Monday, 28 April 2014

men on a plane


It is always interesting when people say, ‘I’m not racist, but …’ then follow with something that cannot be construed as anything other than racist. They use this little prefix to muddy the waters of whatever happens to be their sentiment, as if their opinion comes to carry some kind of shield against accusations of being a ‘racist’ comment; or, more accurately, that as the transmitter of the message, they themselves are not ‘racist’: ‘but I’m not racist, it was an observation about ethnic difference and failure distinct from my actual personal opinion. You weren’t listening.’
            The other side of this is the person who comes straight out and says, ‘I know this a little racist, but …’ then follows, predictably, with a racist comment. The admission of their un-PC stance operates in a slightly different way: by means of admission they attempt to display a self-awareness of their position—knowledge of what is ‘racist’—that seems to illustrate their contriteness through their early plea of guilt, and, thus, water down the severity of their ‘racism.’ ‘It’s just a bit of a faux pas; a little character fault, you see.’
            Again, though, just because you try to either dodge the label or apologetically embrace it, does not preclude you from the implications of your position. If you say it, you said it, with all its connotational, societal and cultural baggage.
In The Age yesterday, Tracy Spicer wrote an article (longwindedly) entitled, ‘I don’t want my kids sitting next to a man on a plane,’ which she opened with the blatant statement: ‘I know it's sexist. But I don't want my kids sitting next to a man on a plane.’[1]
            Tracy, that does not make the gist of your article OK. Because, in spite of your twee admission or deflection, it is still a sun-baked sexist pile of fear-mongering excrement, which implicitly prostates itself before simplistic generalisations of the male human’s supposed base, uncontrollable instincts.
            Essentially, Spicer argues that when she sends her kids to fly solo—that is, without her hawkeyed, parental supervision—she doesn’t want them sitting next to men. The basis of her argument is that, despite the strong odds of molestation coming from someone known to the child, stranger danger is still a risk and, presumably strange, women only account for about 8% of molestation cases.
Thus, in her logic, to sit a child next to a man is to court a higher chance of the child being molested, because, you know, stranger danger; that men are all kiddy fiddlers at heart, constantly fighting off their urges—particularly on planes—to get their paedophile on. Best keep them away from these jet setting brutes, scouring the sky’s for their prey: ‘business trip?’ ‘In the sense that I want to do the business, yes.’
A mother has every right to protect her children from both real and perceived harm, but this is going way too far. She is giving credit to an innate fear and distrust of men that completely ignores the immense statistical improbability that every man, even  every second man, is a sexual threat to her children … on board a fucking plane, no less.
I mean there is shit luck, then there is shit luck, and if you (forget being a child) on one of your plane trips—keeping in mind that, compared to say riding public transport, flying happens only every so often—happen to be seated next to one of these out and out wackjob sickos, that is shit luck.
And unfortunately, such is the peculiarities of fate and twisted oddities of these peoples’ brains, just seating a kid away from them is not a guarantee of safety; whether on a plane or a train or seat in a playground. Lest we forget, paedophiles are predators.
Even then, to skewer the statistics a bit, if a child is seated next to a woman there remains an 8% chance (nearly ONE IN TEN … OMG!!!)—buried in whatever abysmally low percentage chance there is of molestation in the first place—of that woman attempting a bit of a fiddle with said kid.
Yet, Spicer maintains the troubling implication that, above all else, men are inherently untrustworthy, suspect to their worse instincts (supposing there is such a base level of the male human that we are all in possession of; that embedded in each of us is a loosely screwed wire easily knocked free setting us all on the path of rape), and must be shielded from children.
She is propagating a notion of men that although undeniably true to an utter and complete minority of screw-loose fuckwits, is otherwise a complete falsehood and horrid stereotype. I don’t think that paedophiliac men fly around the world on the oft chance they are seated next a child that they can rape. To be crass, that doesn’t really sound like playing the odds to me.
There is, as I said, no doubt that such men exist, and that sometimes horrible things occur—on the ground or in the air—but these occurrences are exceptionally rare, and to submit to a largely unfounded fear only fuels the fires of the sentiment; turns it into a reality that is not real that constantly insists on its realism all the same.
And this is the pejorative –ism of racism and sexism at its very heart: the creation of a falsehood based on a minority, or even non-existent, problem or case, only tentatively linked to some aspect of the identity of the supposed perpetrator: i.e. sex, race, age, whatever.
Spicer can admit to her sexism all she likes, it does not excuse the fragility of her argument and her propagation of a masculine myth that apparently circulates around a sexually activated hatred of the young that is acted on in the worst possible ways. But a myth is, in the end, a myth; folklore with some element of a necessary message or warning (one must be wary of some strangers, yes), but ultimately has only a shadowy existence in reality.

