Sneaky petes

11 12 2009

I love caper flicks.

It’s where the little guy gets over, sneakiness wins over force, and wits—sometimes matched, sometimes overmatched—trump all.

There’s a definitional issue, here (of course): Do caper flicks have to be light? How much heaviness can creep in? Is there such a thing as a heavy caper flick?

I tend toward the lightness (or fleetness) aspect of capers, with just enough heaviness to anchor the thrill of the exploits.

Have you watched Hopscotch? It’s an old film (available thru Netflix streaming), about a CIA man about to be shackled to a desk who decides instead to get out; the trouble begins when he’s prompted (by his KGB counterpart, natch) to write his memoirs—about his spy work. It stars Walter Matthau and Glenda Jackson (both delicious), with the perfect Ned Beatty in the role of the Nixonian spy chief, and beautiful and young Sam Waterston as Matthau’s protege and would-be captor.

Complete fluff. Oh, that it’s about the dirty deeds of the CIA and the desire of both the CIA and the KGB to stop him from revealing those deeds serves mainly to underline the glee with which Matthau consistently baits the poobahs, and watches as they respond exactly as predicted. There’s a bit of a bump at the end, but it ends as all caper flicks must, with a win.

This, by the way, was a problem with Duplicity, with Clive Owen & Julia Roberts. I should have enjoyed it more than I did, since it’s basically a double-/triple-/quadruple-cross about consumer-products business secrets. An opening sequence with Paul Giamatti and Tom Wilkinson trying to beat each other up as their horrified associates look on sets the appropriately absurdist tone.

Unfortunately, the film doesn’t maintain that tone, and darkens inappropriately. It’s about consumer products, for chrisssakes! And the ending does not satisfy.

Ocean’s 11 satisfies. A fine ensemble piece, laced with a bit of melancholy (which you know will lift by the end), and with a ludicrous premise with equally ludicrous stakes. The best scene? When Matt Damon racially insults the late, great Bernie Mac in a performance which just possible echoes one of the best scenes in SNL history: when Chevy Chase (I think) psychologically interviews Richard Pryor, using increasingly racially-charged word-association.

No, no one can compete with Richard Pryor, but still: even an echo is great.

Ocean’s 12 was okay (my favorite scene in that? When Matt Damon’s mom, the fabulous Cherry Jones, springs the crew from the police). Haven’t seen Ocean’s 13.

The Thomas Crown Affair with Pierce Brosnan, Denis Leary, and, crap, whatshername, was fine—the scene near the end, with all the men in bowler caps, was terrific—but I’m not a huge fan of the (younger) Brosnan. And I haven’t seen the original, with Steve McQueen, so I don’t know how it compares.

The movie which really cemented my love for capers, however, was Sneakers (great score by Brandon Marsalis, by the way). It features Robert Redford, Mary McConnell, Sidney Poitier, David Straithairn, River Phoenix, with Ben Kingsley and James Earl Jones appearing near the end; the set up is  that of a second-rate security firm, headed by Redford, hired to retrieve a global decryption device. This bit of hardware, in other words, would allow one to penetrate every electronics system in the world—no secrets.

It’s a bit darker than some other caper films—at least one guy is murdered—but the ensemble is a delight, with the frictions and affections between them applying much of the fizz. Great scene? Straithairn’s character, who is blind, drives a truck off-road and down a hill to save the day. He is appropriately terrified and exhilarated.

Would Inside Man count as a caper flick? I think not, as the crime-film aspects overshadows all, but the caperesque aspects of the film are precisely what make it so delightful.

The various Bourne movies are definitely not capers: too dark, too violent, too little humor. Still, the catch-me-if-you-can aspect. . .

. . .Catch Me If You Can. Forgot about that one, probably because I haven’t seen it. A caper, right?

See, I’m stuck because while I love this genre, I can’t think of that many films which fit. The Sting—of course. There has to be more.

There has to be ‘something more’. . . !





Is anybody alive in here?

26 11 2009

It’s far easier to end things than to figure out things past the end.

Upshot: I’m having difficulty with the dystopias.

I did manage to put together a chart, but it’s pretty spongy. I’d put in ‘violent’ here or ‘charismatic’ there, then take it out, move it around.

I don’t have it—I’m missing something; no flow, here.

