TBT^4: Modern Art and Influence

The state of modern art is not exactly a pressing concern in a nation wracked with attempted assassination attempts and listless, anxious youths.  At this point, I suspect most of my readers will realize that modern art is something of a joke played on the rich and gullible to separate them from their money.  It’s also an attack on Beauty, one intended to demoralize us.

What I learned shamefully recently is that modern art was also a CIA psy-op.  That’s not some wild-eyed conspiracy theory; it’s so well-documented and mainstream, even the BBC wrote about it—in 2016 (see, I’m late to the party)!

I’m actually not opposed to government funding for the arts, but whenever the government gets involved with anything, there is the risk that the government will pervert and distort what the art is supposed to be.  One very real risk is that “art” will devolve into propaganda.  That’s fine if we’re fighting the Second World War and need to inspire people to fight Hitler and the Japanese; if we’re trying to demoralize our own populace with nastiness, it’s not.

The other, related risk is that the government will fund art that we don’t like, personally or collectively.  The government is ostensibly “of the people,” but when everyone allegedly is in charge, no one is.  The functionaries responsible for handing out National Endowment for the Arts grants are likely doing so based on qualities of the artist—race, regime-approved ideology, gender, etc.—rather than any actual technical skill.  So we end up with patronage not of skilled artists, but well-connected or demographically-approved artists.  The results are predictably terrible, and we’re all flummoxed as to why we spent $2 million of taxpayer money on it.

A healthy government that actually cared about its people would fund art that promotes Beauty and Truth.  If we had such a government, I’d be all for government funding of the arts.  Indeed, we probably do have that at the local and State levels.  I personally love that the City of Columbia, South Carolina subsidizes the South Carolina Philharmonic.  Many Republicans and/or conservatives would balk at that, but it is a worthwhile investment to keep classical music alive in—let’s face it—the “Sahara of the Bozart,” as H. L. Mencken cruelly (and, I think at the time, unfairly) labeled the South.

I feel like I’m contradicting myself a bit here, so to distract from that—and to get on with the post—here is 27 July 2023’s “TBT^2: Modern Art and Influence“:

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Monday Morning Movie Review: The Shining (1980)

With the passing of Shelley Duvall earlier this month, Shudder has offered up The Shining (1980), one of the best horror films ever captured on celluloid.  Stanley Kubrick’s adaptation of Stephen King’s 1977 novelwhich King famously hated, until he didn’t—has been analyzed to death, but like the ghosts of the Overlook Hotel, yours portly will offer up his own humble exorcism of these now-familiar haunts.

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TBT: Spotify Theft: Another Indie Musician’s Rant

I’ve released a lot of music this year.  As of the time of writing, I’ve released six albums (Firefly Dance, Epistemology, Leftovers II, Four Mages, Advanced Funkification, and Heptadic Structure), with a seventh on the way in August.

You can listen to and/or purchase my latest album, Heptadic Structure, at the following links:

The astute observer will notice that Spotify is not listed there.  There’s a reason for that.  While several of my older releases are on the platform, I stopped releasing new music to the platform in 2024.  The reason:  for tracks with fewer than 1000 plays per year, Spotify will take any unpaid streaming royalties for those tracks and pay them to musicians who do reach that milestone.

Note that that is 1000 plays on a track, not 1000 plays total.  In other words, I could have 999 plays on every one of my tracks, but not receive a single dime in accumulated royalties.  If one song reached 1000 plays, great—I’d get royalties for that song, but not the other songs that fell short of the 1000 streams minimum.

It’s theft, plain and simple.  I can’t be a party to it, so I am no longer uploading to Spotify.

It sucks, because I like the platform overall, and it’s the most popular streaming platform in the world.  As such, I’m missing out on a huge potential audience.  But I cannot condone the service’s theft of hard-earned royalties from hardworking artists, no matter how small those royalties might be.

With that, here is 15 November 2023’s “Spotify Theft: Another Indie Musician’s Rant“:

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VP Vance: A Worthy Successor

After the usual will-they-won’t-they of the vice presidential selection drama, President Trump delivered yet again, picking Ohio Senator and Hillbilly Elegy author J.D. Vance as his running mate.

The Vance pick is symbolic on a number of levels.  As a US Senator, he has focused on improving the lives of the forgotten men and women that President Trump champions.  He has rejected the siren song of the Establishment Uniparty.  He is very clearly the conservative populist in the Senate.

I receive an e-mail newsletter from The New York Times each morning at my work e-mail.  I am not fan of The New York Times, but I likely signed up for it because I needed to access some article for my students.  Regardless, the Tuesday, 16 July edition of The Morning newsletter makes a claim with which I agree:  in picking Vance, Trump was, essentially, picking his successor.

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Boomer Rant

Erin over at Existential Ergonomics wrote a great piece called “The Boomer Mentality,” in which she details the grasping, materialistic, selfish nature of the various Boomers she and her boyfriend encountered on a trip to Yellowstone National Park.  It’s a post worth reading, and Erin handles the contentious subject matter deftly and with humor and grace.  It is clear she does not hate Boomers, but she certainly recognizes their idiosyncrasies and hypocrisies for what they are.

