#her and pope are easily the most functional couple

[thatrandomlemononyourcounter1]

hey so anyone who hates on cleo from outer banks can talk to these hands

[odanurr87]

My thoughts on... Mirror’s Edge

Released by EA in 2008 for PS3 and Xbox 360, and 2009 for PC, Mirror's Edge tells the story of Faith, a Runner who relies on her honed parkour skills to run errands for her clients, people who'd rather keep their deals hidden from the preying eyes of the ruling elite of this totalitarian world. The City Protection Force (CPF), the city’s equivalent to a police force, tends to ignore these Runners as the two parties have an unspoken agreement to stay out of each other's way, but everything changes when Faith's sister and one of CPF’s own, Kate, is framed for the murder of Robert Pope, a friend of their father's and running candidate against the current Mayor Callaghan. So starts an adrenaline-packed ride to find out who framed Kate and why, with CPF and other private security firms hot on Faith's tail.

While a fairly standard setup, so much so you’ve probably already figured out all the twists and turns of the plot from my short description, it could’ve been executed better, or tighter, than it was. By the time you finish playing and look back on it, the plot's many inconsistencies become apparent, in particular its single-minded obsession with framing Kate, going so far as to keep her alive throughout the entire game. I get it, Faith needs a motivation, you need a motivation, and a dead sister is probably not a very good one, but it makes little sense that the bad guys wouldn't have gotten rid of her as soon as she served her purpose. The first thing that occurred to me the moment Faith met up with her sister at the beginning was, "This is an ideal situation to set up Faith as the fall gal and accuse Kate of trying to help Faith through her connections in the CPF." Indeed, given the "evil master plan" revealed later in the game, it would've been the better plan. Alas, the bad guys are not as good as Faith at improvising, nor are the writers apparently. The introduction of the Pursuit Cops later in the game also doesn't add up plot-wise, to my mind, for unless they trained in the field, and by field I mean on the city's rooftops, like Faith and the other Runners (and if they had I'm certain the Runner community would've known about it), there's no way in hell they'd be nearly as good as Faith, yet they are, what leads me to gameplay.

This is what Mirror’s Edge is really all about.

You could easily make the case that I suck at melee combat, in this game anyway, because Faith was made out of glass (ironically) every time I encountered an enemy. I remember having an easier time of it in Catalyst; Faith was certainly not a tank but she could pull more moves to neutralize her opponents and far more smoothly. Maybe it helped that you didn't have people wearing full body armor firing machine guns at you. I never used a gun in Catalyst, but I practically turned this game into Battlefield: Faith, what's not easy seeing as shooting, while functional, is as bare-bones as can be. This at least makes sense from a narrative standpoint, as Faith is a Runner, not a soldier, but what a fine soldier did I turn her into! Perhaps combat's worst sin for me was how it interrupted the flow.

As in Catalyst, the sensation you get from running and jumping and parkouring is the franchise's strongest selling point, especially when you nail every jump, roll smoothly every time, and find the fastest route to your destination. The usual appearance of enemies coupled with the linearity of the levels hindered the flow more often than not. Catalyst fixed this, in my opinion, by making the world larger and Faith a better fighter. However, its open-world nature ironically amplified the "beautiful emptiness" of the original, highlighting the absence of people, both Runners and others, in their day to day life. While I noticed this during my playthrough, the levels are usually short enough that you don't give it a lot of thought. Indeed, it took me around 8 hours to complete, though I'm missing around half the Runners’ bags.

Another strength of the franchise that I have failed to mention is how damned gorgeous the game looks, and it's more than a decade old! You could argue it looks as good or even better than Catalyst at times, and Catalyst looks fantastic! Everything from the architecture, through the colours and textures, to the lighting, feels real, hyper-real perhaps, according to the above video that explains how and why Mirror's Edge is able to retain its good looks, comparing it to similar games released in that year, as well as Assassin's Creed: Odyssey and Mirror's Edge: Catalyst. I thoroughly recommend you give it a watch. Some character models, like Faith and Kate, could've been better, while others, like Celeste, actually look pretty great. In this context, the choice to complement the game's hyper-realistic visuals with animated cutscenes may seem odd or even wrong for some, but I think it was the right one given the limitations at the time and I enjoyed the animation style. It’s a shame they didn't follow it up with a short animated movie.

If I didn't mention at this point the franchise's great soundtrack by Solar Fields, I'd be doing them a disservice, as it complements the game's aesthetic to great effect, and these guys doubled down with Catalyst, releasing a soundtrack that's over 5 hours long! "Still Alive," the game's main theme, sang by Lisa Miskovsky, is just perfect, and it's still number one in my heart above CHVRCHES' "Warning Call." I mean, just listen to the bloody thing...

I tend to favour story over gameplay in most of my games, meaning I can get through some bad or just plain gameplay loop if the story's captivating enough. However, Mirror's Edge is one of those rare games where I appreciated the core gameplay loop in spite of a rather lackluster story. When you're running and jumping through the city's rooftops, pushing the boundaries of your freedom, becoming one with the flow and the music, that's when Mirror's Edge truly shines. But those moments exist, as Faith puts it, "on the edge between the gloss and the reality - The Mirror's Edge." Maybe that's the way it should be.

[roslinadama-sinequanon]

Season 1-Reloaded

I had planned on doing a full MC re-watch during the hiatus, but decided, thanks to @milquetoast-on-acid  to post my ramblings about each episode. So here goes.

1. Sharon the outsider-I have gone back and watched some of my favorite episodes many times but this is the first time I’ve gone back to episode one. I found that for me, now that we know Sharon as we do, it was hard to experience Sharon as the outsider, disliked and disrespected. Especially because she’d made great strides in the last couple seasons on the Closer in being seen as more of an ally rather than adversary. But by putting her in charge of the division that effectively erased whatever gains she’d made.