Wednesday, 23 April 2014

movies from the 90s that time unfairly forgot

As, I guess, a literary critic, part of what I do is establish or reestablish canons of literature; what is good and bad, what is related and not related, what we should study and what we should not. As a child of the 90s, I feel that this period has been hard done by in terms of film canons. Sure, works like, say, Pulp Fiction are a distinct exception, but there are many other films in this period that are worth examination and reconsideration.

Mr. Holland’s Opus (1995)
This movie about the trials and tribulations of a High School music teacher writing an orchestral piece—the title’s ‘opus’—while dealing with the challenges of being both the father of a deaf son who admires John Lennon, and the spiritual father of his societally challenged pupils, has too often been written off as fluff. But look closer and you’ll see that it is loosely based on Beethoven—not the movie about the dog, but the deaf composer— displaced from 17th and early 18th century Germany into the cultural evolution of post-WWII America. In Mr. Holland’s Opus, however, in what can be considered a subtlety postmodern move, Beethoven is split into two—Mr Holland as the musical genius and his son as the unfortunate disability—thus exploring the difficulties a creator must face when their life-defining work literally falls on deaf ears. The students operate as a Greek choir to this story of tragedy and redemption and Richard Dreyfuss. 


please enjoy his opus as performed by his inspired former students
....
its actually decidedly ordinary

Beethoven (1992)
A film about a cheeky Saint Bernard and a grouchy father who learns how to love again, well, at least, love his dog—his children I am less sure of. What is there not to like? This majestic farce comedy, given serious artistic chops by the brilliant classicism of its score that balances Beethoven (the composer) and classic rock, and lent some thoughtful weight with its thriller edge that explores matters of animal testing and strays, proves the falsity of that age old show business adage, ‘never work with animals.’ Charles Grodin is something to behold in the role of the father.


ORIGINAL TV TRAILER!!!

Heavyweights (1995)
Belonging to a 90s trend of mischievous summer camp movies that mused on teenage, or, if you will, young adult, independence and development as they implacably marched towards adulthood, proving time and again that adult supervision is required,[1] this is the film that made childhood obesity in the US ok. Coming as it did at perhaps the height of the American cultural empire—the mid-nineties was a deluge of Jordan, animated Disney films, and McDonalds—Heavyweights expressed that it was ok to be yourself amidst the unhealthy pleasures that were so prevalent at the time. That a chocolate snack is ok, so long as you slightly moderate and engage in uplifting walks.


BEN STILLER!!!

Flubber (1997)
There was a time in the 90s when Robin Williams was the rubber faced star, or voice, of many a kid’s or ‘family’ movie, like FernGully: The Last Rainforest (1992), Aladdin (1992), Mrs Doubtfire (1993 – a bonafide and unforgotten classic of the that hybrid family movie/cross dressing film genre), Jumanji (1995), and Jack (1996 – the one where he ages really quickly and gets up to all sorts of hijinks, like buying porn for his rebellious youth mates!). The final film he made before getting his portly Boston psychologist on in Good Will Hunting (1997) and becoming sort of serious, thus ending his streak of family films, was Flubber. Playing an absent-minded, borderline mad, misunderstood scientist, Robin Williams did not hold back any acting punches, successfully managing to not only match the ahead-of-its-time CGI slime critter things—the ‘flubber’ of the title—but at-times exceed their presence. Staring also a robot with a heart of gold and a disturbing almost Oedipal crush on its human creator, Flubber carefully considers the pros and cons of creating semi-intelligent life, in the manner of the Gods, by attaching said-life to some shoes and winning a basketball game, which is clearly a metaphor for winning at science and the final hurdle all science faces of creating autonomous life.



