Repost-Glorious Leader Definitely Hinting It’s Kool-Aid Time

Via The Los Angeles Review Of Books on Roger Scruton: ‘Clement Knox On Fools, Frauds and Firebrands: Thinkers Of The New Left

‘Scruton is at his best in Central Europe, when conducting his vivisection of the Institute for Social Research, a.k.a. the Frankfurt School, a.k.a. the cultural Marxist — an intellectual movement which must rank alongside monetarism and supply side economics as one of the most astonishingly successful of the 20th century.’

As previously posted-

A buzz fills the Melissa J. Winthrop learning annex. Enthusiasm is high. After some coffee and light refreshments, an assistant begins taping a curtain over a window.

‘That’s funny.’

‘Is Judy still Treasurer?’

‘Has anyone seen Judy?’

A light commotion rustles amongst the Ladies Of The Sacred Modern Art(s). A second assistant joins the first, and they are definitely covering all of the windows, one by one.

‘Ladies and Gentleman, please welcome your new Chair(W)oman, Katherine Maher’

Two young men, thin as beanstalks, fill in quickly to the emergency exit doors. The loud thunk of a chain is heard…

========

Some favorite quotes, as often repeated.

“The moral world has no particular objection to vice, but an insuperable repugnance to hearing vice called by its proper name.”

William Makepeace Thackeray

Hypocrisy is the tribute vice pays to virtue

La Rochefoucauld

Carlo Lancellotti, on the works of Italian political thinker, Augusto Del Noce.

Full piece here, which could have some explanatory insight:

Del Noce’s emphasis on the role of Marxism in what I called the “anti-Platonic turn” in Western culture is original, and opens up an unconventional perspective on recent cultural history. It calls into question the widespread narrative that views bourgeois liberalism, rooted in the empiricist and individualist thought of early modern Europe, as the lone triumphant protagonist of late modernity. While Del Noce fully recognizes the ideological and political defeat of Marxism in the twentieth century, he argues that Marxist thought left a lasting mark on the culture, so much so that we should actually speak of a “simultaneous success and failure” of Marxism. Whereas it failed to overthrow capitalism and put an end to alienation, its critique of human nature carried the day and catalyzed a radical transformation of liberalism itself. In Del Noce’s view, the proclaimed liberalism of the affluent society is radically different from its nineteenth-century antecedent precisely because it fully absorbed the Marxist metaphysical negations and used them to transition from a “Christian bourgeois” (Kantian, typically) worldview to a “pure bourgeois” one. In the process, it tamed the Marxist revolutionary utopia and turned it into a bourgeois narrative of individualistic liberation (primarily sexual).

Wendell Berry from his essay “The Joy of Sales Resistance”:

‘Quit talking bad about women, homosexuals, and preferred social minorities, and you can say anything you want about people who haven’t been to college, manual workers, country people, peasants, religious people, unmodern people, old people, and so on.’

Clive James revisits many quite original, quite accomplished works of Joseph Conrad:

‘They are, in fact, idealists: and idealism is a cast of mind that Conrad questions even more than he questions radicalism. The logical end of radicalism, in his view, is terrorism; but idealism is the mental aberration that allows terrorism to be brought about. Conrad’s originality was to see that a new tyranny could be generated by people who thought that their rebellion against the old tyranny was rational. Thus his writings seem prescient about what was to happen in the Soviet Union. He didn’t predict the Nazi tyranny because he had underestimated the power of the irrational to organise itself into a state. But then, nobody predicted that except its perpetrators; and anyway, mere prediction was not his business. His business was the psychological analysis made possible by an acute historical awareness. Under Western Eyes is valuable not because it came true but because it rang true even at the time, only now we can better hear the deep, sad note.’