So let’s just call this Dystopia-Beta

  • I. Cause
    • A. Collapse
      • i. catastrophic (SEE Apocalypse)
      • ii. gradual breakdown
    • B. Evolution
      • i. of species
        • a. human
        • b. non-human
      • ii. of society
  • II. Type
    • A. Chaotic
      • i. non-violent
        • a. few people
        • b. hostile environment
      • ii. episodically violent
        • a. individual predation
        • b. criminal gangs
        • c. militias
      • iii. war
        • a. criminal gangs
        • b. militias
        • c. organized armies
    • B. Corporate
      • i. workers controlled
      • ii. consumers controlled
    • C. Party government
      • i. everything-is-good
        • a. dissenters marginalized
        • b. dissenters jailed/killed
        • c. dissenters re-educated
      • ii. everything-is-grim
        • a. populace atomized
        • b. populace enslaved
        • c. ongoing genocide
      • iii. behind-the-scenes
        • a. omnipresent/tracks behavior
        • b. omniscient/tracks affect & intellect
    • D. Military government
      • i. military in sync with society
      • ii. military opposed to society
      • iii. entire society militarized
    • E. Theocracy
      • i. elite/exclusive
        • a. exploits populace
        • b. suppresses populace
        • c. forcibly converts populace
      • ii. populist/inclusive
        • a. cultic/centered on charismatic leader
        • b. pietistic/communitarian
        • c. dogmatic/authoritarian
    • III. Stage
      • A. Immediate post-
        • i. no control
        • ii. begin control
      • B. Semi-stable
        • i. partial control [against chaos]
        • ii. organized fight for control
      • C. Stable
        • i. evolving
        • ii. eternal

(I have to say, this was a total pain in the ass to put together—all those damned ‘li’ and ‘backslash ul’—but I did it. Still, I am lazy enough that if flow charts require anything near the persnickety-ness of a nested chart, fuggedaboudit. )

Not so great, I know, but it’s a start.

Suggestions welcome.





Walk it down, talk it down

24 11 2009

A taxonomy of terror?

Yes, again with the apocalyptic and/or dystopic pics and books. Blame a conversation with my friend, S.

So, to categorize:

Apocalypse
I. Caused by:
A. Collapse
i. slow-motion
ii. sudden
B. Violence
i. natural
a. arising from natural forces
b. arising from altered nature
ii. inflicted
a. by humans
b. by non-humans
c. by supernatural forces

II. Threatened:
A. Avoidable
i. due to intervention by many
ii. due to intervention by few [n.b. S. doesn’t think this should count]
iii. due to supernatural intervention
iv. due to luck
B. Unavoidable
i. due to luck
ii. predestined

III. Post-apocalypse (SEE ALSO: Dystopia]
A. Immediately post-
i. happy-to-have-survived
ii. continued survival uncertain
B. Intermediate post-
i. reconstruction begun
ii. further collapse
C. Long-term post-
i. reconstruction complete
a. society similar to pre-apocalypse
b. society better than pre-
c. society worse than pre-
d. society different from pre-
ii. reconstruction amidst chaos
iii. chaos
iv. no life

(Crap. I’ve GOT to learn html so I can space all this stuff correctly. But you get the idea.)

Tomorrow (or, you know, whenever): Dystopia





Fly into the sun

18 11 2009

Could you tell my post last night was dashed off?

I was thinking Oh, man, I gotta post something. What? What? Then I did the dishes, which apparently put me in mind of the apocalypse.

As I told C. in the comments (who corrected an author error in the post: Clarke, not Huxley, wrote Childhood’s End), I was so lazy I couldn’t be bothered to tab over and look up various movie titles on IMDB.

Pitiful.

Thus, an elaboration on yesterday’s post, as well as an important qualifier.

The elaboration

C. astutely noted that I included dystopias with my apocalypses. So true. I guess  I tend to think that any dystopia worth its salt was preceded by some kind of apocalypse, but they really ought to be separated.

Had I been engaging anything other than minimal brain power last night, I would have figured this out in my (minor) deliberations over whether to include Brave New World. I did not, because, as I noted in the comments, the shift into Fordism seemed a kind of progression, rather than break, with what came before.

My list was also quite sloppy: I Am Legend popped into my head, then popped right back out. (I saw the Charleton Heston version, and parts of the Will Smith. In either case, definitely apocalyptic.) And I couldn’t remember the name of that damned book with the conch and boys and Piggy, and so left it off. (Golding’s Lord of the Flies. I thought there was mention of an a-bomb at the end, but it’s at the beginning.)

