‘Terrorism’ Signifies ‘Us’ and ‘Them,’ Nothing More

Dylann RoofThere has been much talk about Dylann Roof who apparently killed nine people at a Bible study being held at the Emanuel African Methodist Episcopal Church in Charleston, South Carolina. Many on the left want to call it terrorism and think that it is a sign of hypocrisy that it isn’t. I am highly sympathetic to that complaint. But I find myself coming at it from the other side. “Terrorism” is one of those words that describes nothing. Its use only serves to separate the world into the good people (us) and the bad people (them).

In the 1980s, I remember that the US press had no problem referring to those fighting against the government in the Salvadoran Civil War as “terrorists.” Meanwhile, those fighting against the far more legitimate Sandinista government in Nicaragua were “freedom fighters.” We see the same kind of thing today with countries like Saudi Arabia and Venezuela. The former is an ally, so the best gloss is put on everything it does. The former is nominally an enemy, so the worst gloss is put on everything it does. This isn’t surprising coming from the US government. Why it is that our “free” press goes right along with it has always been something of a mystery to me.

Michael Zehaf-BibeauIt may be just an extension of what Alexis De Tocqueville noted in Democracy in America, “I know of no country in which there is so little independence of mind and real freedom of discussion as in America.” We believe in the freedom to dissent — as long as no one really exercises it. I have long wondered if we don’t continue to have a nominally free press only because our press is in fact as compliant as Pravda. And that takes us back to the word “terrorism” and its magical properties.

Since I was a little kid, I’ve thought that terrorism was the use of violence to keep people in a constant state of terror and thus make them compliant to the political will of those using the terrorism. I looked up the word on Merriam-Webster, and that is more or less what it says: “the use of violent acts to frighten the people in an area as a way of trying to achieve a political goal.” But this definition is extremely problematic because by it, the United States is the biggest terrorist group in the world. The people in Afghanistan who have drones constantly flying over them are indeed — and very explicitly — being terrorized.

And it isn’t just the United States. Modern warfare has changed. Look at the following table from the documentary War Made Easy.

War Civilian Casualties
World War I 10%
World War II 50%
Vietnam 70%
Iraq 90%

Civilians have always been killed in war. But now, war is not even primarily about two armies fighting against each other; it is about two countries (groups, whatever) fighting against each other. Most people just want to live their little lives, but if they live in the wrong place, war comes to them. And that is terrorism — pure and simple.

I don’t really think that Dylann Roof walking into that church and killing people is an act of terrorism — as horrific as it was. But I also don’t think that Michael Zehaf-Bibeau’s shooting spree in Ottawa was terrorism either. And I certainly don’t think all these FBI created “crimes” are terrorism. They all just seem to be disturbed people doing the kinds of things that disturbed people do. But that doesn’t mean that I’m complaining about calling Dylann Roof a terrorist — because he certainly qualifies better thant Zehaf-Bibeau, who no one in the mainstream media had trouble calling a terrorist.

I’d like to get rid of the word “terrorist.” All it does is clarify what side we think any criminal is on. And in the current American context, it is patently racist. If Dylann Roof were a Muslim, people would be calling his murders terrorism. Maybe in the final analysis, people would change their minds. But the calculus is clear enough: a violent Muslim is by default a terrorist, even if he is really just a confused crazy person. Labeling something “terrorism” doesn’t tell us anything about it — except that a Muslim was involved.

Economic Policy Is Based on Friendly Guesses

Carola Conces BinderCarola Conces Binder wrote a very interesting article over at her blog Quantitative Ease, Another Four Percent. The reference is to Jeb Bush’s claim that he’s gonna rev up the economy to 4% growth. He got this number from a brainstorming session at his big brother’s “institute.” Brainstorming is a nice word for it. A more accurate word would be BS session. It’s the kind of number that is pulled out of the anus of one animal or another. But why 4%? Why not 6%? Or 40%? Or a Googolplex — if we are just making it up?

Well, there is a reason for it. The economic growth rate under Obama has been 2%. So why not double it? It isn’t totally out of the question. Certainly we saw growth near that level during Clinton’s presidency. But that was largely fueled by the stock bubble. Matt Yglesias, for one, is not impressed, Jeb Bush’s 4% Growth Promise Is 104% Nonsense. He pointed out a few things. First, since 1980, the average GDP growth rate has only been 2.7%. And it has never been as high as 4% for an entire president’s term. And perhaps most disturbing for Jeb Bush is that under his brother and father, the growth rate was only a bit more than 2%.

