September 21st, 2008

Chris Keeley

TO: Distinguished Recipients FM: John Whitbeck Transmitted below is an appreciation of America's e

TO: Distinguished Recipients
FM: John Whitbeck
 
Transmitted below is an appreciation of America's economic present and future from Rosa Brooks. It was published in the LOS ANGELES TIMES just prior to the announcement of the US$ 700 Billion mega-bailout for the reckless riverboat gamblers and snake-oil salemen who, in the United States, pass as financial institutions -- and who, in the interests of average Americans (the "fundamentals" of the economy), cannot be permitted to pay the just price for their recklessness and unbridled greed.
 
Contrary to Ms.Brooks' proposed "use for the expanding pool of angry, jobless young men", I would hope that the coming economic meltdown will cause more and more Americans to realize that they can afford either (i) to have an economy or (ii) to continue killing Muslims, for the sole benefit of Israel and its domestic agents, ad infinitum -- but that they cannot afford both.
 
If this shock causes a "surge" toward option (i), there will at least be some sunshine in the gloom.
 
 
 
 
Hey U.S., welcome to the Third World!

It's been a quick slide from economic superpower to economic basket case.
Rosa Brooks
September 18, 2008

Dear United States, Welcome to the Third World!

It's not every day that a superpower makes a bid to transform itself into a Third World nation, and we here at the World Bank and the International Monetary Fund want to be among the first to welcome you to the community of states in desperate need of international economic assistance. As you spiral into a catastrophic financial meltdown, we are delighted to respond to your Treasury Department's request that we undertake a joint stability assessment of your financial sector. In these turbulent times, we can provide services ranging from subsidized loans to expert advisors willing to perform an emergency overhaul of your entire government.

Collapse )



Chris Keeley

school done rule

For Him, Reggae Is the Family Business

KINGSTON, Jamaica

THE new hit-making force in Jamaican music doesn’t live in the steamy downtown ghettos Bob Marley made famous but on a leafy residential road high on a hill here, in the upscale neighborhood Havendale, St. Andrews. Just 18, Stephen McGregor, also known as Di Genius, is a member of one of reggae’s reigning families: the clan of the veteran singer Freddie McGregor.

Big iron gates slowly swing open to reveal a yard with a raised, shaded area designed for playing dominoes. Inside a large villa narrow wooden stairs behind the living room lead up to Big Ship Studio, named after Freddie’s 1981 worldwide hit. With its richly colored walls hung with framed awards and its big black leather couch, Big Ship feels like a cozy clubhouse outfitted with huge speakers and a mixing desk. Here Stephen, who is known as the studio’s Captain, swivels around in an office chair, punctuating a chat by flicking a fader and unleashing yet another monster hit like Sean Paul’s “Watch Dem Roll” and “Always on My Mind,” his collaboration with Da’Ville.

Also in the room are Stephen’s brother Daniel, 25, a popular lyricist and rapper known professionally as Chino, and his sister Yeshemabeth (also known as Shema), 29, an up-and-coming singer. Stephen produces them both.

Collapse )
Chris Keeley

Opie

Home Views, Bound by Ice or Leather

Los Angeles

AT the age of 9, after writing a book report on Lewis Hine’s images of child laborers from the early 20th century, Catherine Opie sat her parents down and passionately announced that she wanted to be a social-documentary photographer.

“I talked to them about this photograph of a little girl who worked in a factory in North Carolina and how this guy was able to change the laws,” Ms. Opie, now 47, said. She spent the next year of her childhood meticulously documenting her family and neighborhood in Sandusky, Ohio, and hasn’t stopped taking pictures since.


An anthropological interest in home and identity, and the idealistic belief that images can help bring about social change are both fundamental to Ms. Opie’s wide-ranging photographs.

On the eve of her midcareer survey, “American Photographer,” opening at the Solomon R. Guggenheim Museum on Friday, she discussed her work in one of the studios that she and her companion, Julie Burleigh, a painter, built in the backyard of their house in South Central Los Angeles. At the time Ms. Opie was trying to have a baby, and she wanted to be able to put him down for a nap and walk across the yard to work. Now she intermittently glanced through the studio window with amusement as their 6-year-old son, Oliver, raucously animated a Pokémon character on the back deck.Collapse )