MF DOOM – Operation: Doomsday.

Operation: Doomsday

MF DOOMOperation: Doomsday. Fondle ’em FE-86-CD (1999)


MF DOOM (born Daniel Dumile) is an English born rapper who got his start in the music business under the name Zev Love X in the hip-hop group KMD.  But his brother and bandmate Subroc was killed in a car accident and — at the same time — the band was dropped by its label.  KMD disbanded.  After working open-mics and the like, Dumile re-emerged as a solo act under the MF DOOM name.  His solo debut album was Operation: Doomsday.

His type of hip-hop zigged while commercial hip-hop zagged.  Some call this “backpack rap”, in reference to its appeal to music nerds listening with headphones on trains and buses (while wearing a backpack) — not the sort of music intended for dancefloor play “in da club”.  It was a resolutely indie/underground phenomenon initially, but eventually rose to prominence through the likes of Kanye West.  MF DOOM achieved great success himself years later with his collaboration with Madlib, Madvillainy.

The samples used on the album draw heavily from late 70s jazz fusion and smooth R&B, through 80s smooth jazz.  There is also extensive use of superhero cartoon samples.  The MF DOOM character is based on the “Dr. Doom” character from Marvel comics, and there are many samples related to that character woven through the album in a series of skits.  The musical sources for the samples represented — mostly — passé stuff among the audiences listening to hip-hop at the time.  Though the superhero cartoon references were semi-established via the Wu-Tang Clan, particularly Ghostface Killah‘s persistent use of samples related to Mavel’s Iron Man character in his solo recordings around the same time.  DOOM’s rapping tends toward long, dense verses delivered with a kind of lackadaisical drawl.  In concert, he later took to wearing a metal mask based on a prop from the movie Gladiator (2000), released the year after Operation: Doomsday.  He had already performed in more improvised masks leading up to the release of his debut album.

A useful reference point, from outside hip-hop, is Ariel Pink’s Haunted Graffiti.  Both draw from the music of their youth, especially the leftovers of media of the past that have lost most of the symbolic representation of cultural sophistication they once carried.  But the similarities largely end there.  While Pink uses a reverent/irreverent approach, MF DOOM instead builds a kind of protective cocoon of wounded cynicism.  He hides behind a mask and pseudonym, drawing from childhood cartoons/comics to construct a supervillain character.  As many have noted, this might be seen as a self-defense mechanism after Dumile’s personal traumas of the early/mid-1990s.  It also tends to close off and protect its innocence from corrosive outside forces of the adult world.  The invocation of a supervillain character rather than a superhero one is a slight twist.  But it is still a variation on the sort of worldview the writer Jean Genet expressed in Journal du voleur [The Thief’s Journal]: “Repudiating the virtues of your world, criminals hopelessly agree to organize a forbidden universe. They agree to live in it. The air there is nauseating: they can breathe it.”  Of course, at its extreme, this is a similar strategy to one that “hoarders” use in response to personal trauma. 

Harmony Korine‘s film Mister Lonely (2008) is more or less an attempt to analyze precisely the same thinking that drives Operation: Doomsday.  In that film, the main characters are celebrity impersonators who are unable or unwilling to live under their own identities, instead forming a commune.  Eventually, after circumstances cause the commune to fall apart, the protagonist sheds his costume and assumed identity and lives as himself.  There is something to the notion that the pressures of modern society to be an individual (and “personal brand”) are too great, especially for the most vulnerable and the traumatized.  But, still, there is a problem with the lack of a strategy to ever step out from behind an assumed identity.  There is never any hint of how that might happen on Operation: Doomsday.  This music seems to stop at presenting a defense mechanism.

At a time when hip-hop’s growing commercial dominance was causing the music to stagnate somewhat, Operation: Doomsday. came out of left field.  For instance, OutKast was considered by many hip-hop heads to represent something new and different, even as that group was (in the late 1990s at least) offering only a slight variation on the glorification of the same money-obsessed, misogynistic “playa” personas that were still commercially dominant.  MF DOOM, on the other hand, suggested there was a whole lot more possible, much further afield from the mainstream.  Sure, groups like Hieroglyphics already had a small following along these lines, but it was after Operation: Doomsday. found surprising success (even if only coincidentally) that momentum carried forward with the Anticon collective, the Project Blowed collective, Antipop Consortium, Kanye, and more.