I’m personally fed up with GDP growth as a measure worth caring about. Our economy works very well at growing. But it does a terrible job of distributing the rewards. And the power elite understand this. When John Cochrane discussed whether 4% growth was reasonable, he brought up the 11 million undocumented workers. Why? Because that would increase GDP. We aren’t talking per capita GDP here. The idea is just to get more wealth in the economy overall. The power elite know that this means they will get a cut of it. The median income can slip further and further down, but their incomes will go up and up.

Binder noted the real reason that 4% was picked, “Let’s face it, we have a thing for nice, round, kind of arbitrary numbers.” In fact, Jeb Bush himself said, “It’s a nice round number.” And this seems to be the state of economic analysis at this point. She mentioned another “nice round number” that has no basis in reality: the Federal Reserve’s 2% inflation target. This is a number that Alan Greenspan apparently just pulled out his (or some other convenient) anus. But it is now taken as though it were brought down off Mount Sinai on clay tablets. Yet in the late 1960s, we had a great economy with inflation in the 4% to 5% range. But the economy was only good for workers, so I guess it doesn’t count.

Economists have a lot of complicated and elegant theories about the way the economy works. And some of those theories have the benefit of even being correct. But when it comes to economic policies, all these theories are used for is to justify wild guesses that the power elite grab hold of. I’m sure that Jeb Bush can find an economist who will build him a model that shows that if he just cuts taxes by the right amount, we will get GDP growth of 4% per year for a decade. But it’s all just done for the personal gain of the powerful. It’s religion — faith based policy. And heretics like me who think our inflation target ought to be double what it is aren’t burned at the stake. We are just ignored. Because obviously we are wrong. All the smart and knowledgeable people know that the inflation target must be 2% — that’s what defines who is smart and knowledgeable.

So why shouldn’t Jeb Bush pull out 4% growth as what will happen if he becomes president? It’s no less grounded in reality than any of our other economic policy.

Morning Music: Jules and the Polar Bears

Got No Breading - Jules and the Polar BearsOne of my all time favorite bands is Jules and the Polar Bears. I remember when I heard their first album, Got No Breeding — it blew me away. I loved the straightforward rock music mixed with the exceptional songwriting of Jules Shear — who remains one of my favorite songwriters. They never took off because, you know, they were good.

But it was often claimed that one of the reasons that the band never “broke” was that they were not very good live — or at least that they didn’t take live performance all that seriously. Actually, they didn’t take their later studio efforts very seriously, but that’s another story. Until now, I had never had the opportunity to hear them play live. But late last year, Rock on MV put on a 35 minute set by the band. And they are great!

Check it out:

Anniversary Post: Telegraph

Samuel MorseOn this day back in 1840, Samuel Morse was given the patent for the telegraph. Yeah, yeah, yeah: very important invention. And he was an exceptional painter. But it just goes to show that being brilliant and talented doesn’t make you a good person. Samuel Morse was a total jerk — a truly vile person. Let me count the ways. First, he was radically anti-Catholic, because, you know, he was a protestant and knew the one true way. Second, he was anti-immigrant, because, you know, he was already here. Third, he was pro-slavery, because, you know, being born in Massachusetts he had no reason to be for it except that the Bible told him so. Just listen to the great man on the subject:

My creed on the subject of slavery is short. Slavery per se is not sin. It is a social condition ordained from the beginning of the world for the wisest purposes, benevolent and disciplinary, by Divine Wisdom. The mere holding of slaves, therefore, is a condition having per se nothing of moral character in it, any more than the being a parent, or employer, or ruler.

That’s the problem with getting your morality from a book — especially one from thousands of years earlier that is filed with the vilest of social conventions cloaked in the idea that it was God’s will. Anyway, like most evil men, he had a long and happy life. He certainly didn’t make as much money off his patents as he could have, but he lived and died quite rich. So if you hear anyone complain that he didn’t get his due, remember: he lived like Mitt Romney but might have lived like Warren Buffett if his patents had been better controlled. Excuse me if I don’t care.