She’s All That (1999)
A vital film in the string of aesthetically pastel and brightly coloured teen romantic comedies that are scattered through the mid to late 90s, dominated by a baggy jean fashion sense, the Barenaked Ladies and a tendency to break out into carefully choreographed dance,[2] She’s All That is the film that taught me that if I ever wanted to feel hot and popular, all I needed to do was take of my glasses; because underneath all my short-sightedness is a spectacularly attractive cool guy. In the same vein as Heavyweights, She’s All That establishes a sense of depth in the human being that belies our immediate visual apprehension. Moreover, this is the film that made Freddie Prinze Jnr everything that he is today (I think it actually also determined the way his last name would forever be spelled ... what a babe).


Freddie Prinze Jnr has a token black friend.

The Quick and the Dead (1995)
Sharon Stone as an action-hero gunslinger who hooks up with Russel Crowe, flirts with Leonardo DiCaprio (who still looks young as opposed to his current image which is still young but kind of grey too, like he’s old-young), and shoots down Gene Hackman … how could this movie ever be forgotten? Indeed, I wonder why it has not been put down in the annals of classic westerns; perhaps even inverted classic westerns as a tribute to a kind of nu-feminist west. A must watch for anyone who is a fan of duels and strong messages of the rights of women to participate in duels.



Cliffhanger (1993)
Remember when all bad guys were British? Remember when John Lithgow was a British bad guy, psychopathic genius? If you don’t, watch this film. In one of his finest performances, Sly Stallone plays a veritable mountain goat of justice, equipped with one liners, climbing axes and a keen hatred of helicopters operated by British villains. Cliffhanger posits a completely logical scenario where Lithgow’s gang highjack a plane that is escorting some briefcases full of hard cash (and tracking devices). Unfortunately, despite their careful planning, they crash the plane into the Rockies after their highly daring and complex plan has been carried out. Again, unfortunately, they then have to deal with a highly qualified policeman equipped with a very particular set of cliffhanging skills, skills he has acquired over a very long career of cliffhanging, skills he puts all to willingly into action in a high stakes game of cat’n’mouse. There isn’t anything really below the surface with this film, besides its tribute to the bravery/cunning of mountain climbers and the beauty of its setting.




[1] Think: Camp Nowhere (1994), The Parent Trap (1998), Summertime Switch (1994)—also anything with Macaulay Culkin, who although never staring in a summer camp movie and is perhaps too well-known for the parameters of this discussion, basically epitomised the embedded message of the genre, particularly his all-time forgotten classic Richie Rich (1994).
[2] Think: the Melissa Joan Hart vehicle, Drive Me Crazy (1999), Can’t Hardly Wait (1998), Clueless (1995), Never Been Kissed (1999 – how anyone could mistake Drew Barrymore as a high school student will forever be a concept that will elude my grasp.)

Tuesday, 15 April 2014

We Still Call the Royals Home ...

Considering I have labelled this blog a rant, clearly there are many things I find worth ranting about. On one hand, my ranting is a matter of a dressed up kind of intellectual, brain expulsion of whatever has been sitting in my mind for a day or two. These often dare to adopt some heightened sense of their importance, assuming an air of complexity that hides the cracks in my hurried argument. On the other hand, my ranting is truer to the nature of ranting itself, addressing the things that anger and distress me without much thought beyond my immediate emotional reaction, given a sketchy linguistic form, which I feel compelled to share with whoever takes a moment out of their day to be bombarded by my nonsense.
            I’ll never get around to writing about all the things that annoy me—they amount to a self-generating, never-ending list—but given the right opportunity and the right level of simmering self-righteous indignation (a state I do particularly well), I will inevitably find myself transmitting whatever has bothered me at the exact moment of this annoyance. Today I saw something in The Age newspaper that has successfully managed to drive me to this state; indeed, it is something of an old bugbear of mine.
However, before getting onto the thing that has really got stuck in my craw today, here is a list of things that give me the shits to somewhat contextualise my irritation; that is, illustrate how mundanely stupid I find the whole thing that has captured my attention:

