propositions press... 2.0

l.a. report

I am just returned from a very short trip to Los Angeles. The excuse for the trip was having the chance to present a paper about The Journey West at the College Art Association’s annual conference. In the weeks leading up to the trip I found myself in conversations with art friends that went one of two ways. Either they would say, “Are you going to CAA? Let’s get together.” Or else it would be something along the lines of “I can’t believe all these people go to CAA. It is so lame.”

I have never fully understood the gripes about CAA. It is true that CAA excludes participation because of its registration fees, and that the format is not very imaginative. But what do people expect? The conference for any professional organization costs a lot to stage, and CAA's registration fees are much more affordable than that of organizations in many other fields. And while colleges and universities range from semi-accessible to elite and exclusive, they are not exactly the same as corporations or government institutions. They are knowledge and education factories, and as such offer a space for protected intellectual activity on a limited but real and substantive basis. As a vehicle for serious discourse and the sharing of ideas, I find CAA much more palatable than, say, the add-on symposia or discussion events that seem to be attaching themselves to all the commercial art fairs.

I have been to CAA eight times. Some of my friends think that is a lot. I first started going because for about three years after I finished my degree program, I had no functional intellectual community. I would save for the trip and that would be my big travel expenditure for the year. From the beginning I always worked in visits to family and friends, too. The conference alone was never enough to fully justify a trip, especially without free couches to sleep on.

Then I found my community of artists and researchers. I stopped going to CAA for about five or six years, except for once when I had a chance to present for the first time (and visit a friend I had not seen in years). Then I attended again in 2011, playing the role of editor and coordinator of the annual newsletter of the Radical Art Caucus, for the first of two years. I have gotten something out of RAC and CAA. I figured it was time to give back, in a capacity appropriately minor to my life as an adjunct professor.

This year I was at the conference for only a couple of hours besides the time of our presentation, plus a little time for shopping at the conference book fair afterward. My Columbia College colleague Annika Marie gave a great lecture on Ad Reinhardt’s cartoons. Our session was organized incredibly well by fellow Madisonite Laurie Beth Clark, we received good feedback, and the whole presentation exercise was valuable in advancing our understanding of The Journey West. A highlight of the conference was seeing the work of my Madison brothers, Lewis Koch and Patrick JB Flynn on display. Lewis’s book marked down to a clearance price.
Yup, that is cheap. I left it for somebody else; I already have a copy. Patrick got the design gig for the new Baffler. Very sweet to see it being pushed.
I got the newsletter put together, this time with a poem by mrcc resident poet Matthias Regan as the featured art content. But I did not even have a chance to see the hard copies in action at the conference.

So that was CAA. 

More interesting was speaking about the Wisconsin Uprising on Friday night at the Public School in Chinatown. The attendance was almost as good as that for our CAA session (about eighteen), but in a much better space with a non-academic audience. As an autonomous educational entity, it was impressive–something we who are trying to keep the Madison Autonomous University alive can aspire to. As a social space, it was lovely. As a community, it was supportive and welcoming. I am a fan, and it was a privilege to have the floor there for an evening. And I must say, the interest in the Wisconsin political situation was enthusiastic.

I stayed with my friend Ava. She was one of the original Mess Hall keyholders. For the past year and half she has been working as a project manager of a large real estate development called Atwater Crossing, or ATX. The last time I was in LA was in October of 2010. Ava was just about to start on the job then, and drove me around the complex. There were only something like five or ten tenants then. Now there are something like forty. Nearly all of them are creative industry or arts-related concerns. She took me there again this time, to scope out the buzzing restaurant scene. It reminded me of large developments in China—creative industry and design-oriented businesses taking root in clusters, but here it was with more substance and breadth. The interactive media companies are there, but so are theater companies. Crafty artist’s studios are there, but so is Pomegranate Pictures, who make videos for System of a Down. You won’t find that in China. 

ATX is very impressive, all the more so for Ava having managed it all without hardly any staff until about a week ago.

Before heading out to catch my overnight return flight Ava and her boyfriend treated me to an excellent departure dinner at Lou, on Vine. The restaurant had an outline map of the US on one wall, with handwritten names and arrows pointing to their sources. They had probably twenty or twenty-five different suppliers named from across the country. Well, well, well. The state outside California with the most suppliers named was Wisconsin, with four. And that is where I was headed. Home, sweet cheesy home, where all the battles are currently raging. Including about Wisconsin farmers supplying not upscale wine bars in LA, but the neighbors of the farmers. In about six hours time, I landed in Milwaukee. Back in the midwest, home of the emerging locavore economy and KillerSpin (in airports).

 

 

SHoP, justseeds, ivaw: printing views and conversation this weekend

Two events this Saturday, December 3, one in Chicago, one in New York, both have to do with printing, with contributions from me.

In Chicago, South Side Projections will be screening Typeface, the Kartemquin documentary about the Hamilton Wood Type Museum in Two Rivers, Wisconsin. April Sheridan of CBPA put together a small show of letterpress work to go along with the film. I'll be bringing a couple of pieces to show. Plus, there will be a roundtable discussion after the film on the history and future of letterpress. Respondents include film director Justine Nagan, April Sheridan, Martha Chiplis of the School of the Art Institute of Chicago, Celene Aubrey of the Lillstreet Art Center, and me.

Event starts at 7 pm, but the venue, SHoP, will have activity going all afternoon, too.

5638 South Woodlawn Avenue
Chicago, Illinois

Full details on the SHoP website.

*

The New York event is the reception for the brand new War Is Trauma print portfolio from Justseeds and IVAW. I'm proud to say, not only did I contribute a print to this collection, but I helped Nicolas Lampert and Sgt. Aaron Hughes print the portfolio covers on my SP-15. We did it on Combat Paper, no less.

7 - 10pm
@ Booklyn, 37 Greenpoint Ave. 4th Floor,                                                                                    Brooklyn, New York

The show will be up from December 3, 2011 - January 8, 2012. Full details on the Justseeds blog.

The portfolio is a terrific collection of thirty-some prints by a combination of Justseeds artists,

Josh MacPhee (Brooklyn)
Mary Tremonte (Pittsburgh)
Kevin Caplicki (Brooklyn)
Chris Stain (Queens)
Thea Gahr (Portland, OR)
Bec Young (Pittsburgh)
Erik Ruin (Philadelphia)
Pete Yahnke (Albuquerque)
Alec Dunn (Portland, OR)
Colin Matthes (Milwaukee)
Nicolas Lampert (Milwaukee)
Jesse Purcell (Montreal)
Roger Peet (Portland, OR)
Molly Fair (Brooklyn),
Santiago Armengod (Mexico City)
Shaun Slifer (Pittsburg)
Dylan AT Miner (E. Lansing)

 IVAW artists,

Drew Cameron (Army Veteran, Vermont)
Joyce Wagner (Marine Veteran, Pittsburgh)
Aaron Hughes (IL Army National Guard Veteran, Chicago)
Jeremy Bergren (Marine Veteran, North Carolina)
Peter Sullivan (IL Army National Guard Veteran, Chicago)
Chris Arendt (MI Army National Guard Veteran, Michigan)
Malachi Muncy (TX Army National Guard Veteran, Texas)
Ash Kyrie (WI Army National Guard Veteran, Wisconsin)

and a handful of invited "allies" of those two organizations: 

Bay Area Civilian Soldier Alliance: Siri Margerin and Nave Fortin 
Michael Rakowitz (Chicago)
Marshall Weber (Booklyn Artists Alliance, Brooklyn, NY)
Harrell Fletcher and Transformazium with Brettiny Hucks
Gayla Jean Clemons
Deon Archie
Deshon LeGrand (Portland, OR / Braddock, PA)
Temporary Services (Chicago, Philadelphia, Copenhagen)

And me, as a late addition to the allies list. Nicolas called me up to see if I could make a 16x12 print in an edition of 130 less than three weeks before the deadline. Of course I had to say yes! 

another book event: madison

As I've mentioned before, I contributed a couple of texts to the book We Are Wisconsin–texts that originated here on this blog. One by me, and one co-written with Nicolas Lampert.

