Space Age Disco Ya Don't Stop

"Meine Idee/My Idea," Daso Franke (2007): Cologne based music producer, has since this song died of cancer. Incandescent late nite New Wave electro disco; and the New Wave is in that fat bass, and maybe the vaguely melancholy washes of synths, and if you must know, the disco part is when it gets all wound up, the synths going off like heart-racing alarms, bounciness prevails, faster and faster to nowhere, grooving down the freeway to nowhere in particular, 


"Krack," Soulwax (2020): Alt-indie disco-forward EDM record; "rock music without electric guitars," says some promotional content. Has a big windup, some abstracted breathy vocal group tease, and then staggering, swaggering, jumping up and down, strutting back and forth electro tribal mashup. The squawk-box vocal, minimal, is indecipherable, and could have been one of the guys in Cabaret Voltaire. New wave noir electronic music with some hiphop bit-beats production values. A Banger. 


"Lost tape," Mutual Attraction (2001): You know sometimes how it's the singer and sometimes it's the song? Well, likewise, sometimes it's the dance music and sometimes it's the dancer or dancers. The dance music here is vaguely psychedelic ethnic fusion over a vintage Space Invaders dance music click-track; maybe a little House music in trance mode. Like something you might hear in a hip African restaurant. A little blank and generic but good enough exotic dance music vibes. The dancer in the video is one Kezza Palmer aka Mr Shapes. Kezza likes to dance and Kezza does indeed shape the music, giving it a more downbeat yet spiritually buoyant cast. As if this were the soundtrack to his daily Tai Chi workout, a skipping-in-place shuffle that does a Snoopy dance over personal demons and cranky passersby; bubbling over in playful low-key teasing enthusiasm as if a live action Energizer Bunny. 



One Battle After Another in Culture War America

Shaggy dog story telling is something director Paul Thomas Anderson, see Boogie Nights (1997) and Magnolia (1999) for starters, has always had in common with novelist Thomas Pynchon, long before PTA started adapting Pynchon's novels, Inherent Vice (2009/2014), or his latest, One Battle After Another (2025), inspired by Pynchon's novel Vineland (1990). Artistically, anyway, they have always been fellow travelers.  

Here, with OBAA, "inspired" means PTA takes significant liberties with his adaptation. Supposedly, Pynchon's Vineland is a story about counter culture Vietnam-era revolutionaries, activists and layabouts, hippie survivors reflecting back on episodic battles (one battle after another) with police state goons, redneck state troopers, FBI spooks, and other menacing agents of The Man in the turbulent 1960s and '70s. PTA fast-forwards to the 21st century, relocates the locus of conflict from the Vietnam war and its aftermath to southern border culture wars and conflicts over immigration. 

But the bitter binary, right vs left cold war conflict, is more or less the same. The redneck police state goons are now soldiers in fatigues, domestic war on drugs or war on terror commando units; lead by Sean Penn, one Steven J. Lockjaw, a demented Oliver North with more neurotic tics than Dennis Hopper, recruited and managed by a secret white supremacist group known as the Christmas Adventurers Club. The lefties, antifa, multicultural members of a radical collective known as the French 75, led by Teyana Taylor, aka Perfidia Beverly Hills, and Leonardo DiCaprio, aka Ghetto Bob Calhoun (sometimes called Rocketman), attempt to liberate poor immigrants incarcerated in cages and generally disrupt the police-state crackdown on migration and cultural mixing. 

One key to unlocking the film's narrative force is first recognizing it isn't social realism. There is no bomb-throwing leftist terrorist group like the French 75 operating around the southern border of the US or I'm assuming there isn't. If there were I'm fairly certain Fox would be hyping their violent exploits as the perfect cassus belli for the "emergency" powers Trump wants to unleash against domestic opposition; even worse and with more impunity than he already has. Not that the lack of organized leftist violence, antifa, has stopped him from trying but the French 75 appears to be as much a paranoid fantasy of the right as the Christmas Adventurers Club is a paranoid fantasy of the left. Two paranoid fantasies locked in internecine conflict, no end in sight, one battle after another. 

