There are two works of art I associate with an ex. One is the music of Mayer Hawthorne, specifically A Strange Arrangement, which had come out a few months before our brief relationship and was a primary jam for me that winter. The other is the Disney animated film The Princess and the Frog, which we saw together in the theater on one of our few dates.
I love both dearly. Hawthorne sounds like Motown reanimated (in a white dude no less). And The Princess and the Frog was a beautiful return to classic Disney form, with a jazzy Randy Newman soundtrack to boot.
But I had to stop listening to Mayer Hawthorne. For some unknown reason, I’ve been able to Eternal Sunshine the unwanted associations from the Princess and the Frog soundtrack and have enjoyed it for years.
Not so for Hawthorne. Despite trying mightily to enjoy A Strange Arrangement and his follow-up How Do You Do on their own terms, the associations that stuck to them overpowered any enjoyment they provided, so I had to say goodbye.
How one survived and one didn’t is a mystery. Scarcity isn’t the issue; it’s not like Disney soundtracks and soul music are hard to find. Maybe it’s because Hawthorne’s music is specifically about love and relationships, and that was harder to separate from reality than music sung by animated frogs.
Perhaps I’ll come back to Hawthorne and the patina of the past will have faded. In the meantime, I guess I just wasn’t willing to give up “When We’re Human”:
Though the cold, wintry weather has extended into April this year, the other day the sun beamed and the temperature jumped into the 60s. I decided to take a break from work and go for a short walk, and I soon ambled down one of the countless back alleys that cut through Chicagoland.
(Here’s the fascinating story of how Chicago became the “alley capital” of the United States.)
I noticed right away there was a wide variety of patterns on the garages and buildings that lined my walk, so I started snapping pictures of them:
In honor of National Library Week, I’d like to know your favorite library memories or experiences, distant or recent. And if you don’t have any, why not?
I was seven years old when the O.J. Simpson trial happened. I don’t have any personal memories of it, but through over 20 years of cultural osmosis I’ve grown familiar with its broad strokes and iconic images: the Bronco chase, Kato Kaelin, O.J. trying on the glove, Judge Ito, the verdict.
Watching FX’s The People v. O.J. Simpson, then, was an hours-long revelation for me. Seeing a dramatized version of the moments and decisions between those images helped put the whole trial and consequent media circus in better perspective.
And wow, was it a cloisterwalk, to put it in PG terms. What began as a supposedly slam-dunk case began to unravel in slow motion, undermined by shoddy police work, questionable courtroom strategies, and a defense that simply outplayed the prosecution. I still think O.J. did it, but I understand better now why he got off.
Sarah Paulson as Marcia Clark and Courtney B. Vance as Johnny Cochran are the standouts in the cast, and the anchors for what becomes a wild narrative. It’s a tremendous credit to the creators of the show that despite there being zero mystery about the climax, I was so invested in the narrative that my heart was pounding by the time the verdict finally arrived, having felt each twist and surprise development along the way.
I went with this one over O.J.: Made in America because I thought it would be shorter, but it’s just as long, if not longer, than the documentary. Hollywood might not be great at rigorous history, but it is great at making compelling stories. So I’m sure I’ll go back to O.J. soon.
Refer Madness spotlights strange, intriguing, or otherwise noteworthy questions I encounter at the library reference desk.
In my library, one of the information desks sits in a high-traffic area where all the activity from the entrance, auditorium, elevator, and stairs to Youth Services converge. One result of this configuration is that whoever is at the desk (and anyone in the nearby Periodicals area) can hear everything that happens in the cacophonous cement stairwell that leads to Youth Services. Sometimes it’s a toddler’s tantrum or a boisterous conversation. And sometimes it’s a parent who doesn’t realize strangers are listening.
The other day it was a mother frustrated with her son, probably a four year old. From what I gathered, the boy had not been a good listener and they were leaving this library trip in a bad mood.
“I do this for you,” the mother said as they emerged from the stairwell and walked out the door. “I could be home, doing nothing. But I’m nice. I actually care about you and want you to read good books.”
In one interpretation of this scene, the mother is the villain for snapping at her child. But she wasn’t. Her tone was part frustration and part disappointment, without animus or aggression. Since I didn’t see what had happened before their departure, I can’t judge the son for his behavior or the mother for her reaction to it (though from his lowered head and lack of protest I’m guessing he deserved the rebuke).