Editor/instigator Erica Sagrans has been pounding the pavement, getting the book out into the reading public. This weekend we'll have two events around the book, a discussion at Rainbow Bookstore on Saturday and then a panel at the UW Cinematheque on Sunday. The Sunday event is a part of the weekend's Wisconsin Book Festival. I'll be saying something at both events, along with some of the other writer/activists. Amazingly, this will be the first time that I will be in town for the festival since having moved to Madison after having missed it because of travel or whatever, for five consecutive years. 

These will be the first events for this book to take place in Wisconsin, and for that reason obviously they will produce a different and more meaningful atmosphere. Undoubtedly, these events will be high energy and participatory. Many if not all of those in attendance will have had some involvement in the Uprising and subsequent movement, including in the offshoot campaigns targeting politicians for recall, saving Badger Care, protecting the Penokee Hills, and so forth. In this sense, these events will likely include an organizing element and take on a social forum character.

See you there.

Here's a bit of the event copy from Erica: 

"We Are Wisconsin: The Wisconsin Uprising in the words of the activists, writers, and everyday Wisconsinites who made it happen" is a new collection that gives an up-close view of the Wisconsin struggle. This mix of essays, blog posts, and original writing looks at what happened, what it means, and what comes next—and includes the real-time, fast-paced story of the Capitol occupation as told through tweets from those who were on the inside.

In conjunction with the Wisconsin Book Festival, join us to celebrate the launch, talk about what's next for this movement, and hear from contributors including Andy Kroll from Mother Jones, Alex Hanna, Jenni Dye, Dan Wang, and editor Erica Sagrans. 

We'll also be showing short films on the protests produced by Shahin Izadi and Jason Nolen.

Sponsored by the Teaching Assistants' Association.

Books will be available for purchase.

http://www.wearewisconsinbook.com/
http://www.twitter.com/WeAreWIBook

Sunday, October 23 · 2:00pm - 4:00pm

UW-Madison Cinematheque 

4070 Vilas Hall, 821 University Ave

Madison, WI

 

home from the CT summit and occupy wall street

I am returned from NYC for about ten days already, but am still unpacking thoughts from the trip. The Creative Time Summit was more than a hoot. The Skirball Center atmosphere was charged; a daylong drenching rain could not douse the energy.

The presentations are archived and viewable here. My favorites: WochenKlausur, Urban Bush Women, Voina, and my old friend Theaster Gates.

Speaking of Theaster, the Creative Time exhibition that opened on the same weekend, Living As Form, included a display from the Dorchester Project. Among the items shown was an example of the hate mail Theaster has received. Racist hate mail is always shocking.

I was there to say something about the Wisconsin Uprising. Why me, out of the hundreds of thousands who participated in the events in Wisconsin? As I told people in NY, I think I am the only person Nato Thompson, chief curator at Creative Time, knew who lives in Madison. Here is the video of my eight minutes at the lectern.

Watch live streaming video from creativetime at livestream.com

 

The Occupy Wall Street camp-out was already going on by the time of the Summit. Nato made reference to OWS from the stage several times, encouraging conference attendees to go down to Liberty Plaza to see for themselves what was happening.

I made it down twice, on Thursday, my first evening in NY, and on Sunday, my last afternoon. In between was Saturday, the first day of mass arrests–some 80 people–and the widely seen instance of police terrorism in which one Tony Baloney, unprovoked, maced a couple of young women. This was a turning point for OWS, bringing media attention, galvanizing the activists, and presenting the suddenly serious question: what next?

On Sunday, when about 40 of us from the Summit went down to OWS as a group, Gerald Raunig hatched the idea of pulling together a quickly produced e-zine of some sort, with poetic and analytical texts about and relevant to OWS written in the moment, and in anticipation of the struggle yet to develop. I pledged a text, and here it is, on the EIPCP website.

nyc: summit notes, before the event

I was conversing with an artist friend yesterday. At one point we talked about the Creative Time Summit 3 in New York, which I am on my way to now. He said that he’s been finding these kinds of gatherings less and less satisfying, ie conferences and symposia in which a bunch of socially engaged artists come together and discuss how and what “social engagement” means for art and artists. I understand where he’s coming from. When Daniel Tucker and Nato Thompson organized a one-day gathering in Chicago back in January of 2009, inviting what would be for any conference an impressive list of art activists, I skipped it. Maybe because I already knew a lot those folks, or it didn’t seem clear as to what the purpose of such a meeting would be. Many of the people already had working relationships with each other. And—now I’m remembering—at that time I just needed to stay home in Madison for a while and not travel. All in all, for me the event just felt kind of unnecessary.

I also recall people asking questions about the first Creative Time Summit, which took place in the fall of 2009. The presence of a few art star names in the program, while not exactly disappointing, did pose the question of what this event was aiming for, in terms of status, prestige, and constituency. That was my main question, understanding that those considerations can be quite practical. For others there was the hang-up about access, specifically the price and availability of tickets. This event charges more than a nominal fee for entry—some of the costs are definitely passed on to the audience. For a summit ostensibly about exactly those issues of democratic process, access, and structures, it did not seem out of line for art activists to wonder aloud. 

And when I heard about Open Engagement, I concluded that the deed had been done. Now we can say it. The collective force of artists, curators, teachers, writers, and others has successfully opened up a new genre, even though we haven’t made our society any more democratic or participatory. We have carved out a tiny niche in the resource-rich world of cultural production, a niche that seems to be going by the name of “social practice.” If, as Todd Gitlin likes to say, the Sixties generation took over the English departments but left the real power of legislating and governing to the Right, then we have achieved something, but haven’t even accumulated English-department levels of power. What we can do is organize periodic get-togethers, and even sponsor some of the travel.

Where is this all going? And what are these gatherings for? Based on how Summits 2 and 3 were designed, I can see that these questions have been considered by the Creative Time team. The presentations were streamed live for Summit 2 and archived—I don’t think they were streamed live the first time around. And the range of presenters for Summit 3 is noticeably wider, reaching out of the art school/art world and into social service and regionally identified people and projects. They also dropped the "Revolutions in Public Practice" tag that was used for years 1 and 2.

I certainly still have those questions. But here I am, participating in Summit 3. Why? 

Well, for one thing, it is hard to say no to Nato, the curator. His friendly force of personality—let’s call it that laid-back California soft persuasion I find irresistible—is perfect for the job of bringing lots of interesting people together, and making intense, urgent topics fun. Plus, not to be discounted, it's a mostly-paid for trip to New York. That could just be me, or an art thing; some people and groups who are farther from the art universe who were invited didn’t get on board. (That's another way of saying the spectrum of participants is not quite as wide as it was hoped to be.)

Beyond Nato and the personal pleasure of helping to realize his vision of what the Summit could be, there is the substantive reason I was invited: to say something about what happened in Wisconsin and especially Madison back in February and March, to a New York audience of artists, activists, and intellectuals. Yes, somebody has to do it—or more to the point, the Summit audience definitely needs to hear about it. And yes, bringing an account of the most important turn in American labor and left wing movement politics in the last three decades is a good reason for being here.

