Category Archives: News

Mercury Mourns Napa Winery Profits

As enormous swathes of smoke reached the south bay, this week the Mercury News published an outcry over Napa wineries’ profits getting burnt in this latest rash of catastrophic Northern Californian fires.

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It took days before they mentioned the hundreds of working families and retirees who lost everything in places like Santa Rosa, and has not countenanced the plight of the unrecognized and undocumented workers who make the whole Napa economy move. Above is a digest of what is now a series of articles by Mary Orlin, George Avalos, Paul Rogers, et al.

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Roadbeers: Coronita

Found this guaife-proof Coronita, seven lousy ounces, once again tossed in the recycling in a pack of empties. Froze solid on top in the freezer. Approaching the mid-20s of how many road beers I’ve found since I started looking!

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Jon Taplin on the Libertarian Internet

Here’s an excellent talk by Jon Taplin of the Annenberg School of Communication at USC and father of Post-Consumer‘s Nick Taplin, on the problems of libertarian dumbshits who control the internet and also US politics. Remember kids, libertarians and neonazis are the SAME PEOPLE, Google CEO or not.

As a fairly true anarchist artist who is always about community, dialogue and exposure before “copyright,” I nevertheless appreciate Taplin’s warning that “the technological revolution is coming for all of your jobs.” Does that make me double down on copyright? Fuck no! It makes me double down on 1.) reduction of reliance on capitalism’s rules for survival and 2.) increase of sharing all things so that they don’t end up falling apart when whatever thing comes for whatever of all our things. Enjoy the video!

All Representatives Paid Off by the NRA, on Las Vegas

Not that any of you care, but here is a list of representatives of YOUR congress, arranged according to how they had some very nice thing to say about the victims of a mass shooting last night in Las Vegas, in which at least 50 people were killed by one small-dicked white man with infinite access to weapons of war. Just as YOU do!

Remember, illiterate Millennials, that shit comes from somewhere in this world. Although you don’t believe it, soon all of you Millennials will also be 60, many of you small-dicked white men, just as illiterate as the Baby Boomers or whomever else you blame for your present problems, and you will have to choose which part of history to maintain. How many of you will be mass shooters? With the access to guns that the NRA guarantees, likely it will be many of you.

https://splinternews.com/every-member-of-congress-who-took-money-from-the-nra-an-1819059582?utm_campaign=socialflow_splinter_twitter&utm_source=splinter_twitter&utm_medium=socialflow

Recommendation of Aronofsky’s Mother!

Felt it may be useful to someone to strongly recommend seeing Aronofsky’s new film Mother!, and commend it for almost hitting true surrealism. Obviously I’m not a film critic, but this may be useful yet, as I consider Mother! not be popcorn, but art.

The film is essentially a critique of the Will, definitely in the nietzschean sense, and not so simply a plea for mother earth, et cetera, as some better-circulated critics have proposed. Javier Bardem is the artist husband of Jennifer Lawrence’s architect, the latter of whom has rebuilt the husband’s burnt-up huge country manor. We learn throughout the development of the plot that “life itself” is threatened by the cost of the will of humans to create according to their own perceptions and appetites. The reader may disregard the reportedly partly-intentional comparison to Rosemary’s Baby, a marketing ploy that was vulgar, off-point and doubtlessly made up under a deadline.

The house that the wife inhibits is her own skin, as she bloodily explores whenever unwanted guests cause little gashes to appear in it. Aronofsky takes us under her skin, into the scary cellar, and then pulls the scares right when the audience thinks it needs one, only to show us that what matters now is what happens above the skin. Ed Harris and Michelle Pfeiffer deliver a hilarious metaphor for the disruption of one’s sense of safety, and the photography has the house darkening and yellowing with each disturbance, only clearing up to bright and white (the wife’s daylight bathroom is a sort of relief two thirds in) when the wife is pregnant and left alone.

Meanwhile the husband seems to nourish himself artistically from the chaos and destruction of the kitchen, but we all know that he suffers from a basic will to be needed and loved by his audience. Indeed one of the most effective elements of the film is that, when unwanted guests nightmarishly gain access to the house before the wife’s complaints, she is met with either incomprehension or rage, as if the universe did not contain a rule for ordering or understanding what she wants.

I commend the film highest, as mentioned, for coming close to surrealism. In the beginning, especially, I was getting huge hints of Gilman’s infinitely-interpretable Yellow Wallpaper, and until the end of the second act I was feeling the beating heart of Luis Buñuel’s long post-Mexico phase. I have no idea if Aronofsky intentionally reached out to grab hands with Buñuel and Lars von Trier, but if you’re going to get help, get help from the best, right? The dialogue and action effectively render the unconscious terror of having no privacy, of bearing alien responsibilities foisted upon us from nowhere, of being the stage for the will of others.

Lawrence has a lot of lifting to do, and she does it as quietly and wordlessly as possible, and I don’t blame her. Bardem works ultimately like an archetype, and that works. The real fun is in the hands of Pfeiffer and Harris, who stoke the insecurity of the two stars. Although Bardem’s character is the closest to a clef that the story is going to get, we are stuck in the film with Lawrence’s perspective, militantly photographed with her face at front and center, the plot elements beautifully whirling around her with a perfect balance of narrative force and the wife’s psychological echoes.

The film has rather a heavy shift in the third act; it’s not a tonal shift but rather a tonal acceleration, to put it synasthetically; some viewers may not go for unless in for some straightforward symbolism. For this reason I also caution the viewer not to spring for the Biblical reading, which simply is not enough nor any fun for the quality of this movie. The final scene elegantly closes the conceit about our will to have things as we imagine them, and what destruction it’s caused the world. I’ll leave the reader to figure out what it’s all modeled on.

Personally, I interpreted the incursion of the late-capitalist scarcity warzone into the couple’s house to be possibly an attempt by Aronofsky at a re-do of the somewhat awkward evolution-into-selfishness-equals-war riff at the finale of Noah, and I respect that. The final scene elegantly closes the conceit about our will to have things as we imagine them, and what destruction it’s caused the world. I’ll leave the reader to figure out what it’s all modeled on.

Ultimately I for one will give the film a lot of slack for some of its more decadent moments, because honestly I grew up watching Aronofsky, starting with Pi, I know how he works, and I’m a fan. But regardless, I encourage any lover of artistic effort to slide down to the cinema and keep the auteur in business, savoring the photography, the slices of film history and the wide variety of possible interpretations.

Sin Barras: To End Prisons

Need to repost this article. It’s got an excellent source, and it also reminds me to look up that Angela Davis book about prisons being obsolete. Read on and do something about it!

By Incarcerated Workers Organizing Committee A response to the debate on abolition in Jacobin Magazine. The weekend of August 19 2017, amid the second nationwide inside/outside mass protest against prison slavery in as many years, Jacobin Magazine published an article against prison abolition entitled How to End Mass Incarceration by Roger Lancaster. Lancaster argued that returning to an […]

via Destroy All Prisons Tomorrow — Sin Barras

SF Zine Fest is Coming!

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SF Zine Fest is coming this Sunday, the third of September, to Golden Gate Park’s county fair building. In its 16th year, the FREE Zine Fest is sure to be a party and full of more fun art and educational opportunities than you thought. Plus the burner dicks will be out of town, so it’s the perfect time to visit SF!

Those interested who have a Facebook can reply to the event here. My friends at Éxitos Gnosis will be nice enough to sell my stuff along with a bunch of other great art at their table, so look for them!