  • Slow walkers (as a man who strides at a brisk pace I find them morally reprehensible)
  • TPG internet (The Grand High Fuckwit of Fuckwits Worldwide Ltd)
  • Moths (seriously, along with giraffes, what purpose do they serve?)
  • Speaking to a machine/computer when I call my telecommunications provider and repeating ‘bill inquiry’ five times before they put me through to a generic (without a particular department orientation) human consultant who still cannot comprehend my problem
  • Computers stealing/deleting my work
  • Technology in general
  • Lol-ing (not laugher itself, but short handing it)
  • Canned laughter (a lie designed to guide us to an otherwise absent hilarity)
  • Frozen Philadelphia Cream Cheese
  • The pursed lip face people make when they suck on a Boost Juice
  • The Pancake Parlour with their overpriced ordinary pancakes and bewildering Alice in Wonderland aesthetic (kind of paedophilic, really)
  • The Herald Sun (and any right wing commentators who feel hard done by with freedom of speech laws—you are a pack of marauding, partially autonomous, hyper turds, best suited to the drain you somehow slithered out of)
  • Bike thieves (TC’s)
  • Rental real estate agents, and, in particular, their mysterious incapacity to respond to phone calls/emails/physical drop ins (I suspect they’re all kidnapped work experience kids who know no way to escape; who have been brainwashed)
  • Tony Abbott’s smirk (did you know that every time Tony Abbott smirks a unicorn dies?)

But what has caught my attention today? What has driven me to compel myself to distract myself from my work to write this?
This, from The Age website, pretty much wraps it up:

Support for an Australian republic has slumped to its lowest level in more than three decades just as royal enthusiasm reaches fever pitch over the arrival of the Duke and Duchess of Cambridge, William and Kate.

There are times when I truly despair for my nation and our supposed values; namely our much vaunted ocker (gross word, that) independence; our apparent characteristic of standing up to the man; of not respecting, even being above, the feudal class system of Britain (we love to clap each other on the back and remember how we didn't salute British officers in WWI). This is definitely one of those times when I look around, not so much at the people around me, but at the people I guess I will never comprehend, and mutter, ‘you cannot be serious.’
If being presided over by a hypocritical, gay/environment/human rights hating, unicorn-slaying tyrant was not enough, I seem to still live in an accepting colony of the British Empire—in the 21st century no less—where approval for our anachronistic Constitutional Monarchy still stands disturbingly solid; indeed is at its highest level in ‘more than three decades.’ All because people seem to be all too willing to lie down at the Cult of Royal Celebrity and worship our figurehead rulers as some kind of Trash Magazine Semi-Deities.  
One measly visit with wee George—along with all their smiles and mannerisms and empty speeches and kind of handsomeness and memories of Kate’s sister—and, BOOM, where’d the Republic go?
I once wrote about the idea of ‘fame,’ and it being perhaps the worst form of ‘incomprehension.’[1] Obviously here, in the superficially heightened status the Australian public ascribe some visiting royals, this befuddled fame is at its absolute height: they are famous for no other reason than being famous. They are without any set of special skills that actually distinguish them from us—skills that usually grant the so-called famous (actors, musicians, whatever) their fame in the first place. The royals are people whose fame is a product, literally, of the luck of their birth rather than any actual, you know, accomplishment.
No one celebrates me for being born and living and doing things. If I was to smash a champagne bottle on a ship (do they even do that anymore), I’d get arrested, not celebrated. And although I believe I could be as effective a symbolic governmental leader as any of those inbred, tea-sipping twats, I am without the sheer luck of their birth that has granted them such a status; that still stands now years and years after their relevance as actual rulers of the land has faded, even in fucking Britain itself.[2]
I marvel that Australia has not relegated the monarchy to the annals of a cringe-worthy history; that there are those our there (including you Mr Abbott) who still identify themselves as ‘staunch’ monarchists. We, as a people, are apparently so shallow that the mere presence of the Duke and Duchess of Cambridge—with all their rigidly proper sex appeal—can wash away the idea of a Republic.
We don’t refer to Britain as ‘home’ anymore, but many of us still apparently bow down to its Queen, and refuse our right as a population of otherwise INDEPENDENT people to be a Republic and shake off the final remnants of the unnecessary burden of the figurative weight of still being, essentially, a quasi-colony.
And why don’t we make this move? Because Australia is full of morons who mistake celebrity with worth; who claim these people as honorary citizens despite their almost complete absence from our shores; who mistakenly go by the adage, ‘if it ain’t broke don’t fix it’ (of course nothing is broken because we are NOT actually ruled by the Monarchy, we rule ourselves in all but official name); and who, despite proclaiming the strength of our cultural identity, are so fearful of being identified as completely Australian that they still look to England for reassurance.
Really, what is wrong with people when an incomprehensible fame can determine the broader identity of nation? When a Women's Day spread can make us squeal and prostrate ourselves before our awkward political history? Especially when it is a fame grown from the luck of birth and few fancy dress parties they televise and call a wedding.
(look at how smug they are ... dorks)