Theodore Dalrymple: ‘The Will To Outrage

Outrage supposedly felt on behalf of others is extremely gratifying for more than one reason. It has the appearance of selflessness, and everyone likes to feel that he is selfless. It confers moral respectability on the desire to hate or despise something or somebody, a desire never far from the human heart. It provides him who feels it the possibility of transcendent purpose, if he decides to work toward the elimination of the supposed cause of his outrage. And it may even give him a reasonably lucrative career, if he becomes a professional campaigner or politician: For there is nothing like stirring up resentment for the creation of a political clientele.’

Ken Minogue framed it thusly:

‘Olympianism is the characteristic belief system of today’s secularist, and it has itself many of the features of a religion. For one thing, the fusion of political conviction and moral superiority into a single package resembles the way in which religions (outside liberal states) constitute comprehensive ways of life supplying all that is necessary (in the eyes of believers) for salvation. Again, the religions with which we are familiar are monotheistic and refer everything to a single center. In traditional religions, this is usually God; with Olympianism, it is society, understood ultimately as including the whole of humanity. And Olympianism, like many religions, is keen to proselytize. Its characteristic mode of missionary activity is journalism and the media.’

And:

‘Progress, Communism, and Olympianism: these are three versions of the grand Western project. The first rumbles along in the background of our thought, the second is obviously a complete failure, but Olympianism is not only alive but a positively vibrant force in the way we think now. Above all, it determines the Western moral posture towards the rest of the world. It affirms democracy as an ideal, but carefully manipulates attitudes in a nervous attempt to control opinions hostile to Olympianism, such as beliefs in capital or corporal punishment, racial, and other forms of prejudice, national self-assertion—and indeed, religion

Seattle Photo-Postmodern Skepticism & Shipyard Shapes: God Bless Yer Soul

Each of us requires guidance to absorb dull rules through repetition and practice; even while learning highly subjective activities, like the Arts. There’s a steep curve to getting good at anything, and most people have good reasons to quit before success.

Constructive and destructive criticism at the right time, tends to be the most valuable.

Have I got the map right? Unfortunately, copying what works and the basics of a practical education (reading/writing/arithmetic) have been abandoned in favor of a lot of nonsense these days. Ridiculous pedagogies and half-baked theories dot the landscape, regurgitated by the dullest among us. In my experience, we find ourselves living when the strongest currents are those of liberation, pulling towards the feminizing (anti-masculine) and emotionalizing (anti-Reason).

If you find yourself holding a position of skepticism against the postmodern mystic, God Bless your soul.

Sometimes I like to think of the following progression as an arrow through time: Romantic–>Modern–>Postmodern–>what’s happening/coming next. As the arrow flies, Dear Reader, one wonders about the other philosophical/political/ideological/religious problems we’re facing.

Perhaps postmodernism is like a large hole in the ground; an ebbing and flowing convergence of ideas, an ore pit with steep sides. Stroll along the edge and one can hear constant cries of ‘all truth is relative’ or ‘become your best (S)elf’.

Maybe the truth will be found through the bottom, or maybe it’s best to seek the truth by climbing out into the world.

The more one hears (A)rt promoted as spiritual experience, the less it becomes about technique. The more (A)rt becomes a ‘human right’ and ‘educational necessity’ the less it’s just the damned poem, painting, photograph or song in front of you.

Thus, out of the pit, I expect more nihilism; and many shrill cries for the World to conform to the (S)elf. There will be more talk of the arts as a road to glittering new cities and political utopias here in America; the primary source of meaning for (S)elves.

Potential upsides/downsides to abstract movements in art (abstracting into the (S)elf outwards to the World..what have you done with your eyes?): Painting’s another matter, but de-coupling the constituent parts of a painting from direct experience of an empirical world out there, and previous traditions, poses challenges.

It turns out you can paint a block of autumn trees and leaves in various shapes and shades of ochre, orange, red and yellow. If you study light, color and surface tension long enough; working for years on a new technique, then you can paint the river in blue, white, yellow streaks in quick strokes; making a painting more than the sum of its parts. There is great beauty and skill to be found in bold innovation, as the Impressionist movement is what painting has popularly become; a worthy heir to much previous Continental tradition.

Closer to nature, and a return to experience?