And it probably has helped MF DOOM’s commercial success that Hollywood became absolutely fixated on making one big-budget superhero movie after another after Operation: Doomsday. was released — a trend that took off more or less immediately after the release of this album.  While certainly there is no direct connection between MF DOOM’s appropriation of comic book characters (or Ghostface’s, etc.) and Hollywood’s economic priorities, they both fit together in the same social context of neoliberal hyper-individualism.

When this album came out my roommate at the time was very into it, though I was more ambivalent.  I probably like it more now than back then, though I think DOOM did better later.  It does have its drawbacks, namely a few songs that overstay their welcome with gimmicks stretched out too long.  From a production and beats standpoint, Take Me to Your Leader (under another pseudonym King Geedorah) is better.  From a lyrics and straight rapping standpoint, Vaudeville Villain (under yet another pseduonym Viktor Vaughn) is better.  Overall, even the later effort under the MF DOOM name Mm..Food is a bit better.  Though this solo debut is still strong.

The album has been reissued numerous times.  One deluxe edition comes in a collectible lunchbox, complete with trading cards and a bonus disc with 12″ and instrumental versions of various songs.  Another reissue includes the bonus disc but omits the non-musical extras like the lunchbox.  The bonus disc is fine, but hardly essential.  Reissues have replaced the original cover artwork (by Lord Scotch 79th) due to unspecified licensing issues.  The lunchbox reissue instead uses artwork (by Jason Jagel) that vaguely resembles the original, but the other bonus disc reissue has cover artwork (also by Jason Jagel) that parodies Paul Robeson‘s Songs of Free Men.

Jodi Dean – Crowds and Party

Crowds and Party

Jodi Dean Crowds and Party (Verso 2016)


Jodi Dean’s book Crowds and Party deals with the more or less long-standing battle within the political left between communist and anarchist tendencies (including autonomism, etc.), and she offers her thoughts on recent trends in the anarchist direction embodied in Occupy Wall Street and similar protest movements.  As “Lefty” Hooligan put it (in “Anarchist Purges Anarchist; No News at 11,” MaximumRocknRoll, issue #375, Aug. 2014):

“Post-left anarchism categorically rejects the Left, from the social democracy and Marxism-Leninism of the Old Left to the Maoism and Third Worldism of the New Communist Movement that devolved from the New Left, as well as any anarchism that is in the least bit influenced by the Left. This is not merely a refusal of the Left’s ideological content, but of its organizational forms as well, from meetings run by Robert’s Rules of Order to various kinds of party-building.  But nothing unites post-left anarchism beyond this negation, leaving a disparate gaggle of personalities . . . .”

Responding to this situation, and approvingly citing Ellen Meiksins Wood‘s critique of “left realism”, Dean posits that anarchist tendencies are ineffectual and recommends a return to Marxist-Leninism — updated to reflect current contexts of course, and with recognition of past errors.  This means going beyond crowds to actual political parties that can hold power. Staughton Lynd has written in somewhat similar terms, quoting Victor Serge saying that anarchism is about “idealistic aspiration” but anarchist thinking is impractical and anarchists lack any answer to the question of power.  Part of Dean’s argument focuses on how “Marxists” have over time, but especially in the neoliberal era and since the overthrow of the USSR, explicitly or tacitly substituted anarchist tenets for Marxist-Leninist ones.  She writes:

“Some on the Left—autonomists, insurrectionists, anarchists, and libertarian communists—so embrace the energy unleashed by the crowd that they mistake an opening, an opportunity, for an end.  They imagine the goal of politics as the proliferation of multiplicities, potentialities, differences.  The unleashing of the playful, carnivalesque, and spontaneous is taken to indicate political success, as if duration were but a multiplication of moments rather than itself a qualitative change.  For the fantasists of politics as beautiful moment, any interpretation of a crowd event is to-be-contested because of its unavoidable incompleteness, its partiality.  They forget, or disavow, the fact that the non-all character of the people is the irreducible condition of struggle.  And so they treat organization, administration, and legislation as a failure of revolution, a return of impermissible domination and hierarchy rather than as effects and arrangements of power, rather than as attributes of the success of a political intervention.”  (p. 125).