There’s another book, too, listed at the back of the paperback edition of The Gone-Away World: Kevin Brockmeier’s The Brief History of the Dead. It veers between an occasional (and thoroughly enjoyable) nasty humor and genuine pathos. More light than heavy.

I’d count Neil Gaiman’s American Gods, too, if only because of the threat. But I didn’t include Max Barry’s Jennifer Government because, if I remember correctly, that society arose more like Huxley’s Fordist scheme than through anything apocalyptic.

And I missed the whole field of Christian apocalypse, a.k.a. the Rapture. Now, there is a very good movie called The Rapture (David Duchovny, Mimi Rogers), but that’s a Hollywood film, as opposed to a Soon-To-Be-Coming-To-An-Earth-Near-You True Believer flick. I used to be a regular imbiber of TBN and CBN (wacky evangelistic fare), and they’d regularly show rapture films. Don’t know the name of a single one.

I do know, however, The Omega Code (produced by TBN and starring Kirk Cameron), which is  basic Bible-code Armageddon. And, of course, Jenkins & LaHaye’s Left Behind series. I tried to read it, but couldn’t get through even book one. I have a high tolerance for this stuff, so you know it’s bad. (But if they make a movie of it—have they made a movie of it?—I am so there.)

There are likely many, many more of this subgenre that I’m missing.

I also overlooked the Mad Max movies. I liked the second one, Road Warrior, best, but the first and third aren’t bad. And I have the sense that those crazy Danes probably have a bunch of apocalypses hidden in their Danish libraries. (Don’t know why I have this sense; just do.)

Well, I’m counting on C. to come up with a proper doom list.

Now, the qualifier.

None of these books or movies are based on historical events. Some of these may speculate on a future which could become history (got that?), but in no case are these movies or books based on anything which has actually happened.

No Holocaust. No Hiroshima or Nagasaki. No Native American genocide. No historical genocides, period. No plague, flu, smallpox, etc. No Mt. St. Helen’s or Vesuvius or Tambora or any actual natural disaster. No Chernobyl.

No event in which actual human beings experienced their own version of the apocalypse.

I don’t put these events off-limits, not by any means. A good book or movie is a good book or movie, and I think all of the stuff of our lives and deaths is there for the taking.

But I don’t include these in my apocalypse list.

There is a glee in thinking of how the world might end, how humans might respond—wondering how I would respond—to total disaster, precisely because it is so speculative. Look at all the possibilities of our end!

Possibilities. Not certainties.

In historical ends, there is a certainty, the most significant of which is the certainty of actual human suffering and death.

Again, a worthy topic of fiction. But not of glee.

 





Burn baby burn

18 11 2009

I fucking LOVE apocalyptic movies!

Death! Disaster! Mayhem! Whoo hoo!

And if they’re religiously themed? Even better.

Now, I define apocalyptic broadly, to encompass existential ends, partial ends (of countries, cities) as well as the mere possibility of world’s end.

Oo, world’s end—let’s see, Childhood’s End, an Aldous Huxley (Arthur C. Clarke—h/t C.) novel about—yep—the end of the world. Read that one (the, uh, first time) in high school.

So let’s extend the love for all things apocalyptic to novels, as well.

It should go without saying that these movies/novels are often awful. Children of Men was a very good movie (and so-so novel), but that, I think, was an exception.

Terminator 2 was pretty good, but really, really, really long.

Terminator? Okay.

Terminator 3? Okay. (I missed Linda Hamilton.)

Terminator 4? Umm, is that on Hulu? Maybe if I ever sign up for Netflix. . . .

Goofy apocalyptic is good, like Independence Day. Or what was that movie with Tommy Lee Jones and Anne Heche about the volcano in Los Angeles? Goofy is what it was!

And certainly better than the Pierce Brosnan volcano flick—which, while it had Linda Hamilton, did not have Sarah Connor.

So, too, with Deep Impact Armageddon (Bruce Willis/Ben Affleck comet movie) and the Morgan Freeman/Tea Leoni comet movie (Deep Impact). You’d think the Freeman/Leoni duo would kick Willis & Affleck’s asses, but, no: Deep Impact Armageddon wins by goofiness.