But then I’m back to the problem of these gatherings, on a structural level. There are about thirty presentations. Outside of the keynotes and performances, the slots are limited to eight minutes at the microphone. You can say a lot in eight minutes about one, precisely bounded thing. A single, titled art project, for example—which is what many of the presenters talk about. Try saying something compelling in eight minutes about an incredibly complex social and political movement, one that’s not finished and in fact continues to unfold even now, to an audience of people who might know a lot about it, or nothing at all. As is always the case with any kind of conference, the best conversations will happen outside of the program structure, in the socializing and informal encounters. But the presentation is the only time when the whole assemblage will get their ears stuffed with Wisconsin Uprising info. What am I or anybody speaking about the Wisconsin Uprising under such constraints supposed to say?

Even though I’ve rehearsed and have my talk pretty much down, I have no idea how it’ll come across. The points I make might be obvious or even stale to many, but completely baffling and without context for others. I guess all I can plead is, folks, go through my old blog posts on the Wisconsin Uprising and do some searches of your own. There is so much great reporting out there, tackling the million or so angles on our movment: John Nichols, Rebecca Kemble, Abe Sauer, Lane Hall/Lisa Moline, and others. And there you go—the last and best reason for being here: I’m at the Summit to get people intrigued, to open the doors of their curiosity about what the hell is happening in the Great Lakes states, and, hopefully, to direct people to the world of activism, movement analysis, and exemplary solidarity work that is our Wisconsin of the moment.

 

The Summit schedule is here.

I'm going on at around 12:30 PM or shortly thereafter. Catch it live here:

http://www.livestream.com/ 

 

 

 

 

china drift: professors yang and wen meet the young generation at homeshop, beijing

Some of us diasporic Chinese who “return” to China sometimes have family and kin obligations that other visitors do not. Even though I am two generations removed from the mainland, this is still the case for me, depending on where I go in China. Sometimes it is a pain, and sometimes it is a pleasure. On this trip my primary obligation was more than a pleasure, it was a real blessing.

The Wang clan has had a long and close family friendship with a man named Yang Xianrang. He is a friend to my father’s side, with a very close history over three generations dating back to the days of my grandparents in the intimate circles of the Chinese minority in Korea. Professor Yang went to study in Beijing as a teenager, in 1944, tested into the Central Academy of Fine Arts for university, and went on to a long career as a faculty artist and then a dean at that school. He visited my family on his first trip to America and stayed with us for nearly a month, around 1981 or so, and that’s when I met him as a kid. He spent those days painting in our basement, and both I and my parents have works of his from that time hanging in our homes today. Shortly before he retired from CAFA, my mother and I visited him in the winter of 1992 in Beijing, my first time to the mainland. After retiring, he joined one of his children in the United States, first in Philadelphia and then in Houston. After sixteen years, he returned to Beijing for the twilight of his career. In the year 2011 he is eighty-one years old. On this trip, making it a point to visit Uncle Yang was a priority. But this is the Drift, so why not fold him in, somehow?

He trained as an oil painter, spent many years working in water colors, and then turned to traditional ink and brush painting. But his widest renown was earned as a woodcut print artist. He produced a number of the iconic graphic images from the revolutionary period, including works such as these. Being Central Academy professor for so many years, Professor Yang also has the satisfaction of having taught a number of artists and scholars who later went on to international prominence, including artist/printmaker Xu Bing and art historian/curator Wu Hung.     
  

We invited Professor Yang to HomeShop for an informal conversation, which turned out to be a cross generational encounter the likes of which I’ve never really heard of, much less experienced. HomeShop promoted the event up and down Bei'ertiao Hutong in the old-fashioned way, with posters.  Professor Yang brought along a friend of his, Professor Wen, an oil painter who was one of his early students but is now also retired from the Central Academy. Professor Yang spoke of his period as a woodcut artist, the whys and hows of his woodcut activity. He told of how his image of Zhou Enlai became a popularly disseminated image that broke through to the mass level, with ordinary people buying mass reproductions of it. Together they described their work and careers, showed examples from catalogues they brought, and took questions. They shared their perspectives on the art market boom in China, the influences of European art traditions, and their reflections on having had such traditional training. They took some questions about art education, how CAFA has changed. Professor Wen in particular expressed suspicions about the art market. He told a great story about how he had sold works to a Japanese collector who then asked him to sign the works. He acceded. But then the collector asked him to alter and then sign a canvas painted by another artist. Professor Wen found the request appalling, refused and broke off the relationship. 

Michael and Elaine took a turn explaining to the two elders the activities of HomeShop. Running through the various functions of the space (residency, design, translation, food work, etc) seemed to confuse them. But there ended up being two significant areas of connection and understanding. One was revealed when the younger generations expressed their skepticism about the turbo-speculative art market, their distaste for the vacuousness of meaningless monumentalism, and their sincere desire for serving a public and community. There are of course substantive and irreconcilable differences in the particulars of practice having to do with the innumerable changes in the world over the last sixty years, but some of us felt that a shared spirit could be found.

The other connection came with the final encounter of the morning, in which we showed these two old-school masters the large poster produced by the Beehive Collective, The True Cost of Coal. Sarah Lewison had the brilliant idea of bringing a cache of these with us to China, the land of dirty coal, and here one was unrolled to great effect. Professors Yang and Wen could see that in addition to the digital and social media of our contemporary world, there remains a special place reserved for handworked media—and specifically pencil drawing and illustrative figure drawing—in our toolkits. They were extremely impressed and greatly heartened by the quality, the detail, and the social responsibility evident in this work.

Photos by Claire. 

Professor Yang inspecting the True Cost of Coal poster.

Elaine Wing-Ah Ho, Professor Wen, Professor Yang, and me.

selections for homeshop, may 19, 2011: listening, learning, and...rocking

The text that follows is a modifed version of the handout distributed at the event. Will post Chinese translation when I have it, plus pics of the event afterward.

Selections for HomeShop: Music from Detroit and Michigan

A group of us are starting out on about twenty days of travel and research through different parts of China, beginning with a week in and around Beijing. Four of us come from current homes in the midwestern part of America, specifically the states of Wisconsin and Illinois. Together and separately, we have been writing and making art about the many ways that the economies, social movements, and institutions based or begun in the Midwest gave birth and remain tethered to the global systems of exchange that now bind humanity in a single flow of information, capital, biology, and cultural forms. This event helps to serve the purpose of introducing ourselves to you, of telling you where we are coming from, and of describing through music another of our place obsessions, Detroit.

The music history of Detroit and lower Michigan is as rich as that of any other American region. But unlike the older musical traditions of regional America—for example, the Delta, Appalachia, or New England—the musical culture for which Michigan is known is newer. Michigan artists did not make a collective impact nationally and internationally until the 1960s. But beginning in that decade and continuing ever since, a steady stream of artists with Michigan origins have put out sounds across genres that have entertained and influenced millions of listeners far and wide, in contradistinction to the very specific and provincial characteristics of Michigan society. Obviously I can only deliver a very limited introduction in one evening, leaving scores of important artists and hundreds of outstanding songs and albums not even mentioned, much less heard. A comprehensive introduction is hopeless, and, I must emphasize, my knowledge is pretty superficial. Instead, I have brought along seven long-playing records and suggest we go deep into them. The playlist emphasizes rock but includes a significant chunk of soul. It is through these records that I can give you some idea of the culture of Michigan—a culture that is now emerging as a post-industrial present from which other places all around the world can and must learn.