The allegory is ingeniously illustrated by both sides operating as fronts for Kafkaesque catacombs, escape tunnel networks, and vast conspiratorial bunker hideouts. When a member of the Christmas Adventures enters an otherwise nondescript McMansion in a gated-community for a secret meeting he is led downstairs into a labyrinth of underground corridors and closed doors, as if entering a vast secret operation of the Pentagon or NSA. Likewise, when Rocketman follows Benicio del Toro, Sergio St. Carlos, into a humble corner market in a Latino neighborhood, following him upstairs (downstairs/upstairs), he enters a hallucinatory large complex of safe spaces, hallways, small rooms, full of women and children, hiding out from the dreaded authorities; a sanctuary. In each case, the building facades are mere doorways into vast conspiratorial networks. Like the court building in Kafka's The Trial (1915). 

Choosing legend over history, in the old John Ford formulation, isn't at work here as much as turning history into legend, allegory, and then interrogating and satirizing the battlefield of human relationships and destruction that results. This approach naturally can generate continuity problems. 

Paternity questions are central to the story. Perfidia has some intense sexual thing with the French 75's commando actions and blowing stuff up; this is why she couples with Rocketman in the first place, she likes his way with explosives. So Perfidia's encounter with Lockjaw is fascinatingly illicit, attention grabbing, maybe like the raining frogs scene in Magnolia, both stunning and a little goofy, potentially traumatizing, but inscrutable. I wasn't sure what happened between Perfidia and Lockjaw until the end of the long movie and even then always felt like something didn't feel quite right about that earlier scene. It felt too glib and needed more something, imho.

Moreover, if PTA were to take editing advice from me, he doesn't and will never of course, I'd also suggest cutting the last Lockjaw scene. I see how it underscores the comforting point that the racist reactionaries are preoccupied most with killing each other in an endless effort to "clean" their ranks of race and cultural mixing but still the scene feels gratuitous. We already got that. The scene with the central committee of the Christmas Adventurers, deep in the underground bunker, with exquisitely savage black humor, makes clear they are some super segregationist white supremacy society obsessed with not allowing any contaminating non-white Christian elements into their secret society and doing everything they can with money and force to keep people from other non-white societies in minimum wage slavery conditions. The ending shot with Lockjaw in the incinerator framed by the port hole window is ghastly cinematic, unforgettable in its way, but maybe a little much; Frankenstein burning in a fire surrounded by the village mob? Again, we got that in CA's car chase assassination. The last Lockjaw scene is gratuitous and unnecessary to the story.          

Nevertheless, overall I thought the movie rocked and the extra stuff adds to its shaggy dog story-ness. Maybe the shaggy dog aspects are why or how One Battle gets away with so savagely satirizing current events, polarizing left-right police-state conflicts in the US at the southern border and about the southern border, without sounding anything like a partisan official on cable news or a troll on social media. 

Loved del Toro's zen martial arts teacher; his Spanish-speaking ghetto captain blues riff of a role. And this is maybe my favorite DiCaprio, admittedly not a particularly high bar for me, certainly his most sympathetic character. He's like Lebowski as a burnt-out leftist revolutionary. Tayana Taylor's Perfidia Beverly Hills is an exploding rocket of Black power and sexuality, finally captured and shattered shooting a Black security guard, she ends up ratting out her friends and disappears, reduced to a story plot foil. I wanted more of her story and thought her performance should have earned her more. 

But, ultimately, I share One Battle's sympathies: Mixed-race daughter of racist conflict survives and inherits her parents left-sympathizing rebellious instincts. 

My favorite part of the movie is when the daughter faced with these questions about her own paternity chooses the father who was there for her over blood or wealth or whatever. It resembles the story in George Eliot's Silas Marner, which I recently read. Choosing Marner's parental love over blood wealth and status. I also got the feeling there could have been other classic literary allusions in One Battle I wasn't picking up on. At any rate, it's funny that Ghetto Bob like Silas Marner turned out to be a pretty good dad, if still a chronically stoned paranoid fool. The funniest ongoing gag of the movie is how aging drug-addled Rocketman can't remember the code words that will give him access to the French 75 network so he can save his daughter. When Willa finally barks code words at him on the road in a big secret handshake moment  Bob can't say back to her the words she wants and expects. He's just another inadequate dad unable to be there for her when she needs him. But still he's the dad she knows and loves best and was in fact always the one that was there for her. She rushes towards him, abandoning the secret code rules and embraces him. Ghetto Bob is the counter-culture's Homer Simpson. And all this melodrama with none of the self-satisfying smarminess I find in most of DiCaprio's roles. Mostly, he's bewildered and hassled and trying to be there for Willa like most any other devoted parent.  