I, too, do not hate Boomers.  My parents and most of my aunts and uncles are Boomers.  Many of my colleagues are Boomers.  Boomers have been among the kindest, most supportive people I have ever known.

I also do not like intergenerational politics.  They seem like another way to divide us and to pit us against once another.  It also seems like a game that is targeted specifically towards Americans and other people in Western countries.  You never hear about Vietnamese kids complaining about their Boomer parents, for example.

All of that said, the Boomer generation—those born between 1946-1964—are a difficult bunch.  Both stingy and lavish, they horde housing, blow their wealth on frivolous luxuries, and seemingly refuse to help their struggling Millennial children, a generation (mine) that really got screwed economically.  At the same time, the Boomers as a group refuse to acknowledge how easy they had it from an economic perspective, and are baffled that the rest of us can’t just make a fortune in sales overnight (or what have you).

Of course, it’s not their fault, exactly.  They are the product of their parents’ choices, the so-called Greatest Generation.  That generation faced a major world war and a devastating Great Depression before that, so they overcompensated and created one of the most spoiled generations in the history of the world.  They also lavished this generation with high-paying jobs that required few skills, coupled with generous healthcare benefits and fat pensions.

So, in response to Erin’s very mild and humorous post, the Boomers came out of the woodwork.  Boomers are either the heroes or the victims of their stories—they are never the villains.  Remember, this generation grew up believing they were going to change the world (and, in many ways, they have) for the better, and that their self-indulgent lifestyles were some manner of high-minded idealism.  We all know the aging hippie Boomer who refuses to believe that the 1960s are over.

One of the comments was from a woman who has this picture for her Gravatar:

Jane Fritz

Can’t you just feel the smug self-righteousness oozing from that tiny picture?  It looks like she carries lemons around in her purse so she can maintain her pucker all day.

Her comment was no better, and written with the subtlety of a rant on Facebook:

This comment goes against the excellent advice that if you don’t have something good to say, don’t say anything. However, as one of the oldest Boomers living, I’m going to make an exception to that advice. Boomers are currently between 60-78 years of age. The reason so many are travelling is because at least in the 65-78 group many/most are retired and finally have the time to travel. Fortunately, everyone younger than 60 is pleasant, drives perfectly, and is committed to working well together. As soon as we Boomers have kicked the bucket the world will be a better place. Or … is the problem with having old people around that they’re old? As post-Boomers grow old, how much do you want to bet that they annoy young people just as much as (some) current old people annoy you?!

So, dear readers, I offered up my own scathing critique to this smug old lady:

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Myersvision: Bobsledding Bigfoot

Imagine the 1993 film Cool Runnings, about the first Jamaican bobsled team, but instead of feisty Jamaican underdogs, it’s a family of Bigfoots.  That is not what is happening in this edition of Myersvision.

But my title is not totally misleading!  There is some sledding.  And there are—possibly—some Bigfoots (Bigfeet?).

I don’t have much more by way of introduction today, so I’m going to turn it over to our resident cryptozoologist, Audre Myers:

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Monday Morning Movie Review: Exhuma (2024)

There must be magic in Korea—and, according to the subject of today’s Monday Morning Movie Review, there might actually be—because the Korean film industry just keeps hitting homeruns.  Since the release of the Oscar-winning Parasite (2019) and the smash series Squid Game (2021), South Korean movies and television shows have been on the West’s radar.

Koreans seem to excel in the horror genre; indeed, I’d argue that both Parasite and Squid Game, while not precisely “horror” films, certainly have very strong horror and thriller elements.  They’re good, too, at putting messages into their art that feel both timely and organic, but never overtly preachy; Parasite and Squid Game both touched on issues of class, for example.

This week’s film, 2024’s Exhuma, is overtly a horror film, and also has a message embedded within it, as most horror does.  Instead of pointing out the disparities of class, however, Exhuma is a thoroughly nationalist film, in the way that East Asian nations embrace their national identities with a deep, ancestral reverence.

More importantly, it is an excellent—and scary!—film.

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Myersvision: Cryptid Epistemology – A Possible Second Chapter

On Wednesday I posted a piece entitled “Cryptid Epistemology,” which was more about academics’ desperate attempt to monopolize “truth” through a campaign against “disinformation” more than it was about searching for Bigfoot.  That said, the two topics are intertwined, and the piece is an exploration of why access to information, and the ability to parse and analyze that information, is so important.

What I admire about the more humble and intellectually honest side of the cryptid community is that they are open to the possibility that we don’t know everything.  Indeed, they carefully sift through thousands of hours of footage, interviews, blog posts, books, etc., in search of gold.  That they often come away with pyrite does not discourage them; instead, they keep looking, gently setting aside the few nuggets they find for further evaluation.