In this sense she echoes something Frantz Fanon wrote decades earlier in Les Damnés de la Terre [The Wretched of the Earth]:

“the success of the struggle presupposes clear objectives, a definite methodology and above all the need for the mass of the people to realize that their unorganized efforts can only be a temporary dynamic.  You can hold out for three days—maybe even for three months—on the strength of the admixture of sheer resentment contained in the mass of the people; but you won’t win a national war, you’ll never overthrow the terrible enemy machine, and you won’t change human beings if you forget to raise the consciousness of the rank-and-file.  Neither stubborn courage nor fine slogans are enough.”

Dean refers to “crowds” in reference to uprisings and outbursts like Occupy Wall Street.  She looks to crowd theorists like Gustave Le Bon (The Crowd: A Study of the Popular Mind), Sigmund Freud (Group Psychology and the Analysis of the Ego), and Elias Canetti (Crowds and Power), but explores the limits of crowds in addition to their potentials and other positive attributes.  She notes how Canetti identifies crowds with what psychoanalysis calls “desire”, that is, providing direction and growth toward a fundamentally unattainable goal (i.e., a desire to desire).  Her engagement with past “crowd theorists” makes up some of the best parts of her book.

Following the likes of Slavoj Žižek and Bruno Bosteels, Dean sees the contemporary problem of the Left as being how to transform the state itself, not to abandon or merely seize it.  She insists, “What matters for us here and now is the galvanization of such a communist will.”  (p. 150).  She offers an extended critique of John Holloway‘s Change the World Without Taking Power to make this pointCuriously, she never engages Žižek’s The Fragile Absolute, which deals with the origins of communist universalist thinking in christianity and explores the problem of institutionalizing those concepts in the foundations of the christian church.  It would have been interesting to read Dean’s take on that book, which explores a topic directly related to the central topics of Crowds and Party.  

Dean emphasizes the idea of the political party as a “gap”.  “The party operates as the support for the subject of communism by holding open the gap between the people and their setting in capitalism.”  (p. 206).  She continues:

“One might object that contemporary decentered, federated, and interlinked states are not in anyone’s hands and therefore cannot be seized.  This objection, however, implicitly endorses a liberal technocratic view of the state.  It proceeds as if the system of laws and assumptions on which states are based are nothing more than neutral protocols.  The classic communist ideal of the dictatorship of the proletariat confronts this lie directly.  The liberal state is in actuality the dictatorship of capital.  Its premises ensure that the benefit of the doubt, ‘common sense,’ falls on the side of capitalism, that what feels like the right decision is the one that confirms the bourgeois mindset: protect private property, preserve individual liberties, promote trade and commerce.  The goal of taking control of the state takes aim at this underlying level of laws, practices, and expectations, targeting common sense to make it the sense for and of the common.

“Capitalists will not voluntarily reorganize processes of accumulation so as to put an end to proletarianization.  They will not simply hand over control and ownership of the means of production.  States will not just stop oppressing, arresting, and imprisoning those who resist them.  Such fundamental changes will only come about through political struggle, carried out internationally.  A Left that eschews organizing for power will remain powerless.  This is why we are talking about the party again.”  (p. 207).

To take one rather arbitrary example from after Crowds and Party was published, Andreas Malm wrote an essay entitled “Time to Pull the Plugs” about the problem of and solutions to impending ecological catastrophe.  While presenting a useful present history of the state of ecological collapse, Malm asserts that Naomi Klein is a “radical thinker” who calls for “revolt” (Dean has elsewhere critiqued precisely this characterization of Klein; Dean believes Klein is precisely not radical — she accepts capitalism so long as it is not “neoliberal” capitalism), and offers cursory, conclusory dismissals of calls to end capitalism as untenable, unrealistic, reckless, etc.  It is precisely the likes of Malm that Dean rails against, because, just like “third way” liberals, they concede too much to achieve anything.  In short, people like Malm abandon the “communist will”, but in doing so refuse to acknowledge the defeatist implications of doing so.