The musical culture of lower Michigan was fertile in the 1960s because of several factors. First of all at the material level, the state was by then an established economic engine, creating the conditions of marketplace, education, and leisure time. The postwar generation of autoworkers, due to the long growth phase of mid-century America and to the political power of the unions, became probably the best paid working class the world had ever seen. The management and owner classes, for their part, enjoyed an overflowing affluence akin to the tech fortune amassed on the West Coast a generation later. This was the consumer/producer society in a kind of temporary and relatively stable balance, at least regionally. There were good jobs for the working kids and good universities for the bookish ones. Individual workers had not yet been deskilled but also performed the part of the mass consumer. The conditions were ripe for hugely increased local consumption and production of media in general, and of popular music in particular.

Then there was the mix of cultures, races, ethnicities, and nationalities. The massive influx of economic migrant communities over the decades of industrial expansion created in lower Michigan a northern stew unlike in any other place, especially when the proximity of Ontario is recalled. With the longtime presence of both Canadians and Mexicans, vast numbers of southern blacks and southern whites, small but intense Chinese and Korean communities, big Polish, German, Greek, Jewish, and Arab communities, the mix of cultures contributed to the trading of influences evident in the work of, for example from the 60s Mitch Ryder or the Funk Brothers, and in the 80s with the innovations of the Belleville Three. In particular, black owned media was strong early and consistently in Detroit, including in radio. In recent times the tradition of artists upholding a musical multiverse continues in the Detroit scene. For example, for those who understand southeastern Michigan it probably was not a surprise that the first white rapper to earn a large and hard-won black fanbase, Eminem, came out of the Detroit area. Similarly, African American musicians like Mick Collins keep race-based genre-definition unbalanced now, as did Question Mark and Mysterians forty years ago (in the years before the lead singer legally changed his name to “?”).

It must also be said that while the mixing took place constructively at the level of cultural innovation, on the political and economic levels there was a constant low level of class-defined strife even when times were good. Add to the primary class division the intra-class fault line between blacks and whites, plus the many lines of separation between different ethnic communities, and you see the complicated tensions present. The Detroit rebellion of 1967 was only the most dramatic and violent uprising in a social landscape made up of everyday inequalities of power, economic and political, that are being played out in the present-day politics of austerity even as we speak. So while the industrial strength and wealth of lower Michigan did not fashion a conflict-free society at all, the musical output as a whole was and is, truly, the sound of a polyrhythmic, multi-vocal, politically clued-in family of subcultures. Formally innovative, sonically seductive, bodily pulsating, emotionally uninhibited, and artistically committed, in the musical realm this was and is a literally unofficial harmonious society. And a loud one.

As a native of the state, I declare the places that I lived, Saginaw in the mid-1970s and then the suburbs of Oakland County north of Detroit in the mid-1980s, amazing places to grow up with musical sounds in the air, for kids like me, grade school and then teeanage consumers of popular culture. My generation went from grooving to the national AM hits on the transistor radio—everything from Afternoon Delight to Abba and the Ohio Players—to hearing harder stuff on Detroit’s legendary free-form radio station in its late years, WABX. Lots of stations mixed local and regional acts like Grand Funk Railroad, Martha and the Vandellas, and Alice Cooper in with the national stuff, thereby launching a great many careers. Even as we studied the soul and psychedelic sounds from the earlier generation, in my young memory disco wasn’t so bad and the synth-pop/indie/alternative/punk mix that dominated the suburban 1980s also made sense. Not everybody liked everything, but in that place and in those years we were exposed to it all, and had artists we could believe who represented where we were from.

The Selections

Artist—Album

track title

Please note! This is a sequence of tracks delivered pretty much in the order that they appear on the records. That is how we will listen to them, just like I would do at home. This whole exercise is about listening to records, not deejaying or play-list writing. 

Laughing Hyenas—Life of Crime 

Here We Go Again

Wild Heart

Outlaw

Life Of Crime

The Stooges—Fun House

Down On The Street

Loose

Fun House

MC5—High Time

Future/Now

Skunk

100 Proof Aged In Soul—Somebody’s Been Sleeping In My Bed

Somebody’s Been Sleeping

Love Is Sweeter (The Second Time Around)

I’ve Come To Save You

Ain’t That Lovin’ You (For More Reasons Than One)

Martha Reeves—eponymous first solo LP

Power of Love

Sweet Misery

Question Mark And The Mysterians—Action

Don’t Hold It Against Me

Just Like A Rose

Do You Feel It

The Paybacks—Harder and Harder

Bright Side

Me

Can You Drive

Scotch Love

The Guide: A Random Selection of Twenty-Five Artists and Entities with Michigan and Detroit Connections 

This is laughably basic list. No geeking out here. Hopefully there is a name or a factoid that my music geek friends had not known of before. But, really, this is a guide for people who have no context, no experience with the broad outlines of Michigan music history, and possibly no working knowledge of rock history in general. And yet there is a thriving rock scene in Beijing, with lots of kids going for the image, the look. Let's help them get deeper into the spirit of the thing. Dylan just played Beijing like a month ago; how is anybody supposed to get Dylan without a bit of context? It is important that we make the info available, beginning with the basics that we who grew up in America tend to take for granted. So:

1. Hank, Thad, and Elvin Jones

One of the great families of jazz, spanning pianist Hank’s mastery of the 40s and 50s styles to trumpeter Thad’s big band arranging to Elvin’s landmark work with John Coltrane and and his own groups after.

2. Mitch Ryder

One of the original rock and soul voices of Detroit, blending black soul styles and harder white rock, who came up in the mid-60s with his group the Detroit Wheels. He still performs in clubs.

3. Crucifucks

A 1980s punk band from the Lansing scene whose lyrics and sound were harshly anti-authoritarian, perfect for the Reagan-era America, or, for that matter, right now. Founding singer Doc Corbin Dart remains vocally radical and antiwar.

4. Carolyn Franklin

Talented sister of Queen of Soul Aretha and daughter of the Rev. C.L. Franklin, a black preacher widely renowned for his oratorical performances from the pulpit. Along with sister Erma, Carolyn performed backing vocals for Aretha on a number of different recordings and also wrote songs for her.

5. Bob Seger System

Led by the raspy-voiced singer who came out of the Ann Arbor youth scene, the band is remembered for a hard rocking antiwar single “2+2=?” Seger later recorded the album Live Bullet at Detroit’s Cobo Arena, the last of his rock efforts before going on to mainstream success.

6. Grand Funk Railroad

A rock outfit from Flint that became one of the country’s biggest selling arena acts of the early 70s. After the group’s demise, a bunch of the alumni formed a short-lived band called FLINT.

7. Mabel John

The first female vocalist to be signed to the Tamla label, the label Berry Gordy founded before he reincorporated it as Motown. The lesser known but equally talented sister of rhythm ‘n’ blues legend Little Willie John.

8. Death

Recently rediscovered proto-punk/hard rock band, with reissued lost demos and studio cuts for a mid-70s record that never happened.

9. Eminem

Starting from the D12 crew to becoming one of the biggest selling musical artists of our time, he also starred in the 2002 movie 8 Mile, which put Detroit back into the popular consciousness as a post-industrial society and culture.

10. Detroit Cobras

For more than fifteen years Rachel Nagy and Mary Ramirez have lead a group in performing garage rock covers of obscure soul singles.

11. Rodriguez

A late 60s-early 70s lost folk-soul legend who somehow gained a cult following first in Australia and then in South Africa and Latin America, in all cases years after he’d first recorded and been consigned to obscurity in the US, including in Michigan.

12. Mary Wells

The song My Guy was one of Motown’s biggest early hits and helped to establish the label. Mary Wells had record company disputes and health problems for years after that kept her career limited, passing away at age 49.