2. The crime scene-It is apparent that Provenza’s leadership style is very much on par with Brenda’s, and since they are looking for someone to gain control of what is considered a sort of wayward department it’s pretty apparent why they decided not to let him stay in that position of authority.

However, although some of what we see is the same, there is already a different dynamic in play. The team is being allowed to engage in a way that they were not allowed to do so in The Closer. In particular, I enjoyed watching Andy and his interrogation. On TC that would have been Brenda in the car, but in this new show, the talents and abilities of the team are going to be utilized in a way that only grows under the more inclusive leadership of Sharon Raydor. I especially liked seeing this in Andy as you can see his metamorphosis begin right from episode one. Most times on TC, he was either the comic relief or the hotheaded ladies man but we can see from the start on MC that this is a more mature, focused Andy Flynn.  I did not watch The Closer while it was running. I only went back to watch it after I fell in love with Major Crimes and I wasn’t always a fan of Andy’s on TC, but like Sharon, now I love him. And I am glad we’ve gotten to watch him evolve due to the new focus of MC where the members of the team are no longer one-dimensional characters. There were many sides to Andy that we probably just never got to see on TC because the focus was entirely on Brenda. And AA, counseling and Sharon have made a big difference in Andy’s attitude and life.

3. Sharon arrives- Oh, it’s the Darth Raydor trench coat, a tribute to the way she first walked onto TC---only this time, the way she walks in is very different. It’s the same coat, but not quite the same Sharon. On TC, she walks in issuing rapid-fire orders in complete authority. On MC, it is she who is being briefed on the scene and absorbing what she is being told and she looks slightly ill at ease. We find out why very quickly. When Taylor informs Provenza that she is now the one in charge, instead of wielding her authority the way she did in TC, Sharon holds back. She isn’t happy about the way this has been handled and she is treading lightly, trying to get the lay of the land. In her role in FID, she was very sure of herself and in command but we can see that right now she is really feeling things out, not quite sure of herself at all. And that leaves us feeling kind of unbalanced too because we are used to seeing Raydor in full authority.

4. The way the transition from Brenda to Sharon was handled-I thought it was pretty crummy of Taylor to announce to the team that they have a new boss at a crime scene in the middle of an investigation. And so does Sharon. When Taylor tells her it was the right time, Sharon says they should have waited and that is because Sharon is professional and respectful and having made this move she would have wanted to do her best to ease the team into the transition. But as @milquetoast-on-acid​ said in her terrific analysis, it was all about a power play for Taylor. He enjoyed seeing the kick in the gut that it was to Provenza--and let’s face it--it really was a kick in the gut. He seemed to take some kind of perverse joy in humiliating  him this way. And it put Sharon in a very difficult position. The team already had reservations about her; this only helped to foster their dislike of her. And Taylor didn’t give a damn. He just sat back and enjoyed the show.  I never liked Taylor on MC or on TC--he is very much on the Winnie Davis/Chief Pope spectrum, it’s all about them, all about the power they want and wield. Sharon Raydor’s leadership, as we will come to see is so different. Sharon tries to bring out the very best in every member of her team and she truly cares about them as people.

5.  So you were tortured- Ah, here come Rusty Beck back into our lives. “I will take care of him,” Sharon says. Oh, if only she knew…I have always thought Sharon does a great job of balancing firm authority with genuine caring and never do we see that more than we do with Rusty. She might not be completely sympathetic to Rusty’s complaints, but she is willing to listen to him. I love how the whole time Rusty is griping Sharon is walking around examining her new office with a little smile. It shows us that she is thrilled and excited about having this new position. Sharon wiggling her butt in her new chair--LOVE IT. It’s HER desk now and she has taken control.

6. I don’t know you, but I don’t like you, I’d like to talk to Brenda please-This could be anyone on the team speaking these words. Sharon responds “Well, I’m afraid you’re at the back of a very long line”. Sharon gets it and she’s got a thick skin thanks to her days in FID but it has to be extremely difficult professionally and emotionally to take over for someone, especially someone who was very well liked.  And then Sharon’s “I’m who you’ve got”. Again, that statement could be for the whole team. Brenda is gone, I’m here, we need get over it and move forward.

7. “As commanding officer responsible for the conduct of this investigation I would like to know what we are up against NOW.”-Sharon is done pussyfooting around. The team is sulking, ignoring her, not answering her questions, pointedly reading things and not looking at her, but when Provenza has his little outburst--his personal feelings spewing forth in the middle of a murder investigation-- she has had ENOUGH. She is not going to allow their personal feelings to interfere with the investigation. It was nice to see her take control and it was needed. Fritz seemed pretty impressed with the way she took things in hand. And, interesting to see that it is Andy Flynn who is the first to come to her aid and start briefing her. Andy, who had all those runs -in with Sharon on TC. @milquetoast-on-acid​ had some very good reasons why Andy may have been chosen to become Sharon’s right hand man, which made a lot of sense. Andy is the polar opposite of Sharon in temperament, he and Sharon had a pretty adversarial relationship on TC in the beginning and he is also Provenza’s best friend. So, if Andy can come around, everyone should be able to come around, including the viewers. It would never have been as effective if they’d used Mike first as he is the most mature,  kind and laid back guy on the team. Also, I think Sharon really needed the expert advice of a homicide veteran to help her wade through these new waters and Andy is far more open to change than Provenza. At the start of MC Andy is in transition himself, looking to the latest health trends, trying to better himself psychologically and physically. I’m sure AA is a big part of that. If anyone sees on a day-to-day basis how people can change, it is someone who goes to AA meetings.

