Chief Big Foot at Wounded Knee, December 29, 1890

Home to roost: I Am Not Your Negro ***1/2

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on February 4, 2017)

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Whatever white people do not know about Negroes reveals, precisely and inexorably, what they do not know about themselves.

– James Baldwin, from The Fire Next Time (1963)

Last month, we celebrated the life of Reverend Martin Luther King, Jr., whose incredible example is unique in American history. You read all about Dr. Martin Luther King a week ago when somebody said I took the statue out of my office. It turned out that that was fake news. Fake news. The statue is cherished, it’s one of the favorite things in the — and we have some good ones. […]I am very proud now that we have a museum on the National Mall where people can learn about Reverend King, so many other things. Frederick Douglass is an example of somebody who’s done an amazing job and is being recognized more and more, I noticed.

– President Trump, from his Black History Month speech, 2017

At a time like this, scorching irony, not convincing argument, is needed

– Frederick Douglass (born ca. 1818, died 1895)

While he hasn’t been dead as long as Frederick Douglass has, I have a feeling that the late James Baldwin, who is the subject of Raoul Peck’s documentary I Am Not Your Negro will also be “recognized more and more” (you’ll notice). Specifically, anyone with half a brain who watches the film will recognize not only the beauty of Baldwin’s prose, but the prescience of his thoughts.

Both are on full display throughout Peck’s timely treatise on race relations in America, in which he mixes archival news footage involving the Civil Rights Movement, movie clips, and excerpts from Baldwin’s TV appearances with voice-over narration by an uncharacteristically subdued Samuel L. Jackson, who reads excerpts from Baldwin’s unfinished book, Remember This House.

Baldwin’s book (which he began working on in 1979) was to be a statement on the black experience, parsed through the lives (and untimely deaths) of Civil Rights icons Medgar Evers, Malcolm X, and Martin Luther King, Jr. Given Baldwin’s literary chops, and the fact he was personal friends with all three, and that each of these extraordinary individuals was working toward the same end but through different means, one can envision a classic in the making.

But alas, it was not to be. By the time of his death in 1987, Baldwin had completed only 30 pages. So the director has essentially set out to “complete” Remember This House (or at construct a viable facsimile), filling in the cracks with Baldwin’s own voice (via the TV interviews).

While occasionally arrhythmic to the film’s flow, Peck is largely on the money whenever he interjects contemporary images that connect the dots with the Black Lives Matter movement. Baldwin’s sharp sociopolitical observances have no expiration date, and speak for themselves. This is particularly evident in the television clips, where Baldwin (whose persona is an amalgam of Mark Twain and Lenny Bruce) always seems light years ahead of the hosts and fellow guests.

Peck also gets a lot of mileage (and truckloads of irony) from a wealth of TV and print advertising images that speak volumes as to how African-Americans have been viewed by our society over the decades. In this respect, Peck’s documentary recalls The Atomic Café; particularly when he digs up a 1950s corporate film with a rather unfortunate title (“Selling the Negro”) that offers up handy tips to marketers who want to reach African-American consumers.

Most fascinating to me are Baldwin’s deconstructions on traditionally lauded race-relation themed films like The Defiant Ones (1958) and Guess Who’s Coming to Dinner (1967). He posits that, no matter how well-meant these and similar films were, at the end of the day they were produced by white liberals, to be exclusively consumed by other white liberals, who could then pat themselves on the back for buying a ticket (unless I was reading him wrong). Even more provocatively, he sees little difference between them and Uncle Tom’s Cabin (1927).

Now that I think about it, Baldwin himself remains a bit of a cypher as credits roll, so it may have been unintentional misdirection to state at the top of my review that the author himself is the “subject”, particularly if you’re expecting a straight-ahead biography. Neither is it another retread “about” the Civil Rights Movement, although its history is woven throughout. It’s worth noting that Baldwin was not an active participant in the literal sense (which he admits in some excerpts), yet he was wholly present as an observer, chronicler and deeply insightful social commentator.

And indeed it is these insights and observations that stay with you after the lights come up. In a way it makes me sad that so many of Baldwin’s statements remain applicable to our current political climate, because it serves to remind that while we have made “some” progress in healing the racial divide since the assassinations of Medgar Evers, Malcolm X and Martin Luther King, Jr., the all-too-easy and all-too-recent triumph of Trumpism indicates that the fear and ignorance that fed the ugliness of “those days” never really went away. We’ve still got a lot of work to do.

Spicer in the dicer

By Dennis Hartley

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I think I may have witnessed the re-birth of Saturday Night Live last night. This could be the dawning of a new golden era for the show, if the writers can build on the momentum of Melissa McCarthy’s inspired turn in a Sean Spicer sketch. With all due respect to Alec Baldwin’s Trump spoof, this should be the new weekly show opener:

I needed that laugh therapy, and I know you did too.

Week 2: “You’re a bad world!”

By Dennis Hartley

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Well, let’s  see how busy Donnie’s been on the Twitter this week:

In other words, he is continuing to plow forward with the unchecked megalomania of an 8 year-old old with the power to change reality, while all the adults who surround him kowtow in fear for their lives.

I’m sure we’ll be fine. It’s GOOD that he’s my president. Real good!