13. Sun City Girls

Though the experimental and avant garde Sun City Girls formed in Phoenix, the Bishop brothers grew up in Saginaw. Their Middle Eastern musical influences came to them through their Lebanese relatives, part of a large lower Michigan Lebanese community.

14. Jackie Wilson

Wilson was one of the most amazing singer/dancers of his generation. Even though other artists named him as an inspiration, by the time of his death in 1984 he had been largely forgotten on the popular level as an outstanding talent. Michael Jackson kept his memory alive by often citing Wilson as a key influence.

15. Smokey Robinson & the Miracles

One of the Motown label’s earliest and longest-represented artists. His career with the Miracles, and as solo artist and record company executive, was celebrated with a National Medal of the Arts lifetime achievement award in 2002.

16. Commander Cody and His Lost Planet Airmen

A country rock outfit from Ann Arbor with a honky-tonk barroom sound unusual for the time, and that went completely against the grain of the hard rock psychedelia of the local countercultural scene.

17. The Go

Part of the same late 90s scene that produced the White Stripes, but with a touch of psychedelia, helping to bring honest, dirty, loud guitar riff-based rock music back onto the national scene in the early 2000s.

18. The Layabouts

Originating out of the Cass Corridor scene of early 1980s Detroit, inspired by Crass, the Clash, and the new political music of that time, the Layabouts are still together today. Over the years they have played their fun but acerbic radical songs at continental anarchist gatherings, all kinds of political rallies, and countless benefits. 

19. Dennis Coffey

Session guitarist from the Upper Peninsula who played as a member of the Funk Brothers on many of the Motown tracks from the labels second phase, when many of the artists were turning to a harder, acid-influenced sound. He regained critical appreciation with a new record in 2011.

20. The Up

Along with the MC5, The Up played as a house band at the Grande Ballroom, the performance space around which the late 60s Detroit counterculture centered. Unlike the MC5, they never recorded for a national label. Until a compilation of their singles was released in 1995, the band was hardly remembered and even less heard.

21. Big Mack label

A Detroit label from the 60s and 70s golden age that pressed many singles by casual semi-pro local talents over its twenty years, scoring no more than a few very minor local hits. The label’s catalogue was given the Numero Group Eccentric Soul treatment in 2006.

22. Insane Clown Posse­

Using a carnival/horror concept for a tasteless hip hop act that many have never understood or taken seriously, this group with Detroit origins somehow manages to sell multiple millions of records.

23. Michigan Womyn’s Music Festival

If you see a car bumper sticker reading “See you in August!” they’re talking about this festival held on private rural land on the state’s west side, the largest and most complete of its kind. Womyn-built, womyn-sponsored, womyn-consumed, the festival has been a kind of long term practical project in constructing a temporary but perennial womyn’s world.

24. The Belleville Three

Kevin Saunderson, Derrick May, and Juan Atkins were three teenagers in the early 80s living in Belleville, a suburb between Detroit and Ann Arbor, often credited with inventing the sounds that become Detroit techno. The culture born partly out of the innovations of these three lead to the establishment of the Detroit Electronic Music Festival as the first and still biggest event of its kind in the US, beginning in 2000. May and Saunderson both took a turn managing the festival.

25. Tempermill

Suburban Ferndale studio founded by musicians where dozens of Detroit artists and groups have recorded some of their most important work over the past twenty years. 

YouTube Sampler

http://www.youtube.com/watch?v=HsQ0rDnlhNM&feature=related

http://www.youtube.com/watch?v=yjZ5ECKC8do&feature=related

http://www.youtube.com/watch?v=KwqL3ENO4sA

http://www.youtube.com/watch?v=RchoabH5fhg

http://www.youtube.com/watch?v=s7eTOnNBwYU

http://www.youtube.com/watch?v=g_OHry9Nf0Y

 

Books

John Hersey—The Algiers Motel Incident

John Sinclair—Guitar Army

Angela Jimenez—Welcome Home: Building the Michigan Womyn’s Music Festival

Donald Goines—Dopefiend

Craig Werner—Higher Ground: Stevie Wonder, Aretha Franklin, Curtis Mayfield, and the Rise and Fall of American Soul

 

 

china drift, initial itinerary!

Pasted below is the schedule of events for our China Drift, with plenty of middle dates yet to be filled in. They will be; we'll be having some announced events in both Wuhan and Chongqing. Many thanks to the HomeShop crew for their fabulous organizing and networking skills. Stay tuned!

*

大陆漂流 . 中国 Continental Drift China

2011年5月18日至2011年6月5日
18 May �C 5 June 2011

“大陆漂流.中国”活动将众多的艺术家，策展人，理论家，与活动家召集到一起，共同探索当 代地理政治转化对于公共框架与亲密生存 空间的影响。在一周的时间里，本活动将“漂”在北京，尝试将抽象分析（经济，社会学，都市生活研究，美学等等）直接导入不同的艺术实践当中。通过报告，工 作坊，讨论会与实地考察等方式，我们希望自己能在闹市与乡间的穿梭中构建一个充满欢乐，感觉试验，偶遇与思考的游历方式。

The Continental Drift China brings together artists, curators, theorists, and activists to explore the impacts that current geopolitical transformations are having on the public frameworks and intimate environments of existence. For one week, the roving seminar will drift through Beijing, endeavouring to bring abstract analysis (economics, sociology, urbanism, aesthetics, etc.) into direct contact with situated projects. By way of presentations, a workshop, discussion sessions and site visits, the project provides a movement through space thriving on conviviality, perceptual experimentation, unexpected encounters and informed travel in both metropolitan and rural settings. 
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本次大陆漂流活动由 "我们家” 青年自治中心，“家作坊”，“哪里哪里”策展联盟，与“罗盘”（美国中西部激进 文化走廊）等组织共同合作举办。

The Continental Drift China is developed by Desireè Youth Autonomy Center, HomeShop and the Where Where Curatorial Collective, in conjunction with Compass (of the Midwest Radical Culture Corridor).

活动安排 SCHEDULE
欲知所列每项活动的细节，请看本安排表下的具体内容。请注意不是所有的活动都在同一 场所，活动地址安排如下：
For detailed descriptions of each of the events listed, please see below. Note that not all events are at the same location; addresses are listed accordingly.

星期一 monday	星期二 tuesday	星期三 wednesday	星期四 thursday	星期五 friday	星期六 saturday	星期天 sunday
			19 “合辑”，底特律音乐人类学赏析，王念华主讲 “Selections”, an evening of musical anthropology led by Dan S. WANG 晚上7点开始 地点：家作坊，东城区交道口北二条8号 Thursday, 19 May, 19.00 HomeShop; Dongcheng District,Jiaodaokou Beiertiao 8	20 “大陆漂流”漂去天津Continental Drift to Tianjin	21 杨先让（艺术家， 曾任中央美术学院民间美术系主任）讲座 a Talk with Professor YANG Xianrang, artist and former head of the Central Academy of Fine Arts Folk Arts and Crafts department 具体时间待定 地点：家作坊，东城区交道口北二条8号 Exact time to be confirmed HomeShop;Jiaodaokou Beiertiao 8 “西�[计划”艺术假扮旅行社简单开张 “Journey West” Travel Agency performative soft opening 5下午4点开始  钟楼湾胡同41号  Saturday, 21 May, 16.00 41Zhonglouwan Hutong (next door to The Drum and Bell Bar)	22 《北二条小报》自办出版工作坊 Beiertiao Leaksself-publishing workshop 5月22－23日，周六到周一，早上10点开始直到印刷完毕 10.00 until the presses are hot HomeShop;Jiaodaokou Beiertiao 8
23 《北二 条小报》自办出版工作坊 Beiertiao Leaks self-publishing workshop 5月22－23日，周六到周一，早上10点开始直到印刷完毕 10.00 until the presses are hot HomeShop;Jiaodaokou Beiertiao 8	24 从5月23日“大陆漂流”继续向武汉与重庆漂流，6月4日返回北京。如果你对我们下一步的旅行感兴 趣，请e- mail垂询： [email protected]。 From the 23rd of May until the 4th of June, the Drift continues on to Wuhan and Chongqing before rounding back up in Beijing. If you are interested to continue with us on this leg of the journey, please inquire:[email protected].	25	26	27	28	29
30	31	1	2	3	4	5 “哪里哪里” 艺术空间将与大陆漂流参加者联合举办一个开放总结论坛。更多的详情稍候发布。 The Where Where Exhibition Space in Caochangdi will host a final forum with China Drift participants open to the public. More details to be announced. 下午3点开始 15.00 “哪里哪里” 艺术空间 朝阳区草场地村319-1艺术东区A区内 Where Where Exhibition Space No. 319-1, East End Art Zone A, Caochangdi