Instead of painting in a studio, the impressionists found that they could capture the momentary and transient effects of sunlight by working quickly, in front of their subjects, in the open air (en plein air) rather than in a studio. This resulted in a greater awareness of light and colour and the shifting pattern of the natural scene. Brushwork became rapid and broken into separate dabs in order to render the fleeting quality of light.

Some artists just followed the color/light/shape command to its logical conclusions this past century. I think this helps explain how you end up with the works of Piet Mondrian or Mark Rothko and their triumphs and failures.

I’m nowhere near any of the talent, skill or accomplishment of the artists I’ve mentioned above, but I find a kind of meditative purpose in walking around with a camera. I like arranging real things in the world into a design I find pleasing. I’m surprisingly in touch with my surroundings, and my experiences in the world. It’s also a highly interior activity where you find yourself within your own thoughts out in the world.

Maybe you agree. Then again, maybe not.

Plato didn’t:

Hmmm…

“His problem (Plato’s) with the arts was that they operated by images rather than by ideas, and thus that they might cloud the truth rather than clarifying it.”

Yes, and religious traditions, for example, also have interpretations of how one ought to reproduce the image.

“Whatever one thinks of Plato’s solution to this problem, I suggest that this is one of the problems that elicited his proposals for severe censorship of the arts he so obviously loved and had been trained in.”

I mean, what the hell is the photo about?

Repost-Celebrity, The Romantically Primitive, Modern Art & Money: Douglas Murray’s Take On Jean-Michel Basquiat

Full piece here.

Perhaps there are enclaves in NYC’s commercial bustle where people can lead lives less burdened by the racial history of the U.S., in addition to bettering their lot.  Perhaps there are freedoms and opportunities not found in other quarters, either, which have been nurtured by this extended culture.  There are schools, like minds, and fellow artists to develop alongside.  New York City’s a cultural center, after all.

Despite the decadence and grime, the many fakes, fops, and wannabes drawn to the flame, there is genuine talent and potential genius.

There are also the temptations and realities of celebrity, the creative destruction and ruthlessness of the market, as well as ideas in the modern bubble which can actively discourage artistic development (the incentives and meta-bullshit of a lot of modern art galleries and buyers, the desire for the genius of the Noble Savage).

I believe this is Briton Douglas Murray’s (The Strange Death Of Europe) argument regarding enfant terrible of the 80’s Jean-Michel Basquiat.  Whatever natural talent Basquiat may have had, and however much the larger culture thought itself supposedly ready to celebrate such an artist, it is a mess.

Basquiat, through relentless self-promotion, found himself blown up like a balloon over 5th avenue.

Murray:

‘It was not obvious that Basquiat would end up the producer of such trophies. Born in Brooklyn in 1960, he left school at 17 and first gained attention through his co-invention, with a friend, of a character called “SAMO.” Graffiti signed with this name cropped up in SoHo and on the Lower East Side in 1978.’

and:

‘Friends claimed that Basquiat was famously independent of mind and that nobody could tell him what to do. They should at least have tried. If they had said at the outset that, instead of dealing his work, they would help him learn the skills needed to pursue it, then he might not have banged his head so visibly and continuously against his own limitations throughout his short career. Perhaps he understood that he was only getting away with something and worried when it might end. Far greater artists than he have had similar fears and been brought down by them.’

Speaking of balloons and balloon-dogs:  Within A Bank Of Modern Fog-Robert Hughes On Jeff Koons

Two quotes by Hughes that stood out:

Religion is diminished into celebrity..a kind of reverse apotheosis.

‘This alienation of the work from the common viewer is actually a form of spiritual vandalism.’

It’s tough to say that art is really about religion (though much clearly is), but rather more about an experience Hughes wants as many people as possible to have, and that such experiences can elevate and expand.