[2] Apparently I am related distantly to the last King of Wales, so perhaps I will try to smash some champagne bottles. Perhaps not on ships, though. If someone wants me to bless and see-off a new car, I’m happy to help. Or perhaps you want me to colonise you?

Tuesday, 8 April 2014

I Heart Game of Thrones


To be a nerd denotes an individual with some specific and heightened obsession given an almost unnecessary intellectual edge: a nerd obsesses, but their obsession is always tinged by an underlying self-conscious acknowledgement of their obsession that they are constantly trying to legitimise by exposing it to a kind of intellectual rigour. Theories and complicated narratives, experiments and hypotheses, internet debate and pwnage, then, are the end result of this obsession, made perpetually self-sufficient by the nerd’s innate tautological desire to obsess on their obsession. It is the echo chamber of nerdom they all dwell within.
In this process of intellectualisation, the nerd complicates their particular obsession to the point where it becomes bewildering to people who have little to no interest in, and exist in the social sphere outside, their obsession, but who are still subjected to the nerd’s obsession because it is a major, if not the major, component of their life. Thus, the nerd cannot comprehend anyone who does not share their interest. In rejection and retaliation of their bewilderment these people use the word ‘nerd’ as a kind of weapon, albeit a weapon which has dulled to a kind of wry acceptance over the years.
As it was initially a term of criticism—primarily, of being a social outcast—the stereotype of the nerd has always been one marked by a negative symbolic network that heightens their already assumed social awkwardness. Fashion-less clothing, big glasses, wheezy voices, pimples, too fat, too thin, pale, hyper-sexual-in-a-constant-masturbation-way, and other like elements enforce the notion that the nerd exists on the fringes of society, worrying away at their obsession and caring little for their place in the human race.
Considering the (partial) stigma of being a nerd and the stereotype I am not so sure I slot within, this admission may come as quite the shock (so I’d recommend you brace yourself), but I am quite the nerd.
            …
            Yes, I know, shocking right?
            Now, this is to say that I am a nerd in a particular sense; that is, I am what can be called a ‘bookish’ nerd, rather than perhaps the more widespread, inclusive and clichéd ‘computer’ nerd, which can be seen to account for ‘video-game’ nerds, ‘mathematical’ nerds, 'science' nerds and ‘internet’ nerds, among others. Often, in the case of the ‘computer’ nerd, their interests intersect with these sub-nerd categories, and it is the ‘computer’ nerd is most often associated with kind of stereotype I was describing before: they are the alpha-nerd or ideal nerd.
            To be frank, technology scares the hell out of me, computers often just conk out when I use them with little (well, mostly no) explanation, I am not particularly good at video-games, and my use of the internet amounts to stupid YouTube videos, PhD research and, generally, time wasted.
            No, my self-ascribed nerd title of ‘bookish’ is related to my pretty wide knowledge of literature, which of course encompasses the fact that I have taken my intellectualisation of this obsession so far that I am now a PhD in English Literature. I spend my life creating and using theories of literature to help me justify my obsession; to think about literature—and more particularly language—as vital to measuring and understanding existence.[1]
            In a peculiar sense, however, this obsession is so far off the grid that my nerdishness can be seen to be excused. The sort of literature I research and the sort of theory I work with is mostly outside the general public’s interest or knowledge. Unlike computers, they’re rarely, if ever, exposed to the stuff I work on, and thus view my obsession as more an oddity that the pursuit of a nerd. Knowing this, I rarely subject people to this particular obsession, and, accordingly, they are rarely left in a state of incomprehension that leads to them labeling me a nerd.
            However, my ‘bookish’ nerd ways do not stop at my knowledge of the ‘high’ (to use a terrible, generic, off-putting word) literature I study.
            I also love the fantasy genre. And it is this that really assigns me the title of nerd.
            I have loved it since I was kid: the whole notion of alternate realities, alternate social systems, alternate species, magic world’s existing beyond the physical laws of our own, heroes and villains, their epic sense of grandeur, and books sprawling across volumes that meander their way through thick and enlightening, no-stone-unturned description of all these very elements.