Maybe Bigfoot exists—maybe he doesn’t.  What’s important is that these folks, so often dismissed as kooks, are sharpening their minds and engaging in intense analysis of thousands of data points.  They are making healthy skeptics of themselves, even as they search for something at which most skeptics would scoff.

Who, I ask, is the real kook?  So many self-proclaimed “skeptics” are merely parroting the very same narrative that was spoon-fed to them in a high school history class, or in their freshman philosophy course at college.  They often do so with an air of condescension and derision, the sort of know-it-all-ism that derives from an excess of education but a dearth of wisdom.

The older I get, the more I realize how precious little any of us know.  Things that were taught to me as inerrant “truth” have turned out to be a vast panoply of lies and half-truths, assembled into a shambolic, Frankensteinian mess for the benefit of the government and corporations.

To give one rather benign but illustrative example, before I turn it over to Audre Myers:  as a kid, my elementary school teachers would, it seemed to me, forcefully and a bit angrily insist that the United States was moving to the metric system, and we’d all need to learn it so we could cope in a post-Imperial units world.  It was all nonsense, and even as little kids we all kind of knew it was a bit overblown.  Had our teachers said, “the metric system is important to learn because it is the standard in scientific research,” it would have been a.) truthful and b.) productive.  Instead, they tried to terrify us into thinking we’d all be European, holding our cigarettes like gay men and speaking Esperanto (yes, another lie they told us in elementary school).

To be fair, things that I have taught have turned out to be inaccurate.  The more I study history, for example, the more I realize that the narratives I teach—often derived from what my history teachers taught me—are often incomplete or even incorrect.  When teachers talk about creating lifelong learners, it is for a reason:  we can only get a small fraction of the Truth in our lives, and we should constantly undergo a refining process to purify our knowledge.

But I have overstayed my welcome in this overly long introduction.  Audre offers up an excellent continuation of “Cryptid Epistemology,” her own further refinement on the journey towards Truth:

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Cryptid Epistemology

Ever since The Age of The Virus and the 2020 usurpation, there has been an increased focus in academia on supposed “mis- and disinformation.”  Anytime a small guild of academics champions a cause that runs cover for government and corporate propaganda, we should all activate our skeptical antennae, regardless of our political leanings; there is a good chance someone is lying to us.

The mis/disinformation racket is a lucrative one.  The federal government is shelling out big money to experts in this field to speak at conferences.  Without violating anyone’s privacy, I have direct knowledge of some of the amounts involved for academics giving presentations on the topic.  If I could pull in a cool six grand (and change) for talking about how everyone who disagrees with my positions is suffering from an advanced case of disinformation, I might do it, too.

William Briggs at his Substack Science is Not the Answer hosts a very good guest post by Jaap Hanekamp entitled “The Misinformation Dis(mis)course Revisited: The Losing Battle of The Academic Expertocracy“; it offers a very good treatment of the danger of this mis/disinformation regime.  In essence, it is simply a form of censorship.

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Monday Morning Movie Review: Revisiting Donnie Darko (2001)

Back on 29 January 2024 I wrote my trenchant, insightful, inventive, nuanced, analytical, and brilliant review of the 2001 cult classic Donnie Darko.  My basic argument at the time was that the film was a muddled, confusing mess, full of histrionic characters being romanticized for doing stupid, destructive things.  I also made the more difficult-to-prove claim that Donnie Darko contributed to our society’s current glamorization of mental illness, and (less difficult to prove) shaped the lives of countless, uninteresting goth chicks.

My take on the film generated what every blogger wants:  outrage.  This time, the outrage came from Ponty, a faithful reader and excellent contributor to this blog.  Ponty argued that I had completely missed the point of the film (to be fair, that was true—I didn’t see what the point was at all!), and that Donnie Darko is, in many ways, a tribute to the classic John Hughes films of the 1980s, albeit in more gothic dressing.  His excellent review also digs into a bit more of the title character’s motivations, making it clear that Donnie isn’t just going on a destructive bender for the fun of it, or even because he has schizophrenia, but because he is growing as a character.

At the time, I was not convinced.  I figured that Ponty was still seeing the film through the rose-tinted glasses of his youth (although that’s not fair to Ponty, who is an exquisite and clear-eyed reviewer), and that even if these points were true, the film portrayed them too obtusely.  Regardless, readers had two perspectives on the film and could make up their own minds—or, even better, go watch the thing.

I didn’t think about the flick again until last week, when watching The Last Drive-in with Joe Bob Briggs on Shudder.  Season 6, Episode 6 featured Donnie Darko, as well as guest Bob Berney, an indie film executive who was involved with the production and distribution of Donnie Darko.  At first, I moaned audibly, because I was going to have to sit through this film again (my personal rule is that, if Joe Bob Briggs shows a movie, even if I’ve already seen it, and especially if I disliked it, I have to watch it again, with his commentary segments).  As I watched and absorbed Joe Bob’s discussion of the film, however, I came to a new appreciation of it.

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