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关于“大陆漂流”About the Continental Drift project

漂流是一个开放性的实践研究项目，由布赖恩・赫姆斯与克莱尔・潘迪科斯特所发起。项目基于这样一个观察可得的事实，即全球化是根据政治和经济 力量的大陆性 区隔构成的。大陆漂流以自组织的研讨小组的形式，在纽约与萨格勒布进行，合作者包括了雷内・加布里，艾林・阿纳斯塔斯以及策展人集体WHW (What, How for Whom)。2008年，漂流以移动的形式，在中西部进行了为期十天的考察，自此以后，常有定期的短期旅行。 今年4月，克莱尔与布赖恩与阿根廷同志一道从罗萨里奥旅行到巴利亚・布兰卡，追踪南半球之后新自由主义弧的区域范围。现在我们与“罗盘”的同 志、以北京为 基地的合作者以及受邀的朋友们一起，将进行为期20天的讨论与交会，中国漂流会令大陆漂流项目将在全球化大潮中进一步做杯水车薪的努力。

更多关于“大陆漂流.中国”的参加者信息在：www.douban.com/group/topic/19783008/

The Drift is an open practice research project initiated by Brian HOLMES and Claire PENTECOST that begins with the observed fact of globalization structured along continental blocs of political and economic power. Continental Drift has taken the form of self-organized seminars in New York and Zagreb, with the collaboration of Rene GABRI, Ayreen ANASTAS, and the curatorial collective WHW (What, How and for Whom). The Drift took mobile form for a ten-day expedition around the Midwest in 2008 with regular short trips afterward. In April of this year Claire and Brian traveled with Argentine comrades from Rosario to Bahia Blanca, tracing at regional scale the post-neoliberal arc of the global south. With Compass comrades, Beijing-based collaborators, and invited friends on board for twenty days of discussions and encounters, the China Drift will bring the Continental Drift project one step closer to squaring the circle of global society.

For more information about the participants of the Continental Drift China, please visit:www.homeshopbeijing.org/blog/?p=2482

合辑 Selections

5月19日，周四，晚上7点开始
地点：家作坊，交道口北二条8号
Thursday, 19 May, 19.00
location: HomeShop, Jiaodaokou Beiertiao 8

“合辑”是 一个聆听系列活动，2003年产生于芝加哥，目的是为满足音乐爱好者在学术界和吵闹的俱乐部之间的中间地带上彼此分享他们最喜欢的或最感兴趣的录音。最初 开始于芝加哥的一个实验文化空间“膳房（Mess Hall)”， 这一系列至少包括九个活动。在家作坊这期的“合辑”是第一次在美国本土之外举办。过去的主持人包括批评家Mike O’FLAHERTY，谈论关于 1984年的地下摇滚、艺术家Marc FISCHER表演音乐中的叫喊，作曲家Janice MISURELL-MITCHELL谈论关于先锋-古典传统、以及实验音乐家Gabriel SALOMAN谈论关于Crass的无政府主义朋克。通过适 当的音量和友好的讨论，“合辑”是另一种乐迷悦耳的完美去处。在今天晚上的节目中，艺术家兼作家王念华将播放两小时来自底特律和密西根的强烈 摇滚和真正黑人灵歌，在音乐方面，最具创造力的原创之一。

Selections is a listening event series born in Chicago in 2003 in answer to the need among music fans to share their best-loved or most intriguing recordings with each other, in the terrain between uptight academia and too-loud clubs. Beginning at Chicago's experimental cultural space Mess Hall, the series has included at least nine events. Selections at HomeShop will be the first in the series to take place outside the US. Past presenters have included the critic Mike O'FLAHERTY on the underground rock of the year 1984, artist Marc FISCHER on screaming in music, composer Janice MISURELL-MITCHELLl on the avant-classical tradition, and experimental musician Gabriel SALOMAN on the anarcho punk of CRASS. With moderate volume levels and friendly discussion, Selections is the perfect place to treat your ears to the fandom of another. For this evening's program, artist and writer Dan S. WANG plays two hours of intense rock and true soul from Detroit and Michigan, one of America's most musically creative regions.

西�[计划 The Journey West

5月21日，周六下午4点 
地点：钟楼湾胡同41号（钟鼓楼酒吧隔壁）
Saturday, 21 May, 16.00
location:  41 Zhonglouwan Hutong (next door to The Drum and Bell Bar)

作为“大陆漂移项目”的一部分，丝特芬妮・若芬堡和王念华将为他们那个名为“西�[计划”的合作旅行社项目开一个张。这个旅行社位于钟楼和鼓楼 之间， 将提供一个你连梦都没梦见过的“美国梦”一条龙服务。

As part of the Continental Drift program, Stephanie ROTHENBERG and Dan WANG will present a soft opening of their collaborative travel agency project entitled "The Journey West".  Located between the Drum and Bell towers, the travel agency will offer full service package tours of an "American Dream" that you haven't even dreamed of yet. 

《北二条小报》Beiertiao Leaks
5月22－23日，周六到周一，早上10点到印刷完
地点：家作坊，交道口北二条8号
Sunday & Monday, 22-23 May, 10.00 until the presses are hot
location:  HomeShop, Jiaodaokou Beiertiao 8

北二条小报将于2001年5月22日至23日着手进行第二版的筹划及发行工作。以日报的形式为模板， 我们将再次把注意力集中在日常生活中的某一天。胡同里的新鲜事，天气状况，转瞬即逝的交易等等都是我们探索并试图记录的对象。 由于本次活动 与大陆漂流艺术项目正好同时举行，我们的记者需在运动中记录下自己所背负的种种。报道作为一种投射或敏锐感知的前提是它必须对读者的反应有某 种预判，通过模糊性，虚拟性与可能性达到对事件即时性的超越。
 
具体事宜：
从2011年5月22日开始，我们将相聚在家作坊北二条新闻/设计/印刷室，在此参与者们将各就各位，在实践中面对文本交织的瓶颈并探索隐匿 其中的突破口。 在活动结束前，小报将以丝网印刷的方式出版并准备好投放到读者手中。 我们欢迎您在这两天中随时到访，为《北二条小报》提供 文本，图像，信息，周边新闻，设计，工作，点心或灵感。 至于我们每个字的稿酬，你可以向任何记者打听：写作赚不来钱，但我们的工作是出于对 新闻事业的热爱，对吧？

Beiertiao Leaks continues with its second edition for a two-day workshop from 22-23 May 2011. In the tradition of the daily paper, we will again address the content of a single day. The local news, the weather, fleeting bargains and other phenomena are still to be sought out and documented. But in this edition, coinciding with the Continental Drift in Beijing, we must also record the baggage we bring with us as our correspondents go mobile. Reporting is a form of projection as much as of sharp perception, insofar as it organizes reception. Insofar as it follows stories beyond their immediacy, through ambiguity, virtuality and possibility. 