Anyway, happy anniversary for the bigot’s invention!


Text edited from . . . – – – . . . for Samuel Morse.

Orson Welles’ The Immortal Story

The Immortal StoryA lot is made of Orson Welles as a brilliant film maker: someone who does amazing things on the micro-scale like the amazing tracking shot at the beginning of Touch of Evil or the hall of mirrors climax in The Lady from Shanghai. But it is better to think of Welles as a great storyteller. I always remember a quote from D W Griffith. When asked about his exceptional use of cinematic technique, he replied that he was just solving the problems that came up in trying to tell his stories. That’s also true of Welles. In fact, I often wonder if he would have been as innovative if he had been given greater resources to make his films.

Last week, I heard that The Immortal Story was available on Hulu-Plus. It was the only Welles film that I had never seen. So I quickly begged a friend who had Hulu-Plus and watched the film. And then again and again and again. It was made for French television back in 1968 — based upon the short story by Karen Blixen (under her pen name Isak Dinesen). It’s just an hour long (apparently, the French version 48 minutes). And it isn’t flashy. It’s just a simple story rendered beautifully.

The story is simple. Welles plays Mr Clay, an old rich man who spends his free time having his assistant read to him from his account books as though they are stories so he can relive his glory days. But one night, he asks about other kinds of books. His assistant reads to him from Isaiah 35, “Then the lame will leap like a deer, and the tongue of the mute will shout for joy. For waters will break forth in the wilderness and streams in the Arabah…” Clay doesn’t want to hear it. He’s only interested in stories — like his account books — of things that have actually happened or are happening.

Clay then starts to relate a story he heard on his original trip to Macau about a rich old man who pays a sailor to come to his home and impregnate his young wife so that the old man will have someone to leave his fortune to. The assistant interrupts him, explaining that it isn’t a true story, but one he has heard from dozens of sailors in his travels. Clay then decides to recreate the events so that at least one sailor will be able to tell the story and have it be true.

There are no twists in the story. We simply find out more about the characters. The woman hired to play the wife is the daughter of Clay’s old partner who he bankrupted and caused to commit suicide. The sailor chosen recognizes immediately what is going on because he too has heard the story many times; he ultimately provides the real meaning of the film. We find out much more about the assistant and the daughter — both beaten down by personal loss. And we get to see Clay perform the only meaningful act of his entire life.

As a film, it is deliberately plotted. It draws the viewer in — becoming more and more interesting as we get to know the four characters. And this is probably Welles’ greatest strength — although one not commented on. He was a great director of actors. He always got excellent performances from his people. And that’s especially true here. Jeanne Moreau, Roger Coggio, and Norman Eshley are all excellent.

The Immortal Story was the first film where he used color film. And it is beautiful in an exaggerated way. Apparently, cinematographer Willy Kurant was trying to compensate for the limitations of televisions in France at that time. The result is slightly otherworldly. The shots look about what you expect from Welles. People focus on the low camera angles. That’s not so much true of Welles’ work overall. What he didn’t like were high angles. I agree with him. High angle shots tend to call attention to themselves and pull the viewer out of the story. Welles is careful in this film to never distract from the delicate narrative he’s created.

There are a couple of problems with the film — neither of them Welles’ fault. First, it isn’t available on home video. It doesn’t look like it was ever released on VHS. And the only DVD I’ve found is Region 4 (Australia). Second, the version on Hulu-Plus has terrible sound quality and no optional subtitles. There were a number of lines that I just couldn’t understand — even after multiple viewings. This is all an outrage. The Immortal Story was the last narrative film that Welles finished in his lifetime. And it is a wonderful film. It deserves much better. But I’m glad that at least Hulu-Plus is offering it. If you have access to it, you will be rewarded by spending an hour with it.

Update

The Immoral Story is now available on DVD. And it is available on line. After watching it, you might want to buy it. I’m going to right now.

Paul Weyrich and the Secret of Conservative Power

Paul WeyrichNow many of our Christians have what I call the goo-goo syndrome — good government. They want everybody to vote. I don’t want everybody to vote. Elections are not won by a majority of people, they never have been from the beginning of our country and they are not now. As a matter of fact, our leverage in the elections quite candidly goes up as the voting populace goes down.