There are a few unconvincing parts of the book.  When Dean attempts to offer new (re)interpretations of certain concepts, she mostly fails to establish these, or at least, the necessity of her reinterpretations.  Among those is her concept (actually developed prior to this book) of “communicative capitalism”.  She notes that others already have different terms for very similar concepts.  Her term is not as intuitive as some others.  She seems to be “branding” her own theory (even though she criticizes “personal branding” in general).  Frankly, she explains “communicative capitalism” better elsewhere.  Another weak spot is where she tries to offer an explanation for the rise of individualism by the 1970s.  She relies on Michel Foucault to argue that the “individual” is a limiting state created as part of social discipline.  In this, she cites Foucault to view “discipline” in a purely negative sense, as something always bad.  But some counter-examples show how “discipline” can actually forge collectives.  One such example is the Boxer Rebellion in China (admittedly, a topic for which there is relatively little in-depth treatment in English).  Another is the musician Sun Ra‘s Arkestra.  Sun Ra took in former drug addicts and gang members into his musical group, and emphasized “discipline” as a way to forge a collective musical project.  Paulo Freire has emphasized, too, how discipline can enhance intuitive learning while still promoting the sort of freedom that concerns Dean.  Self-discipline is something that requires no “capital” and therefore, in at least these (counter-)examples, the poor can use it to strengthen themselves, but also to build solidarity “from below”.  Dean’s arguments for why individualism arose in recent history is unconvincing, but it is largely a distraction from her main arguments — she does establish that individualism became a dominant perspective in America, and why that was the case is at best secondary to her main theses.  For that matter, later in her book she approvingly cites communist party discipline as a way to develop learning and growth, in a way that echoes Freire.  So, her invocation of “discipline” seems to leave some loose threads.  And to the extent that the summary above unfairly characterizes here arguments about “discipline” it may well be because her argument is hard to follow.

Also, the last chapter reads like the “Lifetime Movie” of the book, as Dean seeks to unearth historical examples to illustrate how a communist party can act on an emotional level.  It is a strange chapter that seems directed to an entirely different audience than the preceding chapters.  While the last chapter certainly expands on the theoretical approach of the rest of the book, it also threatens to drift into historical irrelevancy, because Dean doesn’t try to connect the historical examples to any kind of contemporary relevance.  Instead, the examples are meant to historically bolster her theoretical principles, while, in a way, some undermine her theory that the party is of contemporary importance by lacking clear contemporary relevance (for instance, how many workers today live in “company towns” and are sons of sharecroppers?).

Reviewing Alfie Bown’s book Enjoying It – Candy Crush and Capitalism, Joe Kennedy wrote:

“‘Our ideas surrounding the enjoyment of critical theory and political resistance lead to the celebrated identity of the radical, which is another way of being a subject that suits capitalism’. In other words, the inclusive, absorptive nature of capitalism, which needs to bring everything within the scope of its mechanics of commodification, means that the radical is yet one more demographic to be sold to, another identity which can only find its expression through consumer preference. If this seems far-fetched, follow the twitter account of left-leaning London publishers Verso, who frequently retweet photographs sent in by satisfied customers of the piles of Marx (and assorted modern Marxist thinkers) which have just landed on their doormats.”

He refers to the very same London publisher of Dean’s Crowds and Party.  There is a risk in getting caught up in the “identity of the radical”, but Dean has, I think, gotten past those concerns, illustrating positive uses for such a collective identity.

Still, Dean’s vision of a communist party certainly runs against other conceptions of communism generally.  After all, Friedrich Engelspersonal motto was “take it easy.”  Dean’s reliance on Žižek runs up against this too.  Dean seems to endorse something close to a Stalinist total mobilization, though this hardly seems like the sort of ideal likely to attract many adherents.  Of course, there remains a difference between a communist society and a communist party, but this distinction is a potential sticking point for how persuasive Dean’s approach will (or will not) be to potential party members.

Anyway, Dean’s book presents a number of opportunities for further research.  For example, in a number of places the way she describes party activity bears a striking resemblance to pro-capitalist “business guru” advisers’ writings.  She describes the contents of the Communist Party of the United States’ Party Organizer publication in the 1930s, and highlights how it “expresses the pressure of the relentless injunction to do more[.]”  (p. 194).  This compares closely to the concept of a “big hairy audacious goal” of business consultants Jim Collins and Jerry Porras (in their discredited book Built to Last: Successful Habits of Visionary Companies).  Elsewhere, Dean states, “Without the party, there is no body capable of remembering, learning, and responding.”  (p. 260).  This sounds very close to the dubious business organizations concept of Peter Senge‘s The Fifth Discipline, which posits that organizations (rather than the people in them) can learn and retain knowledge.  Of course, certain noted communists have at various times suggested that capitalist management practices should be adopted and adapted to communist ends where appropriate, so perhaps these parallels aren’t totally odd.  But they present opportunities for elaboration, at least in a comparative sense.