The Facts: 
Starting at 10am on 22.05.11, we will gather at the Beiertiao newsroom/design department/printing press in HomeShop, where participants will take their positions and weave together the unweavable. By the end of the two days, the edition will be silkscreen printed on-site and ready for distribution. You are welcome to come at any point over the weekend to contribute text, image, information, local rumors, design, labor, refreshments and/or inspiration. As for our rate-per-character, ask any journalist: writing doesn't pay. But we're in it for the lifestyle, right?
-- 

 家作坊 HomeShop 
 北京市东城区交道口北二条8号，邮编：100007 
 Beijing 100007 Dongcheng District 
 Jiaodaokou Beiertiao, Number 8 

 T /// +86 010 8403 0952 
 W /// www.homeshop.org.cn  
       www.homeshopbeijing.org/blog 
       www.weibo.com/jiazuofang 
       www.douban.com/group/HomeShop/ 
 E /// [email protected] 
       [email protected] 

 

report from madison: why wisconsin?

We are into phase two.

The massive crowds of 15-30k on the weekdays and 75-150k on four consecutive Saturdays have dispersed. Now the people are spread out, working the ground of the entire state in a multi-pronged strategy of electoral canvassing, working recall campaigns, bird-dogging Republican state senators and the governor himself wherever they go, organizing targeted protests, coherently and incoherently boycotting businesses that are said to have a Walker association, or simply lashing out in hundreds and maybe thousands of acts of primitive resistance, ranging from wheatpasting General Strike posters on utility boxes to gluing locks. Wisconsin is alive, electric with political activism and political expression, both organized and not. Window and yard signs blanket the neighborhoods of the hippie east and the bobo west sides of Madison.  In Milwaukee, joint union/teacher/immigrant rights actions are being planned. Nine hundred people marched in the little town of Mt. Horeb a couple weeks ago, which is more amazing than 100k in Madison. Our new adoption worker, a woman just starting out in her social services career, showed up on our doorstep smiling and professional, but sporting bright blue and yellow anti-Walker buttons. The bus driver wears a button that says Friends Don’t Let Friends Drive Republican. Many at the Stoughton Opera House for Friday night’s Tim O’Brien show (high quality white music, for the unfamiliar) wore Kloppenburg buttons.

The political inhibitions of the average Wisconsinite, only two months ago seemingly internalized to the degree that politics had become a subculture rather than everyone’s business, have evaporated, steamed off by the extreme attacks of Scott Walker. The political has returned to Wisconsin, to everyday life, to people’s expressions in both private and public spheres. And just in time, because it is not too early to call a victory for Scott Walker. More on that below.

But first I continue my inquiry into the conditions of the uprising. What has been happening, at the various distances of the local, the regional, and the global, that the Walker agenda began to generate a kind of oppositional coherence, a broad sense of belonging to a current far beyond oneself, or one’s town, or one’s country? On this blog I have already discussed both the local and the global, how the Madison infrastructure and the international echoes of Cairo played into the uprising. From where I type this, both of these elements continue to be present. Last Wednesday evening I attended the Chris Hedges event on the UW campus. After being out of town for nearly two weeks, I was curious about what I’d see. The lecture was held in Humanities 2650, a room that seats 268. There were hardly any empty seats and quite a few standing in the upper reaches of the hall. People came out on a crummy, cold and icy night—a good sign that interest and motivation remains high at the grassroots level. The energy in the room was lively and Hedges ended up taking questions for an hour after a thirty-five minute lecture.  Whether we are talking about movement analysis events organized by the Havens Center, immigrant rights groups working to fight Walker’s cuts to bilingual education, the neighborhood bars hosting benefits for interfaith labor justice projects, or the Dane County administration and judicial establishment standing up to the GOP’s legally questionable manuveurs, the Madison activist and progressive infrastructure is humming. 

As well, the global echoes—drowned out and overshadowed for weeks by everything from the disaster in Japan to attention on the Wisconsin 14 and the villanous Koch brothers—reappeared on the fifth Saturday, in all-too tragically convenient a way: the massive demonstrations that were sparked by Scott Walker’s attack on the day Hosni Mubarak resigned came to a close on March 19, both the eighth anniversary of the bombing that started the Iraq War in 2003, and the first day of American and European bombing of Libya. If the War at Home/Wars Abroad meme had been shoved aside for a little while, history will always neatly bookend the first phase of the Wisconsin uprising in the wrapping of a single global class and energy war, and the beginning of generalized global chaos. Lots of us, including Iraq Veterans Against the War, who called for the March 19 Madison demonstration and came out in a force of more than fifty GWOT veterans, would not have it any other way. 

So, we have the local and the global. What about the movement dynamic at the state and regional level? Or put another way, why Wisconsin, and why now? Sure, it is a comparatively homogenous state, with a strong and distinctive tavern culture, a single, statewide university system, and self-embraced customs of beer + brats, dairy + deer hunting. But what of the conditions in early 2011? What was different then?

Having made something of the echoes of Cairo, I must say, the story of the 2010-2011 Green Bay Packers also helped to set a kind of pre-uprising climate in Wisconsin, because of how they reached and won the Super Bowl, the kinds of storylines that spun out of the team’s postseason run, and the fact that the Super Bowl was played on the Sunday of the same week in which Scott Walker later unveiled his budget repair bill. Given the event proximity, two of those storylines resonated with the Wisconsin uprising of a week later. The first concerned the Packers as an institution. When the Packers take the national stage, the national media enjoy re-telling the story of why and how the comparatively small city of Green Bay, Wisconsin (pop. 102k), happened to land and hold onto the most storied of all NFL franchises. This happened in the old media world of January of 1997 when the Packers last reached and won the big game, and it happened again in 2011. The surprise ending part of the story goes, little Green Bay keeps its team because it is… (drumroll) publicly owned! The merits of public ownership and non-majority ownership clauses are then held up for consideration as an historical quirk that actually works—unlike the failure of private ownership, for example, to currently supply Los Angeles with an NFL team. The merits of public ownership are then brought into the national conversation, in however superficial a way. For Packer fans, who like most midwesterners are more self-conscious than their coastal countrymen about how they are perceived by the bi-coastal media/cultural establishment, it is another reason to take pride in who they are, and another media-reflected self-image around which the trace of a collective identity coalesces.

The second important storyline emerged in full as soon as the championship game was over. Starting the day after the big game, sports talk radio chatter turned the topic from post-game analysis to the negotiations between the NFL owners and the NFL players association, a looming millionaire-versus-billionaire labor showdown that cast a shadow over the whole season and now finally took center stage. The contentiousness between the two parties got football fans everywhere considering the possibility of a canceled season or watching scab teams. If nothing else, this situation (which weeks later hangs in a stalemate due to the owners locking out the players) imposed a discourse of labor politics on a wide swath of the football-watching population. A great many apolitical fans are being forced to think about the fact that labor conflict exists. And once engaged, a lot of fans see the players as reasonable given their concerns about things like cumulative head injuries and the owners refusal to disclose their profits. Here in Wisconsin, it didn’t hurt the image of the players association that the Super Bowl MVP, Aaron Rodgers, the latest player to reach Packer greatness, is also the team’s union rep. Finally, there were the two Super Bowl XLV competitors, the Pittsburgh Steelers and the Green Bay Packers, each club named after the twentieth-century workers associated with those towns, and each club bucking the labor-bosses faultline—the Packers with their aforementioned anomalous shared ownership and the Steelers with their outspoken owner, Dan Rooney, who has openly complained about the greed of his fellow owners. The fact that both teams had this vestigial identification with the working man, and whose current ownership didn’t fit the venal role played so well by that of other NFL clubs, and yet had risen to the top of the competitive hierarchy by beating everybody else on the field, dispelled the claim that labor-friendly relations lead to a decline in quality and performance. If anything, these two teams proved that the opposite is true. 