They catered to my escapist fantasies and my obsessive need to see the full (at times, too-full) picture of how things work—by the seeming, but vitally not absolute, necessity of entering a made-up world the writer of fantasy often feels compelled to make sure the various systems (political, social, religious, physical) of his/her world are completely clear and utterly mapped out (check out how many fantasy novels have appendixes). Yet, I didn’t care (still don’t) if they lacked subtlety and if the story telling—the plot—was often better than the writing itself; that the characterisation often ventured into the safety of common, mostly binary tropes of masculinity and femininity, good and bad, truth and falsity, honour and dishonour—so long as I was entertained, I entered the world of these books and left them feeling pretty alright.
Then, when I was thirteen, a friend lent me Game of Thrones (which, in a sense, makes me cool, cos, like a hipster with a favourite band, I was into Game of Thrones before it was big) and my entire understanding of fantasy was exploded. Here was a book that understood there are no absolutes, even in fantasy. I became less a nerd of the fantasy genre, and a complete nerd and fanboy of George RR Martin. But for few exceptions—namely The Magicians by Lev Grossman, Harry Potter, and The Farseer, Liveship Traders and Tawny Man trilogies by Robin Hobb—the problematic and sincere shallowness of fantasy was suddenly and irreparably problematized by Game of Thrones and, indeed, the entire Song of Ice and Fire series. For Martin takes the tropes and ideas and commonalities of fantasy down a quiet alley and punches them repeatedly in the face, until the mangled mess that emerges is eerily familiar but disfigured; he promises them safe passage then beheads them in front of a howling, blood-thirsty crowd; he attends their funereal in drag and insists on interrupting the priest with vague questions of theology, whilst ogling their mother.
Which is not to say that these tropes, these almost essential systems of fantasy, are completely absent—dead and buried—in A Song of Ice and Fire; for they are present, only as ghostly, hesitant shadows, which will every now and again try to correct proceedings into the safe terrain of classical fantasy, before being brutally shunted to the side with Martin’s characteristic gleeful hatred of life, laissez-faire attitude towards his characters, and perfectly reasonable—and in fantasy, virtually ground-breaking—understanding that all actions, particularly honourable ones in a distinctly dishonourable world, will have a reaction, and this reaction, as in life, will not always be equivalent to the intentions of the original action. Mistakes happen in A Song of Ice and Fire, and when they do, they come at a cost. 
It is this knowledge of ramification, and his exquisite plotting (albeit marred in later books by lack of fine editing), that is Martin’s greatest achievement. 
His ability to show the dirt and grime of a medieval fantasy world, thus being true to the historical moment he is capturing and displacing in his fiction, where magic is a fluctuating, little understood presence, populated by people whose desires mostly amount to a need for power (and thus, perhaps, stay alive), expresses exactly the kind of punishment such a morally void place would dish out to those who assume to be able to dominate it from beyond its immoral core. It removes his books from the idealism of other fantasy works and complicates the genre, making it new and exciting again. 
Which is to overlook how he has effectively made his readers and, now, viewers constantly ask questions of what will happen next (such is the inherent, and well-documented, no-one-is-safe nature of the books—people are turning to internet forums on Game of Thrones, where they never would’ve bothered before), ask the lingering question of Jon Snow’s mother (I have a theory), become anxious about the eventual fate of the Starks, develop a sincere love of Tyrion (and in one Martin’s finest achievements—again blurring lines between good and bad—turn Jaime Lannister into a human being), get the hots for Daenerys, and even develop a keen understanding of the murky politics at play. All this is played against the constant anxiety of threat pervasive in the books and television series; a threat the reader/viewer is constantly forced to confront and understand as pivotal to the series development, even if it is uncomfortable at times (see the infamous Red Wedding).
And can I say that the series has only added to the colour of the books: its slight divergences and characterisation (the series actually better captures the Arya spiral into downright psychopathic nuttiness than the books) and understanding of what Martin is expressing all amount to the spectacle of Game of Thrones as one of the most curious cultural phenomenon’s of recent times—its bringing the fantasy genre (usually derided for the narrative characteristics I mentioned before) and the fantasy nerd (usually associated with D&D and fighting with Styrofoam in the park) into the mainstream. When it is on, I look forward to the show every week, like a computer nerd I imagine looks forward to, I dunno, a new Hewlett-Packard, um, thing.
I heart you, Game of Thrones. But, then, I know many of you do too. We're all nerds, its just I was a nerd before you. Nerds away!
             