Crowds and Party, measured by how many good ideas it presents is a great success.  Measured by readability or consistency, it stumbles, due to the extensive academic jargon and sometimes cluttered prose, and because whole sections of the book are throwaways.  All together, it is a worthy and important piece of analysis that probably could have benefited from a bit further revision and refinement.  In short, people like Lenin successfully refuted the anarchists a century ago, and once all the historical revisionism is stripped away, the anarchists are still wrong for all the same reasons.  So, if readers step away with anything concrete, it hopefully is a desire to read (or re-read) Lenin‘s The State and Revolution with the understanding that it still presents the most relevant formulation of left politics a hundred years later, and, for good measure, Žižek’s recent Trouble in Paradise: From the End of History to the End of Capitalism (arguably his most readable and relevant recent book) — even Domenico Losurdo‘s War and Revolution: Rethinking the Twentieth Century.  It is also relevant to note that Dean is active in the Party for Socialism and Liberation (PSL), so anyone located in the United States who is enthusiastic about what she has written here should perhaps investigate that political party.  Dean certainly has a better bead on effective left politics than other commentators.

Bruce Lesnick – The Unemployment Conspiracy

Link to an article by Bruce Lesnick:

“The Unemployment Conspiracy”

 

The only error in this article is this statement: “Real unemployment in the U.S. today hovers around 8.3%, afflicting more than 17 million people.”  If calculated in the manner it used to be, the “real” current unemployment rate is about 22%.

Ornette Coleman – Tomorrow Is the Question!

Tomorrow Is the Question! The New Music of Ornette Coleman!

Ornette ColemanTomorrow Is the Question! The New Music of Ornette Coleman! Contemporary M 3569 (1959)


There is an old saying, “To a hammer, every problem looks like a nail.”  This adage goes a long way to explain Ornette’s earliest studio recordings.  In hindsight at least, it is fairly clear that he had his musical vision already worked out in the mid-1950s.  His problem — well, one of his problems — was bringing together musicians sympathetic to his radically new ideas and then getting them up to speed performing based on those new ideas rather than being “hammers” banging on nails like they usually did in conventional jazz combos.  He was practicing regularly, in private, with a core handful of players like Don Cherry.  The thing was, while living in Los Angeles, he secured his first recording contract as an offshoot of selling some compositions to Contemporary Records (run by Lester Koenig, who was blacklisted from Hollywood films during the McCarthy witchhunt era).  He began recording with groups that included some mediocre players and some bigger name players brought in just to play recording sessions.  For the most part, Ornette had already met and played with the musicians who would make up arguably his greatest combo, which would record extensively for Atlantic Records, but for whatever reason Cherry and Billy Higgins (Higgins being absent here) were the only ones to appear on Ornette’s recordings for Contemporary.  For instance, Ornette had asked drummer Ed Blackwell to play on his debut album Something Else!!!! but Blackwell turned down the offer.  Blackwell later joined Ornette’s band in New York City after fleeing discriminatory miscegenation charges in New Orleans.

Shelly Manne on drums sounds just fine here.  Ignore the detractors!  Manne was always one of the most forward-thinking West Coast players.  He has a more open and spare style than Billy Higgins.  Given more time to play with Ornette, I imagine Manne would have gone even further out — though that wasn’t to be, because Ornette moved to the East Coast.  Manne nonethless credited his time playing with Ornette as being significant to his later work.

Percy Heath and Red Mitchell, great bassists in their own rights, just go on playing in a progressive yet still conventional style that isn’t always enough for what Ornette’s music calls for.  Heath and Mitchell are the “hammers” in this band. Sessions with Mitchell took place first.  Mitchell is out of his element, and Ornette felt Mitchell thought he was a bit looney.  Though Mitchell was a noted bop player in Los Angeles at the time, and was responsible for putting Ornette in touch with Contemporary Records in the first place, he clearly isn’t interested in Ornette’s pioneering musical ideas.  Ornette actually recruited Heath, the bassist for the renown Modern Jazz Quartet, for a third recording session after two with Mitchell were fairly unproductive.  Ornette’s recruiting efforts also put him in touch with The MJQ’s pianist John Lewis, who was immediately impressed by Ornette’s music, and who would end up being the single most decisive factor in Ornette’s critical success down the road.  It is not an overstatement to say that Ornette would have been forgotten to history and his best music never recorded if not for Lewis.