8. Sharon’s smile of pride when Friz says Amy was right-Sharon is not blind or stupid. She knows that Amy is kissing her ass to get the job, but she likes Amy, sees something in her and we know from TC and the conversations she had with Brenda, that Sharon is the kind of woman who enjoys mentoring women just starting out on the force and helping women to get a step up in the LAPD. So, it was smart of the writers to have their first case involve the military so we got Amy’s background and expertise--and to see that her new boss is already taking pride in her. How nice is it to have a female character who is not threatened by another female character’s success and can actually foster that development.

9. The Andy/Sharon morgue scene- This is the scene that Duff says caused Andy to make a 180 on his feelings for Sharon. There he is berating Sharon for not using the victims first name, then yelling in her face that “every problem we’re having is because of you” and rather than get defensive and fight back she says “You are right, Andy” and then goes on to point out why and a few seconds later they are sitting side by side, heads together as a team banging ideas off one another. Although there are still some rocky moments ahead, that’s the moment they really became a team and Andy became Sharon’s go-to guy.

10. Fritz getting Brenda’s candy- “Good job today” he tells Sharon. Sharon and Fritz have always had a really great working relationship. It kind of got a little shaky when he was Asst. Chief, but as Sharon said “the job changes you”, part of the reason she didn’t want. But already I can see the old Fritz coming back. Fritz easily could have gone the other way. Sharon was taking his wife’s old job because she got herself into too much trouble and saw the writing on the wall, but instead of hoping Sharon fails, he is happy that she is succeeding. Again it’s so nice to see mature functional behavior in TV characters when most of the time we get overblown dysfunction--without it being hallmark syrupy sweet.

11. I have raised two teenagers, I have a tremendous capacity for ingratitude-Just like at work, Sharon is calm and centered. As hard as he is trying, she is not going to let Rusty get under her skin. This is a woman who has had to really develop some thick skin both at work being in FID and at home having to raise to two children as a single mother.

A couple observations about this scene. First of all we have Rusty unable to understand why Sharon is living alone. He's lived his entire life--until he was abandoned-- with a mother who was always dependent on others, who went from man to man, even prostituting herself because of her addictions and because she could not stand up on her own two feet. And when she was in between guys for short periods of time it was Rusty who had to take care of her. Therefore, the idea of a woman who is able to take care of herself without a man is something he just doesn't understand--so he has to assume there is something wrong with her for not having a man in her life. I like to think that this is one of the many lessons that Rusty has learned from Sharon.  When it came to living with Gus, he didn't want to be a kept man because of his past with prostitution, but I also think that he has learned from Sharon that when he moves away from home he needs to be independent and able to stand on his own two feet and not be completely reliant on someone else the way his biological mother always was.

Also, it’s interesting that it is Rusty who pushes the personal boundaries between them first. When he asks what he should call her she says “Captain Raydor” and he quips, “Then you can call me Mr. Beck.” “You are the child here,” she states and he says “No, if you are the police captain than I am the witness.” Sharon comes around with a smile and tells him there aren’t many people around (I’m assuming she means in the LAPD) who call her Sharon, but he can.  Of course, this causes him to immediately push her away as he realizes she has not been looking for his mother as she said she had--and this is the first and last time Sharon ever lies to him--she also learns her lessons well. So, Rusty was actually the first to attempt to forge a sort of relationship beyond police captain/witness.

And, about her not allowing many at work to use her first name, the fact that Andy Flynn was the first and only to do so in the division--well before they were formally dating--speaks volumes.

12. Last scene-Sharon hugs the pillow to her chest and I think we can all feel her physical and emotional exhaustion. I really felt for her in that moment.

[gravitascivics]

FROM INTOLERANCE TO INSTITUTIONAL ACCEPTANCE

Overall, one can judge that religion was fairly diverse in the American colonies.  Actually, the main motivation that spurred initial colonization was to seek religious freedom especially in the case of Puritans in what would become the New England Colonies and the Quakers, an off shoot Puritanical denomination, in the settlement of Pennsylvania.  And given the hazards one encountered in making the trip to the North American shores, that motivation must have been quite strong.

         Now, whether these early settlers, usually victims of intolerance in England, were in turn tolerant of other religions, is a bit complicated.  There were the famous cases of intolerance in the Puritan settlement led by John Winthrop. In their perceived aims, these Puritans sought to establish their ideal religious arrangement; that being the Congregational Church to establish that “city upon the hill.”  And such an image did not tolerate wayward religious views.  The exception was in Rhode Island that led the way to more accommodating policy.

         In Massachusetts, there were famous cases of intolerance such as the case of Roger Williams who was banished from the colony and fled to the area he established as Rhode Island in 1636.  Anne Hutchinson was banished two years later and also made her way to Rhode Island.  Along with banishment, there were other punishments such as jailing, flogging, and other harsh punishments meted out to those who were found guilty of not conducting themselves in acceptable religious ways.  The famous case of the Salem Witchcraft trials, in which over a hundred arrests were made, resulted in the hanging of 19 colonists and the stoning of a couple of men.  But this harshness had a limited history as its impracticality became apparent as new settlers with other beliefs started to arrive.

         In addition, as indicated above, other sects began establishing other colonies and with them other nationalities began showing up. Among these other settlers were Roman Catholics, Jews, Lutherans, Anglicans, Quakers, and Presbyterians.  As the years rolled by, this became a prominent feature of the establishment and settlement of the various colonies.  This blog has already commented on the role the Quakers played in establishing Pennsylvania and how its founder, William Penn, advocated religious tolerance.