Prophecy, with Virginia Madsen and Christopher Walken—really, you have to ask? Christopher Walken! And bonus with angels and Satan and stuff!

Much better than End of Days, with Arnold Schwarzenegger. Too stodgy.

The Ninth Gate? Not really world-ending, but really fucking weird. And Satan and stuff.

Stigmata? Not really at all, but it had visions and angels and stuff. And Gabriel Byrne.

Waterworld? Nuh. Kevin Costner, not in his lovable-crank personna (Bull Durham, Tin Cup), but just annoying crank. But Dennis Hopper was fun.

Day After Tomorrow? Please. (And while I’m certainly willing to watch bad bad-end movies, I’m not willing to pay 12 bucks to do so: 2012 will have to wait.)

War of the Worlds? I have the Tom Cruise version stamped on my brain. Too muted. And Tom Cruise. . . .

Oh, and On the Beach. Odd, but great. The first half is a bit of a caper flick, with Fred Astair and Ava Gardner (man!) and stiff-and-honorable Gregory Peck, but still (SPOILER), no relief: everybody dies.

The Day After played on t.v. in the 1980s, to much hue and cry. I saw it again a year or two ago, and while it was mighty cheesy, still.

Testament was not cheesy. I still (mis?)remember the scene in which Jane Alexander is sitting in next to sun-filled window, sewing, her face determined. It’s only in the voiceover do we learn that this is a shroud for her daughter.

28 Days Later gave me nightmares for a week—then terrified me out of sleep six months later.

Didn’t see 28 Months Later, however—tho’ if it streams on Netflix (if I ever. . .) then, maybe.

I should catch up with all the old George Romero flixs. While I’m not a big horror fan, zombies work.

World War Z, by Max Brooks. Have you read it? A fine bit of reportage. Sparked an unfinished bit of writing from me, on the ethics of zombie-killing and -experimentation.

Margaret Atwood has written a number of apocalyptic novels, although these tend toward collapse-apocalypse as opposed to war/violence-apocalypse. Oryx & Crake was hilarious and cold—just right; her new book elaborates on the O&C theme and is, according to a number of critics, better than the original. Hmpf.

And then, of course, The Handmaid’s Tale—I’m currently using that in one of my pol sci classes. When I polled the class on when/whether they would try to escape the totalitarian Republic of Gilead, most of them were of the I’d-wait-it-out variety. Really? I all-but-yelped. Only one student was with me: as soon as we lost our jobs or our money, if not sooner, we’d be gone.

Turn me into an Unwoman—no suh!

Gone-Away World, by Nick Harkaway. What? You still haven’t read it? Honestly, what’s your excuse?

There’s more, of course. Fahrenheit 451. Don DeLillo. The Plot Against America. Walker Percy. Peter Hoeg. Jose Saramago. 1984. A couple of Marge Piercy’s. A couple of Mary Doria Russell’s. William Gibson.

Science fiction? Speculative fiction? Whatever. If the earth is in peril/ends, it’s in.

C. was going to start an apocalyptic book club at the bookstore, but a necessary manager bailed. Still, I’d expect that she’d have even more to offer.

And, again, quality is not really the point, here. Even the books or movies I slagged I’d still (re)read or watch (again).

The point is that they are 1) fiction; 2) fun! and/or terrifying!; and 3) the world ends!

Should I mention that a number of us have made plans to see The Road Christmas night?

The director had better not make it ‘inspiring’. . . .





Whip it good!

16 10 2009

Oh hell yeah I had to use that lyric for this post.

It is, after all, a review of Drew Barrymore’s Whip It—the second (new) movie I’ve seen since moving to New York. (The first was Children of Men: very good, better than the book. And Clive Owen, oh my. . . .)

Okay, back to chicks on skates. It’s a fine movie—not great, but thoroughly entertaining. Bliss Cavender lives in Bodeen Texas with her football-lovin’ dad and pageant-pushing mom (and suck-up little sister); her only friend(s) are those she works with, Pash and Birdman.

Then (cue the lights and music), she sees a flyer for a roller-derby match in Austin, is urged to try out by a derby-ite (derbyan? derbish?), skates quick-fast, makes the team. . . and away we go.

It’s a bit sketchy, insofar as there are thin bits where there could be full moments, and miss Bliss rather too easily transforms into Babe Ruthless, but what the hell, it’s already two hours long, and it’s not as if the backstories are truly necessary.