—Paul Weyrich
1980 Speech

TPP Represents the Failed Neoliberal Past

Lydia DePillisLydia DePillis tried to get to the bottom of a question, Why NAFTA Passed and the Trans-Pacific Partnership (TPP) Failed. She noted that nothing had really changed in terms of the arguments for and against the two deals. The only real answer she comes up with is that there was a procedural difference: the fast-track authority was long done on NAFTA — before it was negotiated. So it was just a matter of voting for it or against it. I think it is simpler than that.

The 1992 election was widely misinterpreted by both Republicans and Democrats. Republicans are to this day convinced that they lost because Bush raised taxes. The Democrats were for a time — and to some extent still — under the delusion that Clinton won because he turned right and had his “Sister Souljah moment.” So there was a feeling that conservative policy was the right way to go — or at least the wave of the future. That just isn’t true anymore. I think that even the Democratic Party establishment is waking up to the fact that the New Democratic movement was bad for the nation and ultimately bad for the party.

Here’s the question that people are starting to ask: why vote for the Democratic Party when its unofficial slogan is, “Not as bad as the Republicans!”? If the Republican Party hadn’t become so horrible, the Democratic Party would be doing major soul searching right now. And even as it is, a whole lot of Democrats are wondering what it matters to win elections when the playing field is so shifted to the right that even a conservative measure like Obamacare required herculean effort and passed only with Democratic votes. The American voter is pretty messed up, but almost no one is in favor of having two political parties as fully owned corporate subsidiaries.

I think most people are where I am regarding these matters, No Trade Deals Until Our Economy Is Fixed. Are trade agreements good for the economy? They appear to be. But they aren’t that good for the economy. They create modest growth. But this is nothing compared to the enormous disruption that they create. And the kicker is that people see no correlation because economic growth and job or wage growth. That’s because there is none. Over the last 40 years, we’ve seen the economy manipulated so that it exists for the benefit of the rich — and the rich alone. What do trade deals have to do with the lives of workers — other than making them even more insecure?

The only thing that is surprising is that our elected officials listened. But it makes sense. They too have been worn down by ever more trade deals. Trade deals are for centrist Democrats what tax cuts are for Republicans: things that are done because they will supposedly create jobs but never really do. A lot of people have wondered why Obama is so all fired up about the TPP. I think this is why. It isn’t rational. He just “knows” that this trade deal is good for the economy in the same way that George W Bush just knew his tax cuts were good for the economy.

The difference now is that Democrats are capable of learning. And they saw that this was not just — or even primarily — a trade deal. The thing is larded up with special deals for industries that are going to increase profits but not jobs. No one thinks that if Lionsgate can sell The Expendables for he next 70 years in Vietnam that more films will get made. At a time when the Democratic Party is finally waking up from its long neoliberal nightmare, yet another trade deal just doesn’t make sense. If NAFTA seemed like the future to the Democrats in 1993, TPP definitely is the past in 2015.

Republicans Will Not “Reform” After 2016

Brad DeLongFor liberals, there is a long history of thinking that surely the Republicans will have to change their ways. They have a very unpopular platform and seem only interested in funneling money to the rich. There is almost no rational basis for their policies, so they have cast aside science for a kind of postmodern mentality where reality is whatever they want it to be. And this has morphed into a proto-fascist belief in “might makes right.” Remember the Bush administration idea that 50% plus one vote gave them legitimacy to do whatever they wanted? Surely, we liberals have thought, they cannot continue on like this and win elections!

Now we are hearing rumblings within the conservative moment that if the Republicans don’t win the presidency in 2016, the party is dead. There will be a civil war in the GOP that will tear it apart. Liberals tend to be more cautious. We’ve watched this before. For one thing, if the Republican Party came out in favor of torturing kittens, it would still manage to get 40% of the vote. That just seems to be built in. Still, Brian Beutler seems cautiously optimistic that the Republicans might change if they lose in 2016. I’m not.

The problem is that there is a disconnect between the micro-scale and the macro-scale. What is good for any one politician is not necessarily what is good for the party that she represents. It is interesting that the divide between these goals should be so much greater in the Republican Party than it is in the Democratic Party. But I don’t think it is hard to construct a narrative about why it is so. The conservative movement went through a long period of defeat. For four decades, the closest it came to the presidency was Dwight Eisenhower who wasn’t much more conservative than Adlai Stevenson who the Democrats ran against him. It bears repeating: Republican economic policy is not popular.