         And in this, despite the initial intolerance of Puritans, it turned out that congregational churches began to be more tolerant than hierarchical churches.  That is, churches such as Puritans and Quakers tended to allow for other religions and perhaps it was their more local, communal structures that lent themselves to accepting neighbors of other faiths whereas with religions that place ultimate allegiances to some far-off figure, be it a monarch or a pope, this was not so easily accomplished.  

This was particularly the case under the rule of King James II in England.  His Catholic bent had a double effect when he tried to switch England back to Catholicism.  This did not only sit poorly with the English population, but with colonists as well who were mostly, by a wide margin, Protestant.  Of course, this upheaval ended with the Glorious Revolution that replaced James with King William III and Queen Mary II.  The lasting effect was to undermine the unquestioned authority among the colonists of a king or a queen, but also to establish a more general bias toward tolerance especially in terms of religion.[1]

This is pointed out to make the claim that, first, a basic tenet of federalism – almost definitional – is inclusion.  One cannot speak of being federated with others if others are excluded.  Yet, second, when it came to races and to some degree nationalities and non-Christian religions, early Americans were exclusive and, in terms of race, for too many that is still the case.  

But to the extent they were inclusive, this development should be considered as a version of federalism among Americans.  It is a version this blogger calls parochial/traditional federalism. And a place to start considering how federalism gained in its ability to influence colonists, one can start with religious tolerance.  Even in this social domain, the path toward acceptance was not always smooth and considered inevitable; it had its “bumps in the road” as the above overview indicates. But the path toward religious tolerance was inevitable.

And here, ironically, it was not religious thought that led the way, but the more secular bent among Enlightened thinkers that pushed Americans to realize that their common welfare hinged on being tolerant, especially in this domain of religion.  One finds a general transition from a fairly intolerant postures among various colonial settlements to functional levels of inclusion especially as the jurisdictions of evolving polities grew in size.  

And it is in this form of development that congregational – the more federalist arrangement – functioned to almost insist that tolerance be part of the necessary foundation of such unification.  Surely, this historical development provided evidence of the functionality religious tolerance could play to those who would become the leaders of the new nation Americans would establish toward the end of the eighteenth century.

Those leaders included Benjamin Franklin, Thomas Jefferson, James Madison, and George Washington.  Each of these and others actively fought for provisions to be drawn up and enacted into the founding documents of the nation.  Religious freedom for all denominations, majority and minority sects, was seen by these founders as an essential property right.  In addition, this was not only seen as an individual right but a communal element that the past had demonstrated was an essential factor in establishing and maintaining peace and mutual well-being.

And the growing sense of tolerance was eventually legalized by various provisions in law, most notably by the ratification of the First Amendment to the US Constitution, but also at the local level as exemplified with the adoption of the Connecticut Constitution of 1818 which finally killed any consideration of having an “established” religion for either a state or the nation.

And this more secular turn reflected Enlightened thinking that objected to any traditions of aristocracy while turning to republicanism as the preferred mode of governance.  This blog has already shared a list of Enlightened writers, both from the colonies, but also from Europe and Britain, that provided the theoretical guidance leading the way to republicanism.  

Those names include John Locke, David Hume, but also should include Charles-Louis Montesquieu and Jean-Jacques Rousseau.  Adding to these names is those of the Scottish Enlightenment, Francis Hutcheson and Thomas Reid.  There are others such as Samuel von Pufendorf, a German thinker who wrote about the ideas of Thomas Hobbes’ dealings with natural law.  But with these works, what became contentious was the conflicting ideas between republicanism and liberalism.

The term republicanism is somewhat new to this blog. Related terms the blog has utilized are federated polities (a form of republicanism) and democracy (republicanism being a form of democracy).  America’s form of republicanism includes a commitment to a list of governing attributes. They are the consent of the governed, doing away with any remnants of aristocracy, and a deep-seated antagonism to corruption especially in the public domain.  

Such writers as New Zealand historian, John Greville Agard Pocock, write of the rich political literature upon which American republicanism is based. Pocock shares the following:

 [Those political writings] formed the authoritative literature of this culture; and its values and concepts were those with which we have grown familiar:  a civic and patriot ideal in which the personality was founded on property, perfected in citizenship but perpetually threatened by corruption; government figuring paradoxically as the principal source of corruption and operating through such means as patronage, faction, standing armies (opposed to the ideal of the milia); established churches (opposed to the Puritan and deist modes of American religion); and the promotion of a monied interest – though the formulation of this last concept was somewhat hindered by the keen desire for readily available paper credit common in colonies of settlement.[2]

 And this has led to a current debate between those who see the prominent thinking among the founders as being predominately that of republicanism (of which this blogger can be included) or those who see them being influenced by liberalism (that being a reflection of natural rights’ ideas and ideals).

The next posting will delve into this debate since it has a profound effect on contemporary politics.  That is, liberalism has become the central rationale for many conservative arguments and a foundational cause of what is being called polarization.  Republicanism can be seen as both supporting non-Trumpian conservativism and many left-of-center liberal advocacy of today.  The verbiage can be confusing, but hopefully, the next posting will shed some light on these foundational concerns.

[1] For a simple overview of this history see “Religion in the Colonies,” (no author or date), https://www.landofthebrave.info/religion-in-the-colonies.htm .

[2] J. G. A. Pocock, The Machiavellian Moment (Princeton, NJ:  Princeton University Press, 1975), 507, emphasis added.