Despite not being a parent myself, I deeply sympathize with parents in public with their kids. Planes, parks, restaurants, stores, and other public spaces offer ample opportunities for kids to misbehave and beckon the judgmental glances (and even comments) of other adults.
But unless it’s the parent who is egregiously misbehaving, I usually side with the adult. Especially one who brings her child to the library when she’d rather be at home, doing nothing.
Typecaster Rino Breebaart on what messages he’d put on bus ads for people who happen to look up from their smartphone:
These would work just as well, if not better, as digital ads. Or maybe as a service where you get one of these texted to you for every 10 minutes you’re on your phone.
In July 2016 I visited the Norway Resistance Museum in Oslo, which told the story of Norway’s occupation by the Nazis during World War II. A name that kept popping up throughout the museum was Vikdun Quisling, the Norwegian politician who collaborated with Hitler and seized control of Norway’s government during the occupation.
I wanted to know more about the man who put himself in that position. What compelled him? What happened in an occupied country during World War II? And how did his name instantly and internationally become synonymous with “traitor”?
Luckily there’s a book on him: Quisling: A Study in Treachery by Hans Fredrick Dahl. It’s definitely niche history—I had to get one of the few library copies via interlibrary loan—but as a part-Norwegian World War II buff this happened to be right up my alley.
The crux of this story is that Quisling honestly believed he was doing the right thing. Highly intellectual, aloof, and humorless, he dreamt of establishing Universism—his homegrown philosophy combining Lutheranism and science—as the “new world religion”, with Norway as the homeland of the supreme Nordic race. In that respect, along with his anti-Bolshevism and anti-Semitism, his eventual partnership with Hitler made perfect sense.
Once the Nazis occupied Norway, and its King and legislature had fled London with the other governments-in-exile, Quisling and his National Union party quickly filled the power vacuum, working with their Nazi occupiers to establish a fascistic, one-party authoritarian state.
But being an occupied country that officially was neither at peace nor at war with Germany stymied Quisling’s ambitions for a “new order” in Norway. (The goal of this new order? To stamp out the “destructive principles of the French Revolution: representation, dialogue, and collegiality”.) And since Hitler refused to discuss peace terms until the Axis had won the war, Quisling in his quasi-legitimate government was left to tussle with his German commissars from above and the Norwegian resistance movement from below.
Throughout it all, Quisling remained naively optimistic about leading an independent Norway into his utopian future. Even when Germany capitulated and the war was over, he assumed he’d take part in a peaceful transition back to the old Norwegian government. Instead, he was arrested, tried, and executed by firing squad at the Akershus Fortress, which, in a delightful irony, now houses the aforementioned Norway Resistance Museum.
Dahl’s book is admirably thorough, so most people will probably prefer the Wikipedia summary of his life story to a 400-page book elucidating the same. But I’m glad for such an in-depth study of a tragic figure at a crucial historical moment. See my full notes from the book.
(And for the realization that one of the few spots the Quisling name lives on is in my hometown of Madison, Wisconsin, at the super-cool looking Quisling Clinic, which was founded by Quisling’s cousins.)
Writing by hand on paper is becoming a revolutionary act. Reading a physical book is becoming a revolutionary act. Protecting the books in our libraries, the arts and humanities in our colleges and universities is becoming a revolutionary act. Doing things with warm hand to warm hand, face to face, without photographing them, posting them, is becoming a revolutionary act.
Those two original digital devices you have at the end of your forearms are the means of resistance. As is eye-contact with the world instead of staring at your phone.
She begins her post with screenshots from someone’s downloaded Facebook archive, which showed that Facebook had extensive records of phone calls and other communications that were unrelated to Facebook.
She concludes:
The most valuable thing you have is your attention. It’s also the most valuable condition for survival of the non-digital world.
In his book Washington’s Crossing, David Hackett Fisher writes about how the colonists responded to the dark days of the American Revolution in 1776:
This great revival grew from defeat, not from victory. The awakening was a response to a disaster. Doctor Benjamin Rush, who had a major role in the event, believed that this was the way a free republic would always work, and the American republic in particular. He thought it was a national habit of the American people (maybe all free people) not to deal with a difficult problem until it was nearly impossible. “Our republics cannot exist long in prosperity,” Rush wrote. “We require adversity and appear to possess most of the republican spirit when most depressed.”
Rush, a sort of honorary Founding Father and very distant relative of mine, was speaking to his present times but I think he also speaks to ours. I’ve said before that if we make it out of our current darkness alive, we’ll be better for it.