On that note, some previous links and quotes:

Donald Pittenger, at Art Contrarian, and formerly of 2 Blowhards, has been looking at modernism. From the banner of his blog:

‘The point-of-view is that modernism in art is an idea that has, after a century or more, been thoroughly tested and found wanting. Not to say that it should be abolished — just put in its proper, diminished place’

Tom Wolfe on Max Weber on one conspicuous use of art in the ‘modern’ world:

‘…aesthetics is going to replace ethics, art is going to replace religion, as the means through which educated people express their spiritual worthiness…

Somewhere apart from Medieval, Christian, Classical and pre-Enlightenment forms of authority and social hierarchy; somewhere away from the kinds of patronage, inspiration, rules, money that bent and shaped previous Art, emerged the Enlightenment and came the Romantic, Modern, and Postmodern.

***As for ideas to fill the holes, there’s definitely one path from Hegelian ‘Geist’ to Marxist class-consciousness to the revolutionary and radical doctrines found in the postmodern soup…but there are also problems with the liberation of the ‘Self’ from Schopenhauer’s ‘Will’ to Nietzsche ‘Will to Power.’

Thanks, reader:

Is street-art, or the use of graffiti & mixed-materials performed illegally out in public (on public and privately owned property) partly due to the success of capital markets?

-Banksy’s website here.

-Newsweek’s piece: ‘See You Banksy, Hello Invader.

Response To A Reader On ‘Radical Chic’ And A Link to Banksy’s ‘Dismaland’

God or no God, please deliver us from tired political philosophies:

I’d argue that it’s possible, especially with the constant cries of modernism to ‘make it new,‘  I think this is one way we’ve arrived at pop art, and the desire to blend conceptual art and popular music together.  This is in evidence from The Talking Heads to Lady Gaga to Jay Z promoting his new album alongside Marina Abramovic at MOMA.

Roger Scruton says keep politics out of the arts, and political judgment apart from aesthetic judgment…this includes race studies/feminist departments/gay studies etc.:  Roger Scruton In The American Spectator Via A & L Daily: Farewell To Judgment

Two ways around postmodernism, nihilism?: One is Allan Bloom Update And Repost: ‘A Few Thoughts On Allan Bloom–The Nietzsche / Strauss Connection’…A structure in the desert…not even a city Update On LACMA, Michael Heizer And The ‘Levitated Mass’-Modern Art And The Public;..

Denis Dutton suggests art could head towards Darwin (and may offer new direction from the troubles of the modern art aimlessness and shallow depth) Review of Denis Dutton’s ‘The Art Instinct’

Slight Update & Repost-Via The Future Of Capitalism: ‘The Politics Of The New Yorker’

I think it’s probably a little better at The New Yorker in 2023 (see this Salman Rushdie piece). That said, activism remains a source of renewal for true-believers. This creates enormous downward pressure upon independent thought and creative expression (the kind of which the New Yorker has traditionally supported in long-form writing and the visual arts). Activist editorializing is probably a lot like going to Church, where inward reflection occurs in song and sacrament, chanting and togetherness. Beneath the political ideals, liberals and radicals often have their ‘hearts and minds’ in similar places.

The blind spots: People, ideas and the world outside of these beliefs and convictions, like all of us, to some extent.

My deeper take: Much of this view gets human nature badly wrong (the depth of evil and the problems within hearts and minds…explored in literature, poetry and the visual arts).

It also turns (H)istory into a kind of ideo-theology, abstracting (M)an into an endlessly perfectible and managerial product. This partially explains why our ‘post-modern’ lives become full with nihilistic ‘presentism’ and (S)elf-performance with a shitty, divided politics.

I hope this isn’t true, but it just might be:

Clive James revisits many quite original, quite accomplished works of Joseph Conrad.

‘They are, in fact, idealists: and idealism is a cast of mind that Conrad questions even more than he questions radicalism. The logical end of radicalism, in his view, is terrorism; but idealism is the mental aberration that allows terrorism to be brought about. Conrad’s originality was to see that a new tyranny could be generated by people who thought that their rebellion against the old tyranny was rational. Thus his writings seem prescient about what was to happen in the Soviet Union. He didn’t predict the Nazi tyranny because he had underestimated the power of the irrational to organise itself into a state. But then, nobody predicted that except its perpetrators; and anyway, mere prediction was not his business. His business was the psychological analysis made possible by an acute historical awareness. Under Western Eyes is valuable not because it came true but because it rang true even at the time, only now we can better hear the deep, sad note.’