What about Chase Infinity, who plays Willa, the prodigal daughter? She conveys her woke school of rock girl power perfectly. As symbolic figure she's all charm. But she doesn't say a lot. She comes off like a shy teenager, a good kid, but there is not much more to go on. That she doesn't say a lot adds in its way to the symbolic power of her role, mixed-race multicultural pride, but not to any more complex understanding of her as an actress, not that I'm any expert on acting anyway.  

At any rate, times tough. Chalk this one up for the resistance. Stay strong. Peace. 

Extra notes: 

To me the French 75 still look like a Vietnam era leftist revolutionary action group, SLA, RAF (Baader-Meinhof), like that, more than any more contemporary leftist group? I just saw the current regime targeting some self-identifying antifa or anti-fascist groups in Europe, the US gov now formally identifying them as terrorist organizations. Overlooking the galling mendacity for a moment, fascist government condemning anti-fascists, are there really any leftist revolutionary groups committing acts of mass violence and sabotage like the French 75 around today? I remember Earth First! actions in the 1980s and 1990s. They destroyed machinery, very Luddite of them, but I don't remember them killing anybody? 

And what about historical models for the Christmas Adventurers Club? The first image that came to mind for me was the secretive Christian political organization known as The Family in Jeff Sharlet's 2008 book. Or Federalist Society heads meeting eminences from the donor class, like that picture of justice Thomas sitting with some rich guys on a palatial backyard patio? Halliburton and Blackwater CEOs and their best veteran military officer friends (identifiable by their untreated PTSD tweaking) in an underground state-of-the-art military bunker like Dr. Strangelove? The rich central committee backers of the KKK and other racist extremist groups? There is no shortage of potential historical analogues.  

At any rate, for my money, the French 75 strike me as the more fabricated, the bigger stretch, more historically out of place, than the Christmas Adventurers Club, but I'm a liberal leftist lunatic simp, so you'll have to take this all with a grain of salt.  


Silas Marner's Redemption in Fatherhood

“You love a garden, do you, my dear?” said Nancy, thinking that this turn in the point of view might help her husband. “We should agree in that: I give a deal of time to the garden.”

“Ah, there’s plenty of gardening at the Red House,” said Godfrey, surprised at the difficulty he found in approaching a proposition which had seemed so easy to him in the distance. “You’ve done a good part by Eppie, Marner, for sixteen years. It ’ud be a great comfort to you to see her well provided for, wouldn’t it? She looks blooming and healthy, but not fit for any hardships: she doesn’t look like a strapping girl come of working parents. You’d like to see her taken care of by those who can leave her well off, and make a lady of her; she’s more fit for it than for a rough life, such as she might come to have in a few years’ time.”

A slight flush came over Marner’s face, and disappeared, like a passing gleam. Eppie was simply wondering Mr. Cass should talk so about things that seemed to have nothing to do with reality; but Silas was hurt and uneasy.

“I don’t take your meaning, sir,” he answered, not having words at command to express the mingled feelings with which he had heard Mr. Cass’s words.

“Well, my meaning is this, Marner,” said Godfrey, determined to come to the point. “Mrs. Cass and I, you know, have no children—nobody to benefit by our good home and everything else we have—more than enough for ourselves. And we should like to have somebody in the place of a daughter to us—we should like to have Eppie, and treat her in every way as our own child. It ’ud be a great comfort to you in your old age, I hope, to see her fortune made in that way, after you’ve been at the trouble of bringing her up so well. And it’s right you should have every reward for that. And Eppie, I’m sure, will always love you and be grateful to you: she’d come and see you very often, and we should all be on the look-out to do everything we could towards making you comfortable.”