I don’t think I’ve ever seen anything quite like The Death of Stalin, Veep creator Armando Iannucci’s new film about the farcical machinations of Stalin’s inner circle after the dictator’s sudden death in 1953. Don’t be fooled by the serious title: this is social and political satire at his sharpest, loosely based on real events but also exactly right about much more than its subject.
In the film, Stalin’s surprising death sets his cronies scrambling on how to appear to honor their beloved leader while also scheme to seize his power. One contender is future Premier Nikita Khrushchev (Steve Buscemi), probably the most well-known name of the group. The other is Lavrentiy Beria (Simon Russell Beale), chief of the Soviet secret police and power-hungry instrument of the widespread purges, executions, and violent repression of that era. Jeffrey Tambor and Michael Palin are other highlights of the excellent cast, and Jason Isaacs nearly steals the movie as Georgy Zhukov, the brash Red Army commander.
Shot and lit almost like a stage play, the film is a black comedy of manners, with men trying to save face and save their own lives while jockeying for position. As all this happens in Stalin’s country dacha or palatial government buildings, when we do venture outside the halls of power we see the brutal reality of life in a totalitarian regime for regular people: being tortured in a gulag, say, or being forced to reenact an entire symphony for Stalin’s pleasure.
This juxtaposition—“slapstick horror” as Manohla Dargis called it—is jarring but somehow sings. It’s like an extended episode of Veep if Selina Meyer had been a repressive dictator. The laughs don’t come at the expense of the true victims but in response to how the Committee members struggle with their darkly absurd circumstances, like what to do with Stalin’s soiled, unconscious body, or how to communicate with each other while standing guard during Stalin’s funeral and trying to appear stately while doing so.
Though Stalin himself isn’t a prominent character in the film, even in death he looms over everything and everyone, affecting every choice or non-choice these bureaucrats wrestle with, the way the paranoid authoritarian and his regime of senseless violence really did.
The real Khrushchev later reflected in his memoirs about the horrors of this time:
Stalin called everyone who didn’t agree with him an “enemy of the people.” He said that they wanted to restore the old order, and for this purpose, “the enemies of the people” had linked up with the forces of reaction internationally. As a result, several hundred thousand honest people perished. Everyone lived in fear in those days. Everyone expected that at any moment there would be a knock on the door in the middle of the night and that knock on the door would prove fatal … [P]eople not to Stalin’s liking were annihilated, honest party members, irreproachable people, loyal and hard workers for our cause who had gone through the school of revolutionary struggle under Lenin’s leadership. This was utter and complete arbitrariness. And now is all this to be forgiven and forgotten? Never!
We’ve heard about the banality of evil, but the capriciousness of evil, to me, is just as destructive, if not more so. Regimes that rule through fear and paranoia and unpredictability create a living nightmare for everyone, not just the people thrown in jail.
The Death of Stalin enters that nightmare and tries to expose it with the harsh light of humor. Iannucci does stretch his artistic license to the max, condensing the factual historical timeline and giving the main characters a variety of English accents. But by doing so he’s able to honor the absurdity of this true story and bring it into the 21st century in a seriously funny way.
Here are some browser extensions and tools I’ve been using to make my experience on the Big Three social networks better:
Twitter
Since 2012 I’ve been using the extension Fix Twitter [update: now defunct] to swap the right and left columns to put the feed back on the left, as it was pre-2012. Mostly cosmetic, but for me preferable.
Make Twitter Great Again hides two things that have made web Twitter nearly unbearable recently: other people’s liked tweets popping up in my timeline and promoted tweets.
Twitter Demetricator hides all the site’s metrics for followers, likes, retweets, and notifications in order to, per its creator, “disrupt our obsession with social media metrics, to reveal how they guide our behavior, and to ask who most benefits from a system that quantifies our public interactions online.”
I recently enabled Tweet Delete to automatically delete tweets older than two months.
Facebook
I’m not deleting my account, not yet anyway. For work and other reasons it’s just more convenient to have one. The next best thing to do in response to the company’s rolling malfeasance is to deny them their power source, so I’m using Social Book Post Manager to bulk-delete my old posts and plan to post a lot less. It’s a little clunky, and you have to do the process repeatedly to actually get all the posts, but seems to be working.
I’m starting with the earliest, from the summer of 2006 when I first joined, and working forward. Since you get to watch it work through your posts in real time on your Activity Log, you get to quickly reminisce—or cringe—at all of your status updates and comments of olde (common topics for a while there: Lost, the Oscars, The Office, and the Packers). Once all your posts are removed from a given year, the updates that remain—Life Events, your friending history, photos you’re tagged in—reflect an interesting kind of online anthropological history.