[caveartfair]

John Waters Has Made Bad Taste into an Art Form

I am supposed to be at the art studio of legendary cult film director, writer, and artist John Waters. My Lyft, I assume, has dropped me off at the wrong place. The red brick building in front of me is a “back and pain center” located across from a graveyard, on a nondescript residential street in northern Baltimore. I’m here to interview the legendary auteur about his just-opened survey at the Baltimore Museum of Art (BMA), a couple of miles away. I walk into the clinic and sheepishly ask if there’s an artist studio nearby. They don’t know of any, but suggest that I try the space across the hall. And behind that doorway, I indeed find the pencil-mustachioed Waters. He is wearing a black jacket and white button-down shirt, and he’s surrounded by a lot of veritable crap.

“These are just visual things that I like, that inspire me,” Waters says casually, looking around the clutter. Plastic and cardboard boxes are stacked atop cheap gray corporate carpet, stuffed with seemingly random paraphernalia: a teddy bear, containers of JujyFruits, a picture of the Wicked Witch of the West. There’s also an (ostensibly fake) Andy Warhol Brillo box piled with recent tabloids (The Enquirer: “Who’s Gay & Who’s Not?”). Also crammed into the unremarkable suburban space: a pair of drums; a giant fake cockroach in another box; a series of still-packaged Justin Bieber dolls; and a tan sofa whose small pillows were made to look like busts of Waters and his long-time muse, the drag queen Divine. On his desk, I spy a copy of the film Kaitlyn Gender (2015), a pornographic spoof on Kardashian clan member Caitlyn Jenner. Waters smiles and laughs easily as he points out various objects—in addition to creative fodder, each seems to double as a gag to keep the artist in good spirits.

Divine and John Waters on February 14, 1975 in New York City. Photo by Waring Abbott/Getty Images.

There’s a giant brown rubber snake in one of the boxes toward the back. It looks vaguely phallic, but mostly scatalogical. Waters had a little snake, he explains, when he was a kid. He just decided to make a big one. “My whole life is a joke shop,” he says. In keeping with everything the man has ever produced, the studio is an affront to the senses.

In the back corner, he keeps his own fan art. Over the years, devotees have mailed him reverential portraits and sculptures. One, in glitter, imagines Waters as a yellow Simpsons character. Another replaces the farmer and wife in Grant Wood’s iconic painting American Gothic (1930) with Waters and Divine. “I’m going to eventually use this for something,” he says, “but I don’t know what.”

“Contemporary art’s always witty,” Waters says. “Can it be funny? We’ll see.”

Indeed, Waters’s reputation lies in turning sordid, abject, and disposable objects into artistic gold. One man’s trash is John Waters’s bread and butter. Deemed the “Pope of Trash,” he’s made a career out of celebrating bad taste. Most famously, he directed the 1972 black comedy Pink Flamingos, which features a plethora of objectionable highlights: a couple has sex with chickens between their bodies; a kinky couple with neon hair kidnaps women to impregnate them, and then sells their babies to lesbian couples; Waters’s star, Divine, eats actual dog shit off the ground. But his far tamer 1988 film, Hairspray (about dancing, big hair, and segregation in 1960s Baltimore), thrust him into the mainstream—Broadway adapted the story into a musical in 2002, and John Travolta starred in the 2007 cinematic remake.

American actor Paul Swift carrying American actress and singer Edith Massey on a barrow in the film Pink Flamingos. American actors Danny Mills and Mary Vivian Pearce attending the scene. 1972. Photo by Mondadori Portfolio via Getty Images.

Waters’s kitschy, tacky aesthetic might seem at odds with the spotless, hallowed white cube—yet he has been making art since 1992, and last week, the BMA opened “Indecent Exposure,” his first-ever retrospective. Filled with 160 works (photographs, sculptures, films), the show brings Waters’s irreverent, mostly comedic oeuvre into a hallowed, erudite locale. Exit the show—which concludes with faux peep show booths—and you’ll find yourself among elegant mosaics from ancient Antioch.

Waters is no stranger to the art world. He’s been a collector for decades (even buying a Warhol picture of Jackie Kennedy for $100 back in the 1960s). Brenda Richardson, the former deputy director and chief curator of the BMA, became Waters’s mentor, introducing him to the art that she liked and explaining how to build a collection. New York art dealer Colin de Land, who died in 2003, became Waters’s first gallerist. Marianne Boesky now represents him; he’s had four solo exhibitions there since 2006.

Waters’s reputation lies in turning sordid, abject, and disposable objects into artistic gold. One man’s trash is his bread and butter.

As Waters tells it, his fine art career began one day when he needed a still shot from one of his own movies. He put the VHS tape in his television and, without hitting pause, took a photograph of the television screen. “I just blundered into it,” he says. “It looked like the movie, but arty and different.” He repeated the process with other movies (his own, in addition to films featuring Lana Turner, Otto Preminger, and Ann-Margaret), often capturing a series of key shots that, when lined up, told the narrative of the film in a mock storyboard format.

The BMA exhibition includes many of these early endeavors. In Slade 16 (1992), for example, Waters captured stills of the opening credits, actors’ faces (at first wistful, then horrified), and a scene in which a baby catches on fire. In Waters’s static retelling, a new narrative emerges, one that privileges campy horror: “I didn’t even care about the rest of the movie,” he says. “That scene [with the burning infant] was really influential to me. The shock value of it.”

John Waters, detail of Slade 16, 1992. © John Waters. Courtesy of Baltimore Museum of Art.

Shock Value: A Tasteful Book About Bad Taste, of course, is the name of Waters’s 1981 memoir for good reason. In the book, Waters writes: “To understand bad taste one must have very good taste. Good bad taste can be creatively nauseating but must, at the same time, appeal to the especially twisted sense of humor, which is anything but universal.” But, as Waters tells me, “that term is dated now, because good bad taste is just American humor.”