With the Democratic Party’s turn toward civil rights in the mid-1960s, the Republicans saw their chance. This is the basis of Richard Nixon’s southern strategy: get people to vote against economic policy that, all else being equal, they would hate — all in the name of saving their culture. The Democrats have never done anything comparable. It’s ironic that identity politics is a label placed on the Democratic Party, but the party has never used identity to get people to vote against their own class interests. It is the Republican Party that pushes the “real America” — incidentally, the places where very few people live — as an identity to policies that these people don’t generally agree with.

Brad DeLong wrote an amazing essay at his site, What About Today’s Republican Party? He highlighted the way that former California governor Pete Wilson got a second term by demagoguing against Latinos in the state. He did this, even while knowing that demographic changes in the state would soon make that position toxic. And now we have a state that in 1988 voted for George HW Bush by over 3.5 percentage points is now at just about a super-majority of Democrats and the idea that the state would vote for a Republican president is outrageous.

DeLong thinks the turning point was Newt Gingrich, who thought that he could demagogue his way to power and then govern the normal way but for the interests of the rich and powerful. Of course, that didn’t work. Once you set up that kind of situation, others are going to use it against you. As DeLong put it, “But then he found that his allies who did not care about governing could use his willingness to strike bipartisan deals — and his problems with his zipper — to bounce him out as well.” Now I think this all goes back a lot further, but the idea is the same.

After the 2012 election, there were many Republicans who thought that the party needed to reform. If the party loses in 2016, we will hear the same voices. But the party will have the same problem in 2016 as it did in 2012. If it becomes a “reasonable” pro-business party, it will have no base of voters. So it will continue to push forward with its white resentment strategy. At some point, it will find a winning coalition. But I suspect that will have more to do with the Democrats making a mistake rather than the Republicans suddenly getting creative.

Morning Music: Erik Satie

Erik SatieI will probably write about Orson Welles’ The Immortal Story this evening. It uses a lot of music by the great minimalist Erik Satie. I tell you, there was something in the water there in France in the decades surrounding the turn of the 20th century — such beautiful music! One of the pieces used is the first of the Gymnopédies. It’s interesting in that it has its own idiosyncratic sense of rhythm. It makes sense but it is frustrating if you try to find a constant beat to it. You’ll hear a clear four beat measure and think, “I’ve got it.” And then suddenly: you’re lost. You just have to go with it and it is lovely. It won’t lead you astray.

The other major piece is the first of the Gymnopédies. It was written a few years earlier and is in strict 3/4 time. But it is so delicate — so tenderly beautiful — that it is impossible not to love. You doubtless know it because it has been used in a zillion films. Here it is performed by Swedish pianist Lars Anders Roos at the St Nicholas Church on 13 April 2008:

Anniversary Post: Baseball

Alexander CartwrightOn this day in 1846, first baseball game was played using Alexander Cartwright’s rules. But that’s the thing about baseball: it wasn’t really invented; it evolved. I’m sure you’ve heard about Abner Doubleday inventing baseball in 1839 in Cooperstown, New York. But that’s just nationalistic hogwash. The idea was to make baseball a distinctly American game, instead of what it is: a variation on rounders — a game that dates back to 16th century England and that was referred to as base-ball in A Little Pretty Pocket-Book, which was published in 1744.

Cartwright did systematize the game, set up the diamond shape of the playing field and got rid of the rule allowing players to get runners out by hitting them with the ball. Cartwright was a fireman — eventually becoming fire chief of Honolulu. But he was a huge booster for baseball and spread its play far and wide. But again: he didn’t invent baseball. This is a fact that Americans especially hate to acknowledge. The history of humanity is not a story of “great men” who we would be lost without. It is a story of various people — usually without even knowing each other — working collectively.

This isn’t to take away from anything that individuals do. But they don’t exist in a vacuum. Was Cartwright’s game with the Knickerbocker Base Ball Club really the first baseball game? Or was the first baseball game something played by a bunch of kids while Henry VIII ruled England? Or was it some much later time, since baseball continues to change? It is all of these and none of them. But clearly Alexander Cartwright made major contributions to the modern game of baseball. And that’s cool. But he didn’t do it so that there would be a plaque featuring him at the National Baseball Hall of Fame and Museum (hilariously located in Cooperstown). He did it because he loved the game. And rightly so. Baseball is a wonderful game.

