Romney Gambles His Political Future on Paul Ryan

Late Friday night, word broke that Mitt Romney was going to pick Wisconsin Congressman Paul Ryan for join him on the ticket as VP. The decision was formally announced Saturday morning in Virgina, aboard the USS Wisconsin, which is a bit ironic since neither men have military experience.

Ryan should galvanize progressives to get out and vote for a number of reasons. The Congressman believes in a total Ayn Rand philosophy of the individual versus the collective and extreme limited government. Several articles about him point out that he used to make his staff read Rand.  He wants to turn Social Security and Medicare into a voucher system, basically privatizing it and ending it as we know it.His budget plan was even called “too radical” by former House Speaker Newt Gingrich, who said it would lead to  “right-wing social engineering.” However, later Gingrich walked back those comments.  Ryan also draws the ire of the left because he’s had the support of the Koch-brothers for years in WI, and they helped him make his name by pumping money into his campaigns.

On the other side, Ryan will galvanize the fringe Tea Party wing of the GOP, though perhaps they’re not the fringe anymore, if Ryan is now sitting on the Romney ticket. The right has won, but in the end, it may sink the GOP’s chances to win the White House. Democrats and their SuperPACS have salavated at the chance to go after the Ryan budget in attack ads. Now they’ll have the chance, and the country will have a serious debate about the Ryan budget that nearly every Republican voted for in the House earlier this year.

For more about Ryan, I suggest reading this article that appeared recently in the New Yorker. To paraphrase the