             



[1] See: http://arantingdistraction.blogspot.com.au/2013/12/how-i-learned-to-stop-worrying-and-love.html

Saturday, 5 April 2014

Smug Old Choral Bastards


I went out Saturday night not particularly expecting much. I mean I anticipated I would have more than a few drinks, engage in lively banter, and maybe steal a real estate sign or two on the walk home. In other words, my expectations were for a usual, good, celebratory night out. Nothing out of the ordinary.
            The occasion was a friend’s birthday. The location was the old Belgian Beer Garden on St Kilda Rd, now called, somewhat misleadingly due to the noticeable absence of thatched housing, a blacksmith and a portly major, Village Melbourne: a great big outdoor setting with picnic tables, heaters and a château-like bar with well-dressed, bowtie-sporting bartenders.
            With great aplomb, I arrived at the Village around 8.45, and proceeded to begin the important task of ensuring I raised my dangerously low blood alcohol levels. This was accomplished through the consumption of various fine lagers and cheap vodka.
            Things were going well. Merriment was almost a physical presence and it was causing quite the enjoyable, somewhat mischievous ruckus. It was well and truly welcomed by all.
            However, around 9.45 things changed.
            Firstly, as a group of young people entering a venue can bring with them a palatable sense of figurative fresh air, we were to discover that the exact opposite can happen when the elderly decide to venture out. Particularly when they venture out in great numbers, with nefarious, curiously patriotic choral impulses.
            I didn’t see them enter, but I felt the air change. Things kind of went quiet in the manner a kid will go quiet when they’re clearly up to no good and the parents enter the room at the precipice of their misguided play. A hush descended and the multitudinous voices of the elderly rang out across the picnic tables: a mixture of old, beer-soaked Australian accents and the distinct sound of dear ladies clucking.
            Looking up from my beer and away from the companion I had engaged in ridiculous conversation, I saw about forty to fifty geriatrics, with a few younger people scattered in their ranks (all of whom  looked a little peculiar - comb over, bad makeup weird), potter into the Village Melbourne, carrying with them a chuffed sense of their well-aged experience and a projected, optimistic insouciance, as if they were all secretly proud of themselves for going and getting amongst the ‘young’uns,’ defying their age the sly old dogs.
            In a sense, though, this was not particularly alarming. Indeed, there was a certain novelty about the scene: a kind of turtle on its back struggling to get to its feet cuteness that perfectly captured the futile, but oddly respectful, effort of these old folk to recapture their youth.
Good on em, I thought. Why not go out? You never know when a hip is gonna go, might as well make the most of it while you still can. With drunken subtlety, I raised a glass just above my forehead and quickly back to my lips.
This feeling of encouragement and almost pride was short-lived as they proceeded to completely block up the bar and sit down across from us and begin their chattering. They ordered expensive wines, and a few had pots (POTS!) of beer, while others just sat forever on diet cokes and lemon lime bitters (or bitters lime and lemon as some of them insisted).
Within the space of half an hour, most of the beer garden had emptied out. The loud presence of these elderly figures, spectrally projecting a kind of collective authority figure anyone drinking with our sort of youthful abandon is clearly trying to avoid, was too much to deal with for most. We, however, fought it out, trying hard not to get elbowed or accidentally knock one of them over at the bar, while making a gentle kind of fun of them, noting the rapid, and 50s-appropriate, split of the men—mostly gathered inside, in an old-man-knot of Georges and Franks—and the women—mostly seated outside in what essentially amounted to an enormous knitting circle minus the needles.
We just copped it and drank on.
Curiously, it didn’t occur to any of us to ask why such a large group of old people was wandering around. Or why they’d stopped at our bar. They don’t usually gather in such roaming grey packs. We should have been alarmed at the brazen bizarreness of it.
We got an answer to the question we didn’t ask quickly enough.