A plain man like Godfrey Cass, speaking under some embarrassment, necessarily blunders on words that are coarser than his intentions, and that are likely to fall gratingly on susceptible feelings. While he had been speaking, Eppie had quietly passed her arm behind Silas’s head, and let her hand rest against it caressingly: she felt him trembling violently. He was silent for some moments when Mr. Cass had ended—powerless under the conflict of emotions, all alike painful. Eppie’s heart was swelling at the sense that her father was in distress; and she was just going to lean down and speak to him, when one struggling dread at last gained the mastery over every other in Silas, and he said, faintly—

“Eppie, my child, speak. I won’t stand in your way. Thank Mr. and Mrs. Cass.”

Eppie took her hand from her father’s head, and came forward a step. Her cheeks were flushed, but not with shyness this time: the sense that her father was in doubt and suffering banished that sort of self-consciousness. She dropped a low curtsy, first to Mrs. Cass and then to Mr. Cass, and said—

“Thank you, ma’am—thank you, sir. But I can’t leave my father, nor own anybody nearer than him. And I don’t want to be a lady—thank you all the same” (here Eppie dropped another curtsy). “I couldn’t give up the folks I’ve been used to.”

Eppie’s lips began to tremble a little at the last words. She retreated to her father’s chair again, and held him round the neck: while Silas, with a subdued sob, put up his hand to grasp hers.

The tears were in Nancy’s eyes, but her sympathy with Eppie was, naturally, divided with distress on her husband’s account. She dared not speak, wondering what was going on in her husband’s mind.

Godfrey felt an irritation inevitable to almost all of us when we encounter an unexpected obstacle. He had been full of his own penitence and resolution to retrieve his error as far as the time was left to him; he was possessed with all-important feelings, that were to lead to a predetermined course of action which he had fixed on as the right, and he was not prepared to enter with lively appreciation into other people’s feelings counteracting his virtuous resolves. The agitation with which he spoke again was not quite unmixed with anger.

“But I’ve a claim on you, Eppie—the strongest of all claims. It’s my duty, Marner, to own Eppie as my child, and provide for her. She is my own child—her mother was my wife. I’ve a natural claim on her that must stand before every other.”

Eppie had given a violent start, and turned quite pale. Silas, on the contrary, who had been relieved, by Eppie’s answer, from the dread lest his mind should be in opposition to hers, felt the spirit of resistance in him set free, not without a touch of parental fierceness. “Then, sir,” he answered, with an accent of bitterness that had been silent in him since the memorable day when his youthful hope had perished—“then, sir, why didn’t you say so sixteen year ago, and claim her before I’d come to love her, i’stead o’ coming to take her from me now, when you might as well take the heart out o’ my body? God gave her to me because you turned your back upon her, and He looks upon her as mine: you’ve no right to her! When a man turns a blessing from his door, it falls to them as take it in.”

“I know that, Marner. I was wrong. I’ve repented of my conduct in that matter,” said Godfrey, who could not help feeling the edge of Silas’s words.

“I’m glad to hear it, sir,” said Marner, with gathering excitement; “but repentance doesn’t alter what’s been going on for sixteen year. Your coming now and saying ‘I’m her father’ doesn’t alter the feelings inside us. It’s me she’s been calling her father ever since she could say the word.”

“But I think you might look at the thing more reasonably, Marner,” said Godfrey, unexpectedly awed by the weaver’s direct truth-speaking. “It isn’t as if she was to be taken quite away from you, so that you’d never see her again. She’ll be very near you, and come to see you very often. She’ll feel just the same towards you.”

“Just the same?” said Marner, more bitterly than ever. “How’ll she feel just the same for me as she does now, when we eat o’ the same bit, and drink o’ the same cup, and think o’ the same things from one day’s end to another? Just the same? that’s idle talk. You’d cut us i’ two.”

Godfrey, unqualified by experience to discern the pregnancy of Marner’s simple words, felt rather angry again. It seemed to him that the weaver was very selfish (a judgment readily passed by those who have never tested their own power of sacrifice) to oppose what was undoubtedly for Eppie’s welfare; and he felt himself called upon, for her sake, to assert his authority.