Still, at age 72, he’s able to make this young writer more than a little uncomfortable—at least with his political opinions. He tells me he’s a fan of the recent Saturday Night Live episode in which Matt Damon portrayed Supreme Court Justice Brett Kavanaugh, though Waters questions whether the show could have parodied his accuser, Dr. Christine Blasey Ford, as well. (“I’m trying to think how they could have,” he riffs. “They could have [had her keep] saying, ‘But I don’t know where I was.’ They could have taken that. ‘Where are we? I don’t know where we are.’”)

Waters laid the groundwork for decades of national amusements, paving the way for the popularization of what were, when he was a child, considered “sick jokes.” If his films cover topics such as sexual taboo and offbeat competition (Who’s the best dancer in Baltimore? Who’s the filthiest person alive?), his artwork often uses the same sense of comic timing to deride art-world rituals. His piece Hardy Har (2006) functions as a practical joke: The artwork comprises a black-and-white chromogenic print of a flower, an infrared sensor, a mechanical pump, and water. When the viewer stands too close to the white tape just feet away from the photograph, it squirts her in the face with water via a tiny opening.

John Waters, Hardy Har, 2006. © John Waters. Courtesy of the artist and Marianne Boesky Gallery, New York.

John Waters, Art Market Research, 2006. © John Waters.Courtesy of the artist and Marianne Boesky Gallery, New York.

Another work from the same year, Art Market Research, pokes fun at art-world self-seriousness. Photographs feature printed, bureaucratic surveys and handwritten responses about various artists’ work. On Cindy Sherman’s report, for example, the report requests: “Please list what you liked most about the photographs.” In loopy blue handwriting, the respondent answers “colors,” “that she did it,” and “I like that it’s a woman artist.” Another document for the painter John Currin—known for his nude female portraits—prompts writers to describe what made them rate the artist’s paintings in a certain way. “Big tits” is the succinct reply. The works negate the serious scholarship of art historians and institutions, instead privileging, perhaps, the lowest common denominator: everyday, unfiltered opinions upon encountering unfamiliar artworks.

“Contemporary art’s always witty,” Waters says. “Can it be funny? We’ll see.” He names a few artists whose humorous oeuvres he admires: Sherman, Jeff Koons, Mike Kelley, Paul McCarthy, Tracey Emin, Lee Lozano. It’s not funny art he collects, however, but art that makes him angry—something that makes him laugh at its nerve. “It has to hit me in a new way,” he says. Waters’s own collection features a work by Doug Padgett that resembles house fixtures (a light switch, a plug), and his “bucket list” artwork is a series of colored Easter eggs by George Stoll, intended to be hidden around the collectors’ home.

John Waters, Justin's Had Work, 2014. © John Waters. Courtesy of the artist and Marianne Boesky Gallery.

John Waters, Control, 2009. © John Waters. Courtesy of Marianne Boesky Gallery.

Yet after such a successful career as a transgressive filmmaker obsessed with the cheaper side of American life, can the often-pretentious art world that Waters lambastes take him seriously? Exhibition curator Kristen Hileman believes that, in fact, Waters’s success in cinema contributes an important facet to his art practice. “John is interested in the persona versus the real person, and how celebrity can get in the way of his recognition as a visual artist,” she says. “But also, how his personality and persona opens up visual art to a much larger audience.”

Waters draws a simple throughline between his art and film practice: “It’s always about editing and saving,” he tells me. In each of his creative worlds—when we spoke, he was working on his annual Christmas special, “A John Waters Christmas” (which will tour 17 cities this winter), and had just finished a draft of an essay collection, Mr. Know It All—he’s “just telling stories.”

After a successful career as a transgressive filmmaker obsessed with the cheaper side of American life, can the art world he lambastes take him seriously?

After visiting Waters’s studio, I head to the BMA survey and speak to its curator, Kristen Hileman. She included four films in the BMA show, which connect distinct aspects of Waters’s practices. One, entitled Kiddie Flamingos (2014), features schoolchildren participating in a table reading of a less-X-rated version of Pink Flamingos. The prepubescent actors don wigs and wacky hats, issuing lines such as “Now Mama, that’s just egg paranoia” and “Oh, what a stupid name, sounds like a chimpanzee on a tire swing.” Without the bite of Waters’s original film, the production becomes more adorable than edgy.

John Waters, Kiddie Flamingos, 2014. © John Waters. Courtesy of Marianne Boesky Gallery.

At the end of the exhibition, the viewer finds three curtained peep show booths equipped with a single chair and a box of Kleenex on a ledge. Inside, screens play Waters’s earliest films, made when he was a teenager. After walking through white-walled galleries, this tacky, sordid final touch is a subtle little coup. In one of the booths, I watch an actress hack away at something on the ground with a giant ax.

If none of this seems particularly political, at least two scholars—University of Buffalo visual studies director Jonathan D. Katz and former Yale University School of Art dean Robert Storr—situate Waters’s work within the context of queer art. In their essays for the exhibition catalogue, they write about how Waters both continues and progressively ruptures a longer legacy of queer art in America.

Waters and his drag coterie, writes Katz, “were national exemplars of flaming queerdom long before being queer was a declaration of pride, long before it was safe to publicly declare affiliation with what was then, let’s not forget, still a literally illegal sexuality.” In Waters’s work, he sees an invitation, for viewers of any sexuality, to “share a queer subjectivity.”

John Waters, Twelve Assholes and a Dirty Foot, 1996. © John Waters. Courtesy of The Baltimore Museum of Art.