Seated outside, directly beneath one of the open French doors, we began to hear singing: a triumphant rumble of men in neat harmony. It sounded like what I imagine a 50-year Ivy League (say, Harvard) reunion would sound like: a bunch of men in cardigans thrown across their shoulders, wearing polo’s, singing victory songs from their rowing days, while raising flagons (or, in this case, pots) in hearty celebration of their past glory.
The joke was instantly put forward that it was a barbershop quartet or, at least, a ‘Presbyterian choral sesh.’ We laughed it off, thinking that the bar was playing some strange, old-people music to keep the newly arrived swarm in order.
Painfully, we were not far off in our jokey guesses.
When I arose from the table to get a drink, I walked past the old ladies seated and observed with some humor as one of them pulled from her handbag a tuner. She blew an E (I think) and the old birds began squawking some song, looking to each other with cheeky smiles and raised painted eyebrows, swaying rhythmically from the shoulders.
Upon getting inside, I saw all the men in a concentric circle singing, led by a much younger man with a terribly unbecoming blond beard, horn-rimmed glasses and beige shirt buttoned to the top conducting from the middle. They were blocking the way to my precious beer service and making an almighty racket.
Again, the initial novelty value made it mostly ok. It is not often that you go out to a good quality inner-city bar, where you expect to consort with like-aged people, and instead get bombarded by a senior’s choir.
We shouted out requests and tried to throw them off with bad harmonies. We laughed. We pointed. I danced past the old ladies as they bopped some tune, and was disappointed when no wolf-whistle was forthcoming.
We realized that his was not about to end anytime soon.
And, then, their smug began to permeate the air, filtering out from the bar and the old lady tables on an implacable march of self-satisfaction; of being happily old and loud and invasive of a younger person’s space, fat with the knowledge there was absolutely nothing we could do to shut them up, given physical presence by their constant dipping and leaning in and smiling.
It was this, more than the singing, although the singing was its instigator, that was insufferable about them.
Song after song was sung, and the smugness just kept escalating in proportion to how high their hands soared into the air when they hit a big note; to the vicious rocking of their arthritic affected swaying; to how dense their singing circles became.
I recognized one Billy Joel number—that one about the lion—and little else. I kept shouting at them to play Led Zeppelin, but they were impervious to my desire. They just kept fucking smiling at each other and raising their eyebrows and singing, radiating smug like an excreted perfume.
Then some of the women ventured inside and they were everywhere. The circle, stretched out in a wonky oval and still led by blonde-beard, began to sing ‘I Am Australian,’ and the château-bar, distinctly German in its wood panel design, was infiltrated by the jingoistic nonsense of perhaps one of the worst, most self-righteous, smug songs ever written. Again, they kept looking at one another with what was by then their characteristic deep, collective gratification: a pride in their brutally touted Australian-ness (they were all white by the way and, I strongly suspect, powerfully middle-class) and their raised, carefully practiced voices. 
I was at the bar with a couple of strangers—people blessedly my age—when ‘I Am Australian’ was being sung, and we were in hysterics, talking loudly about the unlikelihood of this vain, patriotic spectacle. Our laughter was much to the quite visible frustration of one of the old ladies who had been pushed to the rear of the group, who still vainly sang on, but kept turning around to peer at us with shadowed eyes beneath a pink perm.
As they reached their crescendo:
I am, you are, we are Australian,
I am, you are, we are Australian!
I jokingly yelled to one of my new friends, ‘oh I get it, it’s a One Nation gathering!’ Fortunately, they understood my 90s-era gag and guffawed appropriately, bringing the ire of the old woman on the rim to focus solely on me—she had clearly heard what I said—and if it weren’t for the white pride soaring through the air, I might have heard her ‘tsk’ disapprovingly at me.

But I didn’t, and I was drunk enough to stare right back at her with a dumb grin as I sidled past to continue my night of musical frivolity, drenched in the heavy atmosphere of elderly choral self-importance that still clung to me well after I stumbled home.