Anyway, by ditching a piano, Tomorrow Is the Question! sounds worlds better than the debut (this album was Ornette’s second to be recorded, but was released third).  Sure, things got better from here, but this is still a good one.  The opening title track is a really great composition, highly indicative of Ornette’s off-kilter yet oddly endearing nursery rhyme melodies.  It starts the album off on a high note.  And the rest of the album is good too.  Actually, it’s better than just good, thanks to a lot of great compositions, more confident playing from Cherry (though he would play even more strongly in the future), and, of course, unique and inventive soloing from Ornette himself on pretty much every song.  The recording is crisp enough that even when Mitchell plays just a plain vanilla walk it leave space to hear Ornette’s microtonal explorations on his (plastic) horn.  So, Tomorrow Is the Question! pales only in comparison to what Ornette had in store next, but is quite rewarding in its own right.

D. Casey Flaherty – Law Departments and the Foundation of Law Firm Marketing Bullshit

Link to an article by D. Casey Flaherty:

“Law Departments and the Foundation of Law Firm Marketing Bullshit”

 

The title of this article is misleading.  The foundation of law firm marketing, and all marketing, is capitalism.  All marketing is misleading.  The entire article is confused because it makes vague references to things like improvement, efficiency, or whatever, without really explaining who benefits or in what way.  Anyway, the parts about the “lawyer theory of value” are useful, as a specific illustration of the old saying “to a hammer every problem looks like a nail.”  But that doesn’t really explain much.  The labor leader Tony Mazzocchi once said that the construction trades would “pave over the Atlantic Ocean, if given the chance.”  It is no different with lawyers and lawyering.  A rather useful frame to apply to these questions is what Paul Kivel discussed in his article “Social Service or Social Change.”  A better framework is public benefit, and a (materialist) distinction between public and private benefit.  Laywers, as part of what Kivel terms the “managerial class”, tend to look like self-interested collaborators with society’s bad actors (the exploitative “power elite”).  The Flaherty article at most sees the problem as one of degree, not of kind.  But corporate benefit — as in increased profits for shareholders of a particular company — is a stupid metric, one that presupposes capitalism and an unfair social structure.  Yet, it is also true that lawyers can do good.  Take, for instance, something that Moshe Lewin discussed in The Soviet Century, about how the Khrushchev administration dismantled the Stalinist gulag system in the former USSR and unwound the brutal system of arbitrary arrest by the NKVD through…increased use of lawyering! This latter example (drawn from a different country and historical period) illustrates a public benefit.  After all, confronting institutions known for arbitrary persecutions leading to executions, torture and imprisonment in slave labor camps was fraught with potential peril and hardly a simple matter of self-aggrandizement.  Flaherty stops well short of concern for public benefit, discussing only private concerns within the realm of corporate law — and, it should be mentioned, the private self-interest of legal consultants like Flaherty.  But if Flaherty did raise concerns about public benefit, it would probably mean eliminating corporations and corporate law departments entirely, and likewise eliminating the need for consultants like him.  The cynicism of this article reflects what Peter Sloterdijk called “enlightened false consciousness”.  Or, perhaps, this can be explained by Upton Sinclair, who long ago said it is hard to get someone to understand something when his salary depends on him not understanding it.

Ornette Coleman – Sound Grammar

Sound Grammar

Ornette ColemanSound Grammar Sound Grammar SG 11593 (2006)


Ornette’s last solo album before his death, and first in a decade (after releasing three albums in 1996), found surprising success.  This is a live recording with Ornette’s working band.  He seems to have learned that it takes two bassists to replace Charlie Haden.  On the whole, this album is nostalgic and kind of presents a summary of Ornette’s entire career.  “Sleep Talk” sounds good in this reading.  There isn’t a whole lot else here that stands out, but this is consistent top to bottom.  The reasons this became so popular probably have more to do with timing (Ornette’s stature plus the gap since his last albums) and, especially, promotion (Ornette granted an uncommon number of interviews) than purely the merits of the performance.