It just might be possible to nurture experimental literature, poetry and the ‘avant-garde’ without explicit political bias:

Via The Future Of Capitalism, a new editor at The New Yorker opines:

‘Is it necessary for us to have a conservative voice or something like that? We’ve discussed it, but I’m not sure exactly what it would look like. I think The New Yorker’s niche is pretty comfortably in this progressive space and it’s much less of an issue to us than it is to The New York Times.’

I actually might agree on two fronts:  The New Yorker definitely caters to progressive political ideals (a long-term winning market strategy?) AND that there’s something loathsome about hiring just to fill quotas.  The idea of letting other people live their own lives and make their own decisions is so crazy it just might work.

The latter is lost on many true-believing progressives, as the presupposed rigged ‘system’ of the oppressor justifies all manner of intrusion into existing institutions through protest, radical unrest and forced quota-systems.

Beware those who would make you care:

Under A Green Moon-Ira Stoll At The New York Sun: ‘Comma in the New Yorker Opens Up Quite a Vista Of Liberal Parochialism’

From The New Yorker: ‘Writing Powered By Amtrak’

Maybe some deeper currents from Romanticism to Modernism to Postmodernism are worth thinking about.  As I see things, many people who care deeply about the avant-garde also bind themselves to ever narrower political and ideological commitments.

The journey of The Western Self bears proper care.

In the meantime, check out this tweet from Peace Pavilion West (my fictional community of back-to-nature collectivists exploring the Self).

What started out as Peace, Love and Inclusion at the Human Pagoda, a community transcending all human limitations, a buzzing colony building eco-pods to the very Heavens, devolved into ever stronger chaos and ever stronger central authority.

After our liberation, the promise of equality always seemed shimmering on the horizon.

It takes a big man to tweet at The New Yorker:

At Peace Pavilion West, we have banished all free enterprise, becoming a ‘closed community.’ Collective love and our Supreme Leader’s revolutionary teachings shall guide us. Namaste, Eustace.

— Chris Navin (@chris_navin) February 22, 2019

Thinking one has actionable knowledge of (M)ankind’s ends while implementing those ends into political revolutions has ended up very, very badly these past generations.

Thanks, reader:

Related On This Site:Appeasement Won’t Do-Via A Reader, ‘Michael Ignatieff Interview With Isaiah Berlin’

A Few Thoughts On Isaiah Berlin’s “Two Concepts Of Liberty”…

Repost-Classical Liberalism Via Friesian.Com-‘Exchange with Tomaz Castello Branco on John Gray’

William Logan At The New Criterion: ‘Pound’s Metro’

Full piece here.

Logan takes a look at one of the most important modern poems:

In a Station of the Metro

The apparition of these faces in the crowd;
Petals on a wet, black bough.

Ezra Pound

Logan:

‘The minor vogue and rapid extinction of Imagism, a movement whose influence we still feel, has been hashed over by literary critics for a century. Its rehearsal here is merely to bring the poem into focus within the slow progress toward the densities of language, the images like copperplate engraving, that made Pound Pound.’

Thorough and well done.

The result would echo back to the States years later:

The Great Figure

Among the rain

and lights

I saw the figure 5

in gold

on a red

firetruck

moving

tense

unheeded

to gong clangs

siren howls

and wheels rumbling

through the dark city.

William Carlos Williams

This blog tends to look cautiously at many of the ideas of the Romantic poets, and the break to modernism, but not necessarily the poems themselves.  The echo ripples outwards:

Mid-August at Sourdough Mountain Lookout

Down valley a smoke haze
Three days heat, after five days rain
Pitch glows on the fir-cones
Across rocks and meadows
Swarms of new flies.