Katz references the piece Twelve Assholes and a Dirty Foot (1996), which organizes still images of the titular orifices in a row, next to a picture of a dirty foot—the final taboo in X-rated filmmaking, according to Waters. Bill’s Stroller (2014) is a blue children’s stroller, emblazoned with the names of San Francisco’s queer sex clubs and outfitted with a studded leather belt across the front. It’s a commentary on how some members of a community that participated in then-fringe exploits have now settled down into traditional, child-rearing lives. For his part, Storr calls Waters “an inspiringly over-the-top stand-up Walt Whitman or Allen Ginsberg.” Instead of writing poems, he’s created “innuendo-laced patter and sharp-edged one-liners that skewer prejudice and yet welcome anyone.”

Waters isn’t afraid of having strong (and perhaps unpopular) opinions, including ones that would put him at odds with many progressives, to say the least. “I think I am politically correct,” Waters concludes, but he believes that political correctness could also get out of hand. He believes that “theybies,” or infants whose parents let them decide their own gender, are “ludicrous.” “They’ll be in mental institutions, those children,” he says. “It’s your kid. You tell them what to do, as a parent. You are a girl or a boy. Later? You want to change it? That’s fine.”

Not for the first time in our conversation, this writer cringes. Waters, for better or for worse, still isn’t afraid to offend. He’s more reserved, however, when discussing a friend in prison. He’ll mention what books he’s shipping to him, but not what his crime was (he’s around 20 years old, with a life sentence). It’s the only time throughout our conversation that Waters seems to be holding back. The artist has sent the prisoner (who just finished what is perhaps literary history’s greatest time-killer, Remembrance of Things Past) the first five volumes of Karl Ove Knausgaard’s “My Struggle” series. He wanted to send the newly published sixth and last volume, but he tells me that hardbacks aren’t allowed in prison: senders could sew something into the bindings. I suggest a softcover advance review copy; Waters makes a joke about a publicist not wanting to send those to a prison, since “it’s not like he’s going to review it for the Prison Times.”

John Waters, Campaign Button, 2004. © John Waters. Photo by Elisabeth Bernstein. Courtesy of Marianne Boesky Gallery.

John Waters, Bill's Stroller, 2014. © John Waters. Courtesy of the artist and Marianne Boesky Gallery.

After leaving the studio, we drive down the street and into the Hampden neighborhood. Waters drops me off at one of his favorite local spots, Atomic Books. (Anyone curious about the artist’s reading list: In addition to loving Knausgaard, he’s also a big Rachel Cusk fan, and just finished Deborah Eisenberg’s new short story collection.) Waters describes the area around the bookstore as “Brooklyn, New York. It’s the total hipster hip.” Formerly a lower-middle-class neighborhood—and totally racist, according to Waters—it’s gentrified into a chic destination.

Despite the city’s tensions and crime rate (made famous by the locally set television show The Wire), Waters has remained loyal to his birthplace, keeping it as his primary residence and a location for all his films. “Baltimoreans love John. He is adored not only for his creativity, but his commitment to the city,” Hileman tells me. Locals still see him at the supermarket. The hometown exhibition is a coup for both Baltimore and Waters. After all, the city has a unique, offbeat appeal: “I can come home here and go to a demolition derby if I want to,” Waters says. This writer is still a little charmed, in spite of herself.

from Artsy News

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[parents-baby]

How to patch the hole energy during motherhood

So, in the last part we have listed those "holes" in which whistling fly mother force employed in domestic work - family service needs and growing children.

1) Depreciation Society domestic work, family and most mom.

2) The lack of visible results of the work done

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3) Loss of professional interests and skills.

4) hour stress associated with an incredible responsibility for the child and the "home".

5) The narrow circle of friends, suzivshayasya area of ​​interest.

6) Financial dependence.

7) Lack of confidence in their own knowledge, abilities and capabilities.

8) Multifunctionality.

9) Excessive demands for motherhood.

10) The lack of a clear time frame, as well as time for their own interests.

Consider each item in order.

1) Depreciation of domestic work - a big problem. The attitude of the whole society, of course, you change can not alone, but you can try to change the opinion of his neighbor environment, but first of all - their own opinions. What you can do.

Count the time that you spent on all the household chores, make a list. Yes, it is difficult and long, but if you keep records for a while, you can get a very clear picture of. This list is needed and you to imagine what flies your time, and your family, which you can show the list and count them spent time as evidence of the complexity and power consumption of your homework.

Suggest my husband or someone from the family as an experiment to replace you completely around the house for at least one day. Make a list of your business as usual (with detailed decoding algorithm of actions in brackets), and hand it to someone who doubts the severity of homework. One day, of course, will not be enough, it is better to complete the experiment, at a cost of a couple of weeks, but one day the pope in the role of mother (without your help High -! Remote tip over the phone) will give an idea about your fatigue. Suggest as a mom dad present, so he will live another week, month, year, two years, and look at his reaction.

If you have on hand a list, which lists all of the household chores, you will be easy to make a financial assessment of your work. Summarize (eg, one week) the number of hours you spent on cooking, washing, ironing, cleaning the house premises, educational sessions with the child, and then locate the Internet hourly cost of such services for a guest worker (including night nurse: after all you have up to the child several times during the night!). I assure you, this calculation will surprise not only your husband, but you herself.

Perhaps all of these actions will not be able to quickly and easily gain the respect of your work. But the most important thing in this matter - that you respect their work themselves. If this is not - the respect of others does not arise by itself, out of nowhere.

So advice number 1: respect and value yourself and your home work. Do not let others devalue it. In a family with close and warm relations to do this quite easily: perhaps your loved ones do not realize what a complex and important work you are doing on a daily basis.