Ellen Page is endearing rather than annoying, Kristin Wiig is fab, as is the fabulous (natch) Marcia Gay Harden, and Daniel Stern looks like he’s having a good time. Oh, and Jimmy Fallon does a fine impression of a skanky announcer—so much so that I, uh, don’t think he really had to act all that hard.

And Juliette Lewis is there, too. It’s not as if I’m a big Juliette Lewis fan, but I’ve got a bit of a soft spot for a woman who’s done her own thing for a long time and gotten shit for it—and who apparently doesn’t care.  And her character works.

Oh, there’s a boy, too. Man, I guess; boyish man. In too many ways. Bliss knows just what to do with him.

So a good time was had by all (well, the three of us attending the early matinee), and I will certainly enjoy watching this again when it hits Netflix. (Which I should sign up for.)

Still, I felt a bit melancholy when I left. No! Wait! I didn’t mean that! No sad faces! So, okay, maybe restless is the better term. Yes. Restless.

Why? Well, there’s a scene in the middle where all the skaters and some of the fans hit a party, and it’s all anarchic joy. The band is playin’, the roof is swayin’, and nobody is worrying about anything. Oh, and Bliss gets tossed in the hot tub. (Of course there’s a hot tub.)

And I thought, hey, I remember that. Not the hot tub and skates, but the fuck-it glee of a great unwind, of being a part of something you never thought could exist, and the. . . dammit! bliss of freedom and the sense that there’s more out than you could ever breathe in. That you could toss yourself off the cliff and land. . . in the hot tub.

I’m so dull now. So, so dull. I like control and observation and not making an ass of myself, keeping an eye on the door and my wallet and how much I’ve had to drink. Do you know how many years it’s been since I’ve danced on a table- or bar top? Bounced with friends and strangers to the jangle-pop of a somebody’s brother’s garage band? Jumped in instead of standing back?

This isn’t a call back to my teenage or college years—well, a little bit to my college years. But even if I don’t want to be sixteen or even twenty again, I do want some of that anarchic joy, the sweaty-dancing-laughing-singing-to-the-stars joy.

I’m only halfway through life, so why am I acting as if I’m already nearing the end?

Something more, remember?





Jane says

4 10 2009

Do you know Jane?

‘Jane’ was the name of the underground abortion service in Chicago in the late sixties and early seventies; it wound down after the Roe decision in 1973.

As told by Laura Kaplan (who was a part of Jane) in The Story of Jane, a number of women in the Chicago area put together a not-for-profit and completely illegal service, one which they eventually expanded to include pap smears and female health education. Although a few members were eventually busted (somewhat by mistake), they operated for years with the knowledge both of police and various ‘legit’ medical professionals.

That such an underground service existed is not a surprise. What is stunning, however, is how completely fucking radical these women were. They initially relied upon various sympathetic and/or mercenary doctors to perform the abortions, but eventually learned how to do them themselves.

You got that? These women received training from a guy who received training from a doctor—and went ahead and performed not only D&Cs, but also vacuum aspiration, and, eventually, second-trimester abortions.

I’m as pro-choice as they come, but even I blanched when I read that. Fucking hell, I thought, second-trimester abortions done in apartments and hotel rooms?!

But they were good. One woman did die—a death which led some members to drop out, and to a great deal of turmoil for those who remained—but her death was almost certainly the result of an infection caused by  abortion attempts performed elsewhere. Upon realizing the extent of her infection, Jane members told her to go immediately go to the hospital; she waited more than a day, then died at the hospital.

Kaplan describes the meeting following the woman’s death:

As details of the story were recounted, a numbness spread throughout the room. They had founded the service to save women from dying and now the very thing they were trying to prevent had happened.

That was the whole point of Jane, to save women; even more, to give them a way to save themselves.

It wasn’t simply about making safe, inexpensive abortions available to women, it was also about women—both Jane members and those who used their service—taking responsibility for their own lives. Jane set up training for their members, and provided counseling for the women who came to them. They didn’t have moral qualms about abortion itself, but they were careful to ask anyone who seemed uncertain if she really wanted to go through with it. The decision, and the responsibility, lay with the woman herself.