“I should have thought, Marner,” he said, severely—“I should have thought your affection for Eppie would make you rejoice in what was for her good, even if it did call upon you to give up something. You ought to remember your own life’s uncertain, and she’s at an age now when her lot may soon be fixed in a way very different from what it would be in her father’s home: she may marry some low working-man, and then, whatever I might do for her, I couldn’t make her well-off. You’re putting yourself in the way of her welfare; and though I’m sorry to hurt you after what you’ve done, and what I’ve left undone, I feel now it’s my duty to insist on taking care of my own daughter. I want to do my duty.”

It would be difficult to say whether it were Silas or Eppie that was more deeply stirred by this last speech of Godfrey’s. Thought had been very busy in Eppie as she listened to the contest between her old long-loved father and this new unfamiliar father who had suddenly come to fill the place of that black featureless shadow which had held the ring and placed it on her mother’s finger. Her imagination had darted backward in conjectures, and forward in previsions, of what this revealed fatherhood implied; and there were words in Godfrey’s last speech which helped to make the previsions especially definite. Not that these thoughts, either of past or future, determined her resolution—that was determined by the feelings which vibrated to every word Silas had uttered; but they raised, even apart from these feelings, a repulsion towards the offered lot and the newly-revealed father.

Silas, on the other hand, was again stricken in conscience, and alarmed lest Godfrey’s accusation should be true—lest he should be raising his own will as an obstacle to Eppie’s good. For many moments he was mute, struggling for the self-conquest necessary to the uttering of the difficult words. They came out tremulously.

“I’ll say no more. Let it be as you will. Speak to the child. I’ll hinder nothing.”

Even Nancy, with all the acute sensibility of her own affections, shared her husband’s view, that Marner was not justifiable in his wish to retain Eppie, after her real father had avowed himself. She felt that it was a very hard trial for the poor weaver, but her code allowed no question that a father by blood must have a claim above that of any foster-father. Besides, Nancy, used all her life to plenteous circumstances and the privileges of “respectability,” could not enter into the pleasures which early nurture and habit connect with all the little aims and efforts of the poor who are born poor: to her mind, Eppie, in being restored to her birthright, was entering on a too long withheld but unquestionable good. Hence she heard Silas’s last words with relief, and thought, as Godfrey did, that their wish was achieved.

“Eppie, my dear,” said Godfrey, looking at his daughter, not without some embarrassment, under the sense that she was old enough to judge him, “it’ll always be our wish that you should show your love and gratitude to one who’s been a father to you so many years, and we shall want to help you to make him comfortable in every way. But we hope you’ll come to love us as well; and though I haven’t been what a father should ha’ been to you all these years, I wish to do the utmost in my power for you for the rest of my life, and provide for you as my only child. And you’ll have the best of mothers in my wife—that’ll be a blessing you haven’t known since you were old enough to know it.”

“My dear, you’ll be a treasure to me,” said Nancy, in her gentle voice. “We shall want for nothing when we have our daughter.”

Eppie did not come forward and curtsy, as she had done before. She held Silas’s hand in hers, and grasped it firmly—it was a weaver’s hand, with a palm and finger-tips that were sensitive to such pressure—while she spoke with colder decision than before.

“Thank you, ma’am—thank you, sir, for your offers—they’re very great, and far above my wish. For I should have no delight i’ life any more if I was forced to go away from my father, and knew he was sitting at home, a-thinking of me and feeling lone. We’ve been used to be happy together every day, and I can’t think o’ no happiness without him. And he says he’d nobody i’ the world till I was sent to him, and he’d have nothing when I was gone. And he’s took care of me and loved me from the first, and I’ll cleave to him as long as he lives, and nobody shall ever come between him and me.”

“But you must make sure, Eppie,” said Silas, in a low voice—“you must make sure as you won’t ever be sorry, because you’ve made your choice to stay among poor folks, and with poor clothes and things, when you might ha’ had everything o’ the best.”