But what the hell: happy anniversary baseball!

Ted 2 Steals My Eddie’s Father Reference

The Courtship Of Eddie's FatherI saw a television commercial for Ted 2. I didn’t see the original film and I have no interest in seeing this one. It reminds me of ALF. It is this idea that if you have a puppet, you don’t need to make its personality charming. In Ted you have the bear who is annoying and then you have Mark Wahlberg who is a nonentity. You know who he is, right? He’s the Wahlberg who isn’t Donnie or Robert. But as a Seth MacFarlane film, I’m sure that it will be by turns hilarious and offensive. Whatever. That’s what people want and I was born in the wrong century. I’m okay with that.

But in the commercial, they are using the Harry Nilsson song “Best Friend.” And when I heard it, my heart sank. In “The Post-Postmodern Comedy Hour,” I use a parody of The Courtship Of Eddie’s Father. I hate that! I wrote the first two episodes of it three years ago. And here these people are stealing my thunder. Of course, maybe it’s obvious. The whole point of using The Courtship Of Eddie’s Father is to highlight the the power dynamic. Although it makes a lot more sense in my case because Darren (the puppet) is a child. Ted, as far as I can tell, is just Peter Griffin in a bear costume.

Also, I do something interesting with it. The thing that I remember from The Courtship Of Eddie’s Father was Eddie and Tom’s philosophical conversations at the end of each episode. So I thought it would be funny to parody these. Steve (the Tom character) is kind and understanding, but Darren (the Eddie character) is a narcissistic puppet. So the first episode has the following typically circular conversation:

Steve is riding a bike on a city street. Darren is sitting in the child seat. They both have helmets on.

Darren: Steve?

Steve: What is it, little buddy?

As they ride, the light at the intersection ahead turns red.

Darren: What does it mean to be great?

Steve: What? Why do you want to know?

Steve slows the bike to a stop at the intersection. At the corner on the left is a woman with her young son getting ready to cross the street. Steve turns toward Darren and continues to talk.

Darren: I wanna be great. If I’m not already. I am though, right?

The mother and son cross into the crosswalk.

Steve: I don’t know, Darren.

Cross traffic cars pass by in front of the bike.

Darren: You don’t know if I’m great? That can’t be. You don’t know what greatness is?

Steve: No. It’s just that greatness means a lot of things.

As the mother and son reach halfway across the street, the boy notices Darren and points at him.

Boy: Look mom!

The mother hushes her son.

Darren: As it applies to me. That’s all I care about.

The mother and son reach the other side of the street and continue down the sidewalk. The cross traffic stops. The light changes to green.

Steve: I’m still not clear on it.

Steve accelerates the bike into the intersection.

Darren: Jeez! If everyone applauds when a man walks in the room, is he great?

Steve: I suppose.

Darren: So I’m great!

They turn left into the driveway in front of an office building.

Steve: People applaud when you enter a room?

Darren (gravely): Pretty much.

Steve gets off the bike and walks it up to the front of the building and to a bike rack.

Steve: Who applauds when you enter a room?

Darren: Well, you for one.

Steve: I applaud when you enter the room?

Steve starts to lock up his bike.

Darren: Oh, yeah!

Steve: I have no memory of ever doing that.

Darren: Probably do it subconsciously.

Steve looks away from his work and stares at Darren.

Steve: And why do I do that? Do I say?

Darren: No. I figure because of my greatness.

Steve shakes his head and goes back to his work.

Steve: And why are you so great?

Darren: Don’t ask me! I’m not the one applauding.

I doubt there is anything like that in Ted 2. For one thing, Darren appears to be nothing like Ted. But I’d like to claim my own take on The Courtship of Eddie’s Father. The second episode involves a discussion of artifice. Each conversation involves the theme of the episode. And then the episode ends with Darren getting some comeuppance for his plotting against Steve throughout the episode. There is probably a very limited audience for “The Post-Postmodern Comedy Hour,” because it is the absolute perfect representation of the kind of entertainment that I want to see. It includes the supposed writer of the show locked in a cage on the set.

I’ll bet that’s not in Ted 2!