Kaplan is not a deft storyteller, but she is an honest one. She details the egos and tensions, the difficulties of involvement with an underground organization, the conflicts with other women’s liberation organizations, and all the varieties of risk taken by Jane and the women they helped. All of these women shared desperation: the women (‘participants’, not patients) who came to Jane for help, and the members of Jane themselves, to help all who asked for it.

It was, in fact, that desperation to save women from unsafe abortions that led Jane to take over the operation itself, and to end up inducing 2nd-trimester miscarriages. If we don’t do it, they worried, what will happen to all these women?

There’s so much more to The Story of Jane. I used it in my ‘Women and Politics’ course I taught this past summer as a way not only to foreground reproductive issues, but also the issue of underground, anarchist, or DIY politics. Does underground work affect politics above the ground, or does DIY simply let the above-grounders off the hook? Or is the effect on ‘normal’ politics less the issue than the creation of one’s own politics?

I’m still chewing over those larger political issues. But when it comes to abortion, I wonder if Jane didn’t have the right idea. I’m a big fan of Planned Parenthood (see my links list), but they are at the forefront of putting abortion and contraception firmly within the medical sphere, i.e., within the sphere of specialization and  licensure and, most importantly, women-as-patients.

Jane insisted that abortion was something that women participated in, not that it was something done on or to them. This is your body, they repeated over and over and over, this is your life. In this context, the notion that women should have some idea of their own genitalia—a kind of mirror-empowerment which, honestly, always kind of put me off—seems less woo than utterly practical. How can you take care of yourself if you don’t know what you look like?

I know, there are both hospital-based and free-standing women’s clinics, not a few of which are also interested in patient or client education. And, frankly, autoclaves and medical education seem to me very good things.

But what about responsibility and liberation and solidarity? What of a woman’s (or any) emancipatory movement premised upon the simple declaration that you can and must free yourself? Jane was not encouraging women to bust out into chaos, but to recognize themselves as full human beings, and to inculcate a sense of responsibility not only to themselves but to those around around them.

With liberty and justice for all. Pretty fucking radical, huh?





Lou Grant on Hulu!

2 09 2009

Okay, so it’s probably not new, but hey, it’s new to (inattentive) me.

Lou Grant: Oh, the wonders of late-Seventies t.v. See Lou come to terms with female reporters! Watch as the difficulties of Vietnam veterans are confronted! Racism! Censorship! DES! Nuclear bombs in L.A. (from a Croatian independence group, no less)!

Can I tell you I loved it? That I watched the terrorist-nuke episode the other night?

If only Fame were on Hulu. . . but it is coming out on DVD. Might have to get Netflix, just for that fine Eighties fare.

Upshot? If you didn’t already know, as a kid I was a) a news-loving liberal geek; and b) a wanna-be writer/actress/singer who wanted more than anything to attend the High School of Performing Arts in Newwwww York City (that A Chorus Line song be damned!).

And today? Oh, just. . . just. . . shut up.





Free free, set them free (pt II)

19 08 2009

When we last left off, we were discussing the difference between free and, well, not-free. . . .

More to the point, while we humans may generate bits, we ourselves are made of atoms. However useful may be the comparisons between one’s genome and the bits and bytes of computing, our genomes require us to take in a certain amount of energy (in the form of calories, a.k.a., food) in order to function. And in order for these genetic information processors to receive their requisite amounts of energy, some other genetic information processing unit (gipu) must grow and deliver said energy to a location wherein multiple gipus may—wait for it—purchase said energy for their use.

Information may be free, but food isn’t. And for one to acquire such food, one must be, yes, paid, for one’s work. This payment, of course, also allows for the purchase of such old-economy items as a home, clothing, car, bike, beer, and computer, electricity, and broadband connection.

Thus, while I may blog for no payment, I don’t rely upon this blogging to pay for the rest of my life. And while WordPress may recoup costs by placing ads in my blog (as, for example, my e-mail providers do with my messages), that I neither pay nor get paid doesn’t mean that money isn’t changing hands somewhere up or down the line.

So how do I get paid? By absorbing, rearranging, and delivering information, i.e., I teach. And as much as I enjoy teaching, if CUNY wouldn’t pay me, I wouldn’t be doing it. In other words, I distinguish between a hobby (blogging) and wage-labor (teaching). Were such wage-labor to disappear, so too would would the hobby.

In other words, if I don’t get paid, I am unable to support my life—as in lifestyle, or, at the extremes, the biology itself.