So this whole NFL thing, with the Packers as newly crowned champs after an improbable, attention-getting run of four straight do-or-die victories (not including the final game), has been running parallel to the Wisconsin uprising. At times it crossed over, with some Packer players, including star cornerback and team co-captain Charles Woodson, tweeting statements in support of the Wisconsin state workers. The Sunday, March 19 NYTimes sports section featured an article on the NFL lockout and its effects on the town of Green Bay. It was the first post-uprising piece on the Packers I’d seen, and it necessarily mentioned the political turmoil of the state—not the usual thing for sports journalism.

On the question of spatial scale, the Packers reinforce state identity as a constituency, because in Wisconsin the Packers are regarded as belonging to the entire state and not just the city of Green Bay, literally owned by thousands of shareholders around the state, and Packer fandom is practically a secular religion binding together far-flung Wisconsinites, including those of the Wisconsin diaspora. Also interestingly, of all the population centers in Wisconsin, Madison is the least Packer-crazy town. Too many transients, hoity intellectuals, and Chicago transplants, plus a fan focus on the University of Wisconsin teams. So the NFL and Packer storylines spoke more directly to the people of Wisconsin outside of liberal Madison than inside, helping to generalize the politicized climate of labor strife to the far corners of the state. Even more than that, the Super Bowl underlined a fundamental turn in consciousness that informs any political uprising, anywhere. And that turn happens when an angry people wanting to do something become aware, and then are self-confident enough to tell themselves, “Why not us, and why not here—after all, we are somebody, we are somewhere.”

 And that's how we get pure Wisconsin action, like artist Rick Kurki showing a new painting at a recent protest up north in Hayward, Wisconsin. Pic by Pete Rasmussen.  

Not to overplay any of these factors—the Packers, Cairo, the built-in activism of Madison—but taken together, they all mattered, they all reinforced the tide. Then, as a movement imprinted with the stamp of multiple places, signaling a simultaneous belonging, echoes of it could be heard in other places. Demonstrators in Albany on March 23 chanted “Wisconsin, New York—the struggle is the same!” Last week a solidarity event in LA drew more than ten thousand people and featured Wisconsin firefighter’s union president Mahlon Mitchell, one of the scores of new leaders to have emerged in the course of the last six weeks. Activists in Michigan have measured the smaller demonstrations there against what happened in Wisconsin, trying to ascertain the different limits under which a nascent Michigan movement toils. Movements sited in and identified by place, whether that place is first thought of as a city, a state, a country, or a region, are doing the work of validating the movements of other places. We have learned from the world social forum strategy from the past decade. No more summit hopping. We work where we happen to find ourselves, but build into the process a sending and receiving of signals from other places.

My attempt, speaking to Oaxaca and Wisconsin, from Chicago, pic by Alice Kim:  

*

More to say about Wisconsin, good and bad, besides the Packer thing, but moving on…. 

Let me end this post by addressing the state of the movement, in bullet points.

1. Now it is clear that the story of the fourteen senate Democrats who fled the state in order to stall the passage of Walker’s bill stands in danger of overwriting the earlier heroism of the grassroots. Had not the Madison teachers, public school students, firefighters union, the Teaching Assistants Association, a goodly number of undergraduate students and lots of independent citizens stuck their necks out in the days leading up to the Flight of the Fourteen. And yet through all their hero’s welcome, not one of them has given full credit to the strategy of peaceful, legal escalation that gave them the opportunity to take dramatic action with full confidence of widespread support. Even worse are their exhortations to support the Democrats, exclusive of the many elements making up the backbone of this movement. As the struggle continues through a protracted phase without further massively unifying attacks by the GOP, the splits between Democrats and the grassroots will widen.
2. Walker won. His bill is still not clearly law, but he’s not waiting around for any court decision to implement it, even though every move he makes toward implementing it further muddies the legalities. And the question of political payback remains highly motivating, and there are plenty of deserving targets, not only Walker himself. Through electoral politics we will end the careers of at least a few, and make life at times miserable for the rest through all manner of activist confrontation. But the fact is, we will live with a seriously degraded state bureaucracy and a dysfunctional state government, and a horribly unbalanced state budget for years to come. Undoing the damage will be monumental task beyond the capacities of the Democrats. Thus, one of the high points of the liberal state structure—twentieth-century American Upper Midwestern state government, effective, professional, and mostly non-partisan—in Wisconsin is definitively no more. Time to roll up our sleeves, grab a tool, and start planting or building whatever it is that we want to grow.
3. The movement response to the March 9 surprise assault by Walker and his state senate minions remains unexamined. Surprising, when one considers the fact that we know the day and even the moment the movement lost the battle over Walker’s bill. But perhaps not so surprising when we consider the unpalatable truths such a examination would reveal. To begin with, the failure to meaningfully respond begs the question, where, exactly, the union interests lie? If the rank and file’s willingness to strike was overridden by the leadership, that is one thing, complete with an ugliness all its own. But what if the basic conservatism of the unions crouched in a defensive posture stands at cross purposes with those of us looking ahead to a different world? In other words, what if, as Jimmy and Grace Lee Boggs would say, a job ain’t the answer? Even though the various unions took all different kinds of heroic and historic action over the last six weeks, I can’t help but point out that the visionary element is completely missing from the union side, and the lost opportunity of March 9 showed us the price of accumulating power, even oppositional power, without vision. Nicolas, Erin, and I are working up a fuller treatment of March 9. Will post when it’s ready.

 

stressing the positives: conference report, part 2

After harshing on one of the presentations at the Space RE:solutions conference, I offer this On-the-Other-Hand: the panel that followed on Queer Visualities, featuring talks by João P. Marques Florêncio and Ernst van der Wal, was terrific. They both offered some urgent and complex ideas.

Marques Florêncio seeks to rework queer theory through what he called an ecology of the art event. This is his effort to bring the lessons and metaphors of ecology into relation with queer cultural performance, as a strategy to resist the normalization and flattening he sees happening in the latest chapters of gay rights struggle. He didn’t talk about it, but I suppose I would offer the focus on the gay and lesbian right to serve in the American military as a prime example of this flattening. Perhaps more controversially from a left perspective would be the efforts to achieve the right to marry. Either way, I can see what he’s talking about, and really found his suggested path forward provocative and promising. 

 Van der Wal, for his part, offered a nuanced analysis of the struggle for queer liberation in South Africa. There much of the retrograde sexual politics are being driven by a discourse of black African nationalism, in which “deviant” sexualities are described as colonial impositions on a “natural” African heteronormative sexuality. This of course greatly complicates the work of glbt activists in terms of how they use images to portray their movement. Van der Wal showed examples of images announcing various activist events and gave accounts of the background debates involved regarding the different meanings that might attach to the racial representation. He also discussed the complications in media representation of black lesbians, including those victimized by the horrible violence known as "corrective rape." Van der Wal had no clear answers but I’m convinced that he is asking the right questions.

You can read both abstracts on this page.