I also use Stay Focusd to limit my time on Facebook.
Instagram
I like Instagram generally, but I don’t like how easy it is to waste time scrolling mindlessly. I also don’t like the feed showing me whatever the Almighty Algorithm decides to show me rather than what was posted chronologically.
My hack for this is to delete the Instagram app from my phone after each time I post a photo. This cuts me off from the mindless scroll, from obsessing over my likes and follows, and forces me to decide whether posting a photo is worth the extra time to download the app and sign in again.
It’s been a year since my Grandma Helen died. I inherited several things from her before and after her death, including a Selectric typewriter and typewriter desk. But of these heirlooms, what I now notice most frequently, and what most often remind me of her, are the dressers.
One horizontal and one vertical, they are massive and sturdy things made of solid wood. We had to rent a U-Haul to get them home. They are properly worn in (but not worn down) by decades of previous use. My grandparents were frugal, but when they made big purchases they were of high quality.
Though I usually notice the distinct burnt orange color first, it’s the smell that triggers the memories. The dressers lived with her for so long that inevitably the aroma I associate with her—a melange of perfumes, deodorants, and who knows what other products that made up her graceful cosmetic presentation—seeped deeply into the wood and now wafts its way to me at random times throughout the day.
Then I think of the time we spent in her apartment baking and talking and laughing at eating grapes together in the final years of her life, and I smile.
I started drinking coffee after college, and when I did I went straight to black, sometimes with sugar. It took me that long because my taste buds weren’t ready for the bitterness of black coffee. And yet when I did try to start drinking it regularly, it never occurred to me to use sweeteners, beyond a little sugar. I figured if I was going to drink coffee, I should like the taste of the coffee itself and not try to mask it with cream. Admittedly this logic is faulty, but it’s why this comic struck a nerve.
My wife, who’s part Swedish and embraces all things hygge, cherishes the coziness of the whole coffee drinking experience, special cream included. But I, embracer of my Finnish heritage and its concept of sisu, enjoy the pure, raw burn of good black coffee.
Sad to hear Jordy Nelson will no longer be a Packer. He’s been a highlight machine, connecting with Rodgers for a franchise-record 65 touchdowns over 10 years.
It’s hard to pick a favorite Jordy play, but one fond memory of mine is of his toe-tapping, game-tying TD on 4th and goal against Atlanta in 2010. I was living in Colombia and had to find a *cough* unsanctioned TV feed online to watch Packers games. I projected the game onto a wall in my host family’s house and tried to explain the rules of American football to my Colombian friends. (Nothing brings home how strange American football is when you have to explain it to foreigners.) My explanations got increasingly animated as I paced the floor for the thrilling finish.
Godspeed, Jordy. Here’s hoping the Packers won’t have to play against you.
On Being—a top-5 podcast for me—has a new offshoot podcast called This Movie Changed Me, with “one fan talking about the transformative power of one movie.” So far they’ve featured Star Wars: A New Hope, Eternal Sunshine of the Spotless Mind, and You’ve Got Mail.
It made me think about what mine would be. The quick and easy answer would be Back to the Future, if only because of how much I’ve written about it on this site. But I think there are other candidates. Some that come to mind, all for different reasons, include It’s a Wonderful Life, High Fidelity, Once, Toy Story, and Unbreakable.
I don’t know. I have to think about this. What’s yours?
Update: I want to include some of the replies I’ve gotten to this query:
“Oddly enough, Snowpiercer. While it’s a terribly chaotic movie, man, it haunts me every day. The ignorant frivolity of the front car compared to the ruthless survival of the back cars…way too real. I probably think about it every day. Because I’m one of the front car a**holes.”
“It’s A Wonderful Life. Each Christmas Eve we watch it I learn something from the movie that is applied to my life; courage through hardship, wisdom of God, love of family and friends, mystery of life. It’s amazing how this movie has been intertwined with me on a small yet profound level.”
“Cloud Atlas. I frankly had a spiritual experience in the theater. It articulated my worldview in a way I hadn’t really seen before (or at least to that extent). Uneven as it may be, it floored me.”
“While I look at it quite differently now, Chasing Amy had a huge impact on me. Her monologue about sexual freedom and independence is feminist AF and it was like finally having my thoughts and feelings validated.”
“Do the Right Thing made me aware of how I process anger as a white person.”