Thus the basic question: if the economy is to be based on free, how is anyone to live?

Marx noted that capitalism required its laborers to be sustained, however minimally, in order to be able to work. (Corpses tend toward absenteeism.) Among the elements of the allegedly-inevitable crisis of capitalism would be the immiseration of the proletariat below the level of sustainability.

Some capitalists have made a similar observation. Even that old anti-semitic bastard Henry Ford  got one thing right about the labor force in a capitalist economy, namely, that if you wanted people to buy your product, you had to pay them enough to afford it. With this insight, he married two essential elements of any economy—the dynamic of consumer supply and demand for products, and the role of labor in creating those products. (In so marrying these elements, he highlighted the dual role of the laborer as both producer and consumer, creating a sustainable form of consumer capitalism that Marx did not foresee.) Capitalism in particular relies upon the differential between the cost of production and the price for the products for the creation of profit; thus, price must more-than-cover costs for profit to be generated.

Anderson breezes past all this. It is fashionable to discount the role of labor in production and to focus exclusively on supply and demand, such that the price for a product is allegedly solely based on s&d and bears little relation to labor costs, but:  no labor, no product. If labor costs didn’t matter, corporations wouldn’t bother to move production overseas in order to drive down those costs.

It’s one thing to engage in a hobby, which presumably one finds pleasurable, for free; it’s quite another to slog through a pile of exams or operate a punch-press or make caramel macchiatos for caffeine-crabby customers for free.

Oh, but manufacturing and retail are so atom-based, so they don’t count (I don’t know if Anderson has anything to say about teaching or medicine or law—rather significant information-based professions). But if this is a truly new economy, then how does one account for such atom-based activity? And given that the bit-based economy requires the presence of such atom-activities, wouldn’t this new information economy be better understood as the icing on the, ah, old capitalist cupcake?

Or is what’s new the notion that we are to labor for free? The costs of producing, say, an investigative report or song or book are completely discounted because the production itself doesn’t matter; what matters is the selling of that product. Thus, a band doesn’t tour to promote their music, a band promotes its music (for free) in order to sell the product (the band itself, on tour).

Again, the selling or trade of a product is a part of any economy, but in order for such trade to become or remain sustainable, it must have some positive relation to the costs of production. Metallica and Madonna have become sufficiently well-known commodities that they can, in fact, sustain themselves  through the sale of themselves, i.e., touring, but how can the unknown band or musician  support themselves outside of such a profitably virtuous circle?

What, posting on YouTube and blogging and Twittering one’s way into fame? Nothing against YouTube or Twitter—and hell, I’ll drop my anti-Facebook stance and throw that in the mix as well—but if everyone is using these fancy bits to generate publicity for themselves, how the hell is one supposed to distinguish oneself well enough to launch that profit-generating (and atoms-based) tour?

Do you know what musicians (and actors and writers and dancers and artists) are called in New York City? Waiters, baristas, teachers, and temps. Our vocation may be in the arts, and we may put a great deal of work into our vocations, but until we get paid for it, it ain’t wage-labor. Which means we have to find another way to pay the rent.

It’s not as if Anderson doesn’t make some intriguing points about third-party payment for certain technologies, and, in this Wired article from 2008, he notes that time has its own costs (although he doesn’t go so far as to make the brilliantly original observation that time is money, perhaps because he’s trying so hard to get away from money). And he notes in this article that ‘free’ is distinct from ‘cheap’ in psychologically important ways. (I won’t comment on this latter observation because 1) I fail to understand what’s new or particularly significant about this observation and 2) he does apparently expend a fair amount of energy in the book explaining what is new and significant about it. Plus, this post is already too long.)

But allow me one last jab. In the Wired article Anderson quotes Milton Friedman’s adage that ‘there’s no such thing as a free lunch,’ but then goes on to wonder if so-called traditional economics doesn’t have it wrong. Thus:

a free lunch doesn’t necessarily mean the food is being given away or that you’ll pay for it later — it could just mean someone else is picking up the tab.

Exactly. But there’s little new or innovative, much less revolutionary, about this kind of economics, not least because  usually you do, somehow, pay for it later, as, say, in the expenditure of your time viewing or listening to advertising—or, as broke young hotties looking for a sugar daddy or mama learn, in some other atom-based way.