I cannot remember things I once read
A few friends, but they are in cities.
Drinking cold snow-water from a tin cup
Looking down for miles
Through high still air.

Gary Snyder

Once we start arriving at ‘ecological’ appreciations of nature, and the postmodern, confessional altar of Self and the turn inwards to the Self a subject for the art, and the desperate search for meaning, I get more and more turned off, for my own reasons.  Such good poems will carry on.

Any thoughts and comments are welcome.

Tuesday Quotations-The Past Ain’t Dead: How To Think, What To Do

I hate to take the fatalist approach, here, but even at your most (S)elf (youthful questing, committed artist), every individual has obligations to others (other parts of your (S)elf, family, loved ones, true friends). At any given point in time, some other (S)elf, group, or coalition may have plans for you (from serial killers to love interests).

Like belief, we seem to move in and out.

Christopher Hitchens could be entertaining, especially on grounds I’m guessing he knew instinctively as a former Trotskyite: Ideologies, while highlighting truths, promise a one-stop shop on truth, knowledge, how to be in the world, what to do and what the future will be.

People can kill for less, and when they adhere to such systems, then they can end-up killing more.

**I would call the man below a white identitarian, a man whose vision of the Nation is seen primarily from within the lens of identity (a few truths and mostly gobbledygook). He’s just on the opposing side of the supposedly right-thinking identitarians. Questions of truth, and your highest good become crucial.

William Faulkner is likely underrated these days. I think it’s worth bearing in mind the people in his own town didn’t like him very much:

The past is never dead. It’s not even past. All of us labor in webs spun long before we were born, webs of heredity and environment, of desire and consequence, of history and eternity. Haunted by wrong turns and roads not taken, we pursue images perceived as new but whose providence dates to the dim dramas of childhood, which are themselves but ripples of consequence echoing down the generations. The quotidian demands of life distract from this resonance of images and events, but some of us feel it always.

Moving along:

A state without the means of some change is without the means of its conservation.  Without such means it might even risque the loss of that part of the constitution which it wished the most religiously to preserve.  The two principles of conservation and correction operated strongly at the two critical periods of the Restoration and Revolution, when England found itself without a king.  At both those periods the nation had lost the bond of union in their antient edifice; they did not however, dissolve the whole fabric.’

Edmund Burke, commenting on the French Revolution, in The Evils Of Revolution, What Is Liberty Without Wisdom And Without Virtue It Is The Greatest Of All Possible Evils, New York, NY. Penguin Group (USA) Inc., 2008.  Pg 8.

A Link To ‘Night Shadows’ By Edward Hopper, A Poem By Robert Frost & Some Images

Night Shadows by Edward Hopper.

The black and white was made in 1924, and is probably most evocative of noir.

I think Raymond Chandler’s High Window is the best of the detective novel.

Here are some quotations of his, if you’re interested.

“Los Angeles was just a big dry sunny place with ugly homes and no style, but good-hearted and peaceful. It had the climate they yap about now. People used to sleep out on porches. Little groups who thought they were intellectual used to call it the Athens of America.”

Here is the link.   It’s been a long time since they just reviewed the book and not the author.

The poem that most came to mind:

Acquainted with the Night

I have been one acquainted with the night.
I have walked out in rain—and back in rain.
I have outwalked the furthest city light.

I have looked down the saddest city lane.
I have passed by the watchman on his beat
And dropped my eyes, unwilling to explain.

I have stood still and stopped the sound of feet
When far away an interrupted cry
Came over houses from another street,

But not to call me back or say good-bye;
And further still at an unearthly height,
One luminary clock against the sky

Proclaimed the time was neither wrong nor right.
I have been one acquainted with the night.

Robert Frost

As posted:

Detroit Nocturne‘ found here.  Via Mick Hartley.