His sensitiveness on this point had increased as he listened to Eppie’s words of faithful affection.

“I can never be sorry, father,” said Eppie. “I shouldn’t know what to think on or to wish for with fine things about me, as I haven’t been used to. And it ’ud be poor work for me to put on things, and ride in a gig, and sit in a place at church, as ’ud make them as I’m fond of think me unfitting company for ’em. What could I care for then?”

Nancy looked at Godfrey with a pained questioning glance. But his eyes were fixed on the floor, where he was moving the end of his stick, as if he were pondering on something absently. She thought there was a word which might perhaps come better from her lips than from his.

“What you say is natural, my dear child—it’s natural you should cling to those who’ve brought you up,” she said, mildly; “but there’s a duty you owe to your lawful father. There’s perhaps something to be given up on more sides than one. When your father opens his home to you, I think it’s right you shouldn’t turn your back on it.”

“I can’t feel as I’ve got any father but one,” said Eppie, impetuously, while the tears gathered. “I’ve always thought of a little home where he’d sit i’ the corner, and I should fend and do everything for him: I can’t think o’ no other home. I wasn’t brought up to be a lady, and I can’t turn my mind to it. I like the working-folks, and their victuals, and their ways. And,” she ended passionately, while the tears fell, “I’m promised to marry a working-man, as’ll live with father, and help me to take care of him.”

Godfrey looked up at Nancy with a flushed face and smarting dilated eyes. This frustration of a purpose towards which he had set out under the exalted consciousness that he was about to compensate in some degree for the greatest demerit of his life, made him feel the air of the room stifling.

“Let us go,” he said, in an under-tone.

“We won’t talk of this any longer now,” said Nancy, rising. “We’re your well-wishers, my dear—and yours too, Marner. We shall come and see you again. It’s getting late now.”

In this way she covered her husband’s abrupt departure, for Godfrey had gone straight to the door, unable to say more.

Silas Marner @ Project Gutenberg

Listening to Silas Marner: The Weaver of Raveloe, and not knowing anything else by Eliot, I can imagine critics slighting her for being overly sentimental and romantic about poor English country folk, weavers and millers and the like, and unfairly stereotyping the oblivious cruelty of the dynastic landlord families and their rich estates, around which nearly all rural life revolved in the 19th century. But it's a convincing enough portrait for me and no denying Eliot's eye for social realist detail or her ability to dramatize sympathetic feelings and affections in common rural people. There are classical story telling echoes in this that I am not learned enough to identify specifically but the scenario goes like this: illegitimate child of wealthy father (rich landlord or nobility) is abandoned and raised by a poor peasant or peasants. Such stories were particularly common in Europe's Middle Ages, 500-1500. Eliot turns it into a fable about a simple weaver betrayed by his church goes on an odyssey in the rural English countryside, toiling away as a weaver, saving up a bag of gold, gets ripped off by local Duke's even worse rich rake brother, and Silas the Weaver finally finds redemption in fatherhood and the parenting of an orphaned girl. Eliot's writerly observational powers are undeniable, she illuminates social life in early 19th century rural England, the habits and gestures of the classes with sympathy and the philosophical voice of romantics like Wordsworth. Great supporting characters, like Marner's neighbor, Dolly, who gives him advice about how to care for a baby and raise a kid. Silas is always anxious at first. It takes him awhile to settle into being a parent. Plus, as I think is evidenced in the above passage, Eliot can just rip your heart out with the familial love. Eppie putting the familial bond with Silas the poor parent that raised her over Godfrey's family blood claims and especially over access to wealth and social status. I've kept putting off Middlemarch as one of those doorstop size novels that require so much commitment. Dominating my snail-pace reading schedule for months. But Silas Marner says I have to read more George Eliot soon. Wiki search: pen-name of Mary Ann Evans, later Mary Ann Cross, 19th c English novelist, largely autodidactic education, religious skeptic, broke with marriage customs of the day, mocked for her looks but happily married twice, and hung out with Robert Owen and Ralph Waldo Emerson and people like that. On first glance it would appear Eliot was in her way unstoppable. Apparently an early literary giant of the English novel I need to get to know better.