And if you don’t? Say it with me: It’s not free; it’s freeloading.

Ain’t nothing new about that.





Free free, set them free (pt I)

16 08 2009

This is not a book review of Chris Anderson’s Free.

Mainly because I do not want to pay for Free, but, given what I’ve heard him say repeatedly on various radio talk shows, I’m not at all sure I want to read it.

That said, I’m an academic, and what’s a Ph.D. for if not opining on something about which I know little?

Anderson’s basic argument is that technological innovation has reached the point of near-vanishing costs, such that information (in a variety of forms) is, essentially, free.

In the book excerpt available at Scribd, Anderson notes the early adventures of those who would sell Jell-O and Gillette razor blades. They couldn’t, in fact, sell the products, so they gave them or something associated with them away for free or at a steep discount:

Thus was born one of the most powerful marketing tools of the twentieth century: giving away one thing to create demand for another.

The key, for Anderson, is not that the freebies were used to entice people to pay, but that they were, in fact, free. Thus, in the brave new millennium, free takes its rightful place at center stage:

This new form of Free is based not on the economics of bits, not atoms. It is a unique quality of the digital age that once something becomes software, it inevitably becomes free—in cost, certainly, and often in price. . . . The twentieth century was primarily an atoms economy. The twenty-first century will be equally a bits economy. Anything free in the atoms economy must be paid for by something else, which is why so much traditional free feels like bait and switch—it’s you paying, one way or the other. But free in the bits economy can be really free, with money often taken out of the equation altogether.

Sounds good; too bad he’s wrong.

You see, Anderson isn’t really arguing that all information will be free—just that you, the consumer, won’t have to pay for it. While that might seem to be free, it’s actually freeloading. Because you’re freeloading off advertising (i.e., information paid for by, say, a corporation), this is unlikely to offend anyone’s (be they from the left or the right) sensibilities. And since the advertiser knows that she’s paying for you to look [for free], she’s not offended, either; in fact, she’s counting on you to look.

Win-win, right? Hell, I watch shows on Hulu (finally caught the last few episodes of Battlestar Galactica last night), and have no problem with the few ads which pop up at the beginning or in the midst of the shows. I can watch or look away or get up to grab a beer or popsicle. Whatever. They pay, I play.

But is this sustainable? Maybe. But if Hulu or the producers which supply it with content can’t make money from it, it’ll go away. I may not pay, but damned well somebody has to.

Malcolm Gladwell has already written a much-cited & -linked takedown of Anderson’s argument, noting

Free is just another price, and prices are set by individual actors, in accordance with the aggregated particulars of marketplace power. “Information wants to be free,” Anderson tells us, “in the same way that life wants to spread and water wants to run downhill.” But information can’t actually want anything, can it? Amazon wants the information in the Dallas paper to be free, because that way Amazon makes more money. Why are the self-interested motives of powerful companies being elevated to a philosophical principle?

(I’m not much of a fan of Gladwell’s—his m.o. is to take note of a particular behavior or set of behaviors in a specific context, then generalize this behavior beyond all context and, often, reason—but perhaps his glibness is a perfect match for Anderson’s own shallowness.)

But let’s say that Anderson deals with all this in his book, and is able to delineate how this model is qualitatively different from, as opposed to a simple iteration of, the old (twentieth century! atoms-based!) model.

And this is where I want to stick the knife in: into that alleged gap between the atoms (material) and the bits (information). For one, as Gladwell so ably points out, bits rely on atoms:

“The more products are made of ideas, rather than stuff, the faster they can get cheap,” [Anderson] writes, and we know what’s coming next: “However, this is not limited to digital products.” Just look at the pharmaceutical industry, he says. Genetic engineering means that drug development is poised to follow the same learning curve of the digital world, to “accelerate in performance while it drops in price.” But, like Strauss [who thought electricity would someday be ‘too cheap to meter], he’s forgotten about the plants and the power lines. The expensive part of making drugs has never been what happens in the laboratory. It’s what happens after the laboratory, like the clinical testing, which can take years and cost hundreds of millions of dollars.

Hulu may provide free-for-me viewings of Buffy, but it relies on my having purchased a computer, reliable electricity (which in turn relies upon coal, nuclear, or hydro energy, delivered through cables, etc.), and decent broadband services. None of which are free.

Next: capitalism! labor theory! cupcakes!