2) The lack of results of household labor, as well as the delayed results of education. It's quite a serious problem for those who are focused on the result. On the issue of education is, unfortunately, impossible. If it is possible to ensure that the results of your actions was evident to others, it is much more difficult with the skills of the child in domestic affairs. Here we can give you some tricks.

Place the short-term tasks and enjoy their performance. That is, it is not necessary to formulate its mission thus: "that the house was always clean" - unfortunately, this is hardly feasible and incredibly costly goal. Formulate "short" and specific objectives: "today to clean the carpet in the nursery" or "do the cleaning in the boxes with toys." Make sure that the task was feasible, doable.

Break tasks into small pieces. Do not "do the cleaning around the home," and "remove the places toys, vacuum, wash the plate, hang the laundry."

Create a mental or actual checklist, and performed in front of each item put a tick and reward themselves a little prize.

Praise yourself for every stage of the work performed.

Try to learn not to be satisfied by the result, but on the process itself (eg, cooking).

Alternate pleasant and unpleasant things. Or vice versa: the heaviest work is done in the morning, when you still had enough strength and the easiest place for later.

Do not expect quick results from education. Try to just enjoy socializing with your child and how quickly it grows and grows.

Record all of your child's achievements. It's very motivating and gives joy when reading after months or even years.

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Involve the child in the home. So you will not only do business, but also get the pleasure of communicating, as well as the fact that combine the process of upbringing and education of the child with the household chores.

So advice number 2: Do not be a marathoner, be a sprinter. Put yourself short, easily manageable tasks. Rest between tasks. Involve the child in cases. Alternate necessary but unpleasant task for you with a non-essential, but nice. Enjoy socializing with your baby, do not expect immediate results, keep in mind that education is like growing a tree. Keep a record of all the achievements of the child.

3) Loss of professional interests and skills. In order to maintain confidence in yourself that you do not fall out of the cage during a decree, do not let disappear your professional skills.

Read books and periodicals in your professional field.

Keep in touch with colleagues, to keep abreast of what is happening in the industry.

If possible, improve their skills remotely - with courses, training material, follow the news in your area with the help of releases and reviews.

Try to perform tasks at work from home, if your profession it allows

So advice number 3: Stay up to date with what is happening in your department, company, industry. Maintain relationships with colleagues. Increase the level of their education, train workers skills.

4) hour stress. This is a very serious condition from which the harder it is to get out, the longer you are in it. What can be done so that it does not accumulate.

Set yourself a fixed and unchanging "rest time". According to statistics, more easily withstand voltage of those moms who are guaranteed free couple of hours at least 1-2 times a week. Heavier tolerate stress those moms, rest time which can not be planned, and it is different each time; and the most difficult to account for those who have such a holiday from the mother's duty is not at all.

Treat this as a rest for vital functions - like eating or sleeping. This is - your need and your task - to convey the need for such a rest to your loved ones.

If possible move away from you do not have mother responsibilities, relax in any way you can. Let it be a relaxing bath while sleeping baby, sleep with your child during the day, rest as reading or listening to your favorite music while breastfeeding, knitting, embroidering, doing the exercises with your child, etc.

Do not scold yourself for the fact that you need a break from motherhood: it is completely natural and is not in no way an indication that you are - a bad mother. Remember the air traffic controller job: no one can without rest to maintain the necessary level of attention and concentration. You need a vacation even more, as your work - around the clock and is continuous.

So advice number 4: remember the vital need to rest from the stress of motherhood. Do not blame yourself for the need for a break from the responsibility for the child. Engage the help of her husband, his relatives or friends to give yourself at least a little breather.

5) The narrow circle of friends, a shift towards the child's interests and priorities. Part of the information, and social hunger will help you quench your communication with exactly the same mothers: not accidental mummies are grouped to share experiences, information, tips, etc. However, if you do not triple circle of communication, limited only Mommy, look for the ability to communicate in other areas.

This can be your professional circle - maintain relationships with colleagues.

It can be a hobby - communicate with people with similar interests to you, is not related to maternity, get a hobby.

Communicate on the Internet, pick up his circle of friends with the same interests in their respective communities and groups.

Take expanding its horizons with the help of literature, educational videos, the Internet.

Do not limit your children's interests interests. Engage is at every opportunity: hobbies, home sports, swimming pool, along with the child, reading books, internet.

So advice number 5: do not limit their interests to the interests of the child. Communicate with colleagues, with friends or with childless friends whose children have grown up. Get a hobby. Join a community or interest group. Use to expand their horizons internet, books, videos, online courses, etc.

To be continued.

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Granted, the Shaqtin' A Fool favorite only took layups and dunks, though 15 points on 6-of-7 from the field looks good regardless of where the points come from. The Warriors' win doubled as their 21st game of the season scoring 110 points or more. Beyond another impressive output, it was far from Golden State's sharpest effortthough the result was a marked improvement over last season's 113-95 loss in Michigan. The Pistons turned 12 steals and 23 total Warriors turnovers into 33 points. They outscored Golden State in the paint (54-46) and on the break (19-12) while shooting better than 50 percent from the field. Tobias Harris torched the Warriors for 26 points off the bench, with Andre Drummond (15 points), Reggie Jackson (17 points, six assists) and Kentavious Caldwell-Pope (25 points) all landing in double figures. Golden State will have to be better on both ends if it's going to extend its current winning streak to eight games. The Warriors' next tilt is the marquee matchup of Christmas Day: the season's first faceoff with the Cleveland Cavaliers, who erased a 3-1 series deficit to upend that 73-win squad in the 2016 Finals. The current Cavs won't be whole for this one. Minneapolis They'll once again be without J.R.

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