I’m partial to ‘Joey’s Meatcutter Inn, Bar & Grill 2017‘:

Joey's Meatcutter's Inn, Eastside, Detroit 2017

The lonely cityscape at night or the familiar glow of gas station lights cast into the American wilderness.  The eye might want to linger among the colors, shapes and clouds even though the mind knows this is pretty much an empty street in a ‘post-industrial’ zone.

What Have You Done With Your Eyes?

How to think about judgment in aesthetic matters?

From The Good, The True & The Beautiful:

At minute 1:01:45, Scruton, in response to a question, mentions a James Joyce short-story:

Scruton:They are directing all of their emotions through kitsch objects and kitsch language, and yet the story itself is completely redeemed from kitsch.’

From ‘The Dead‘:

‘Gabriel’s eyes, irritated by the floor, which glittered with beeswax under the heavy chandelier, wandered to the wall above the piano. A picture of the balcony scene in Romeo and Juliet hung there and beside it was a picture of the two murdered princes in the Tower which Aunt Julia had worked in red, blue and brown wools when she was a girl. Probably in the school they had gone to as girls that kind of work had been taught for one year.’

Scruton again, ‘People can latch their emotions onto unworthy objects. We aesthetes who see through them are perhaps not such good people as the people who love those things.’

One experience from years ago: I’m waiting in the Philadelphia airport, recently back from a study-abroad program in Spain. I’m worldly. I’m cultured. My brain has transformed to process overheard conversations around me in Spanish.

From the terminal windows, my country looks smaller, less substantial…different. I’m processing the experience.

Across the lounge, a man with a Stars and Stripes T-Shirt yells enthusiastically for the awaited return of his daughter (I’d observe later). His bald head is baked by the sun. He’s waving a little American flag. He sees me looking at him, and sees me look away.

He averts his eyes for a moment. I find myself ashamed at my own shame.

A recent experience: A group of aging Seattleites holds a Sunday morning meetup in a coffee shop. They seem mostly kind and good to each other. Their discussion moves from electric vehicles to hotels in Costa Rica to black lives still mattering.

They casually ignore the group of Fentanyl addicts just outside, frozen in grotesque poses.

Before long, they end-up talking loudly about politics; the recent civil suits clearly indicating Trump is wrong. Across the country, in some restaurant, a group of equally opposite folks takes the opposite position, no doubt. I feel anger, then a kind of pity and embarrassment.

Out of shallow soil, quick judgment, I say to myself, leaving the shop. Today, I find myself thinking about these words…

For A Friend-A Scene From The Color Of Money

Movie Title: The Color Of Money (Director-Martin Scorsese). 1986.

What’s good and what’s genuine in characters who hustle for a living? Can the American pulp novella/novel be a source of both popular and high entertainment?

Visual Storytelling (end-scene pool showdown): The wiser and more experienced mentor, perhaps washed-up, is being pushed out of the business during his comeback, but he’s not going quietly (we need some dramatic tension). His lady waits for him near the edge of frame, while both of them only take about 1/5 of the frame (all four characters are on the diagonal). 

Does he still have it? 

Brash, untempered (arrogant), less experienced rising talent and his lady take about 1/3 of the frame, closer to the audience. They’ve been hustled; learning the art of the con pretty well.  

Should he accept the challenge? Is this it? 

Possible conclusions: Maybe that’s what we get in life, a view every now and again. At the height of our powers (or past our powers), we get a moment when the conception of the game and the game become one. In a tacky hall of mirrors, no less. I hope it’s not all a hall of mirrors.

Generations stuck in a stand-off…

My point: A good visual storyteller takes his craft seriously, associating the story and the images to push the story forward. He has an appreciation for beauty. I appreciate Scorsese for working hard because the harder he works, the more my intelligence is respected.

To be honest, the movie dragged on for me and is very much of its time (this is pool for Christ’s Sake, how much can you glamorize pool?). Mythos is tough to achieve.

That said, I appreciate a director practicing his craft and trying to provide some continuity in American life through the visual arts. I appreciate someone who understands that developed characters invite us to see something of ourselves in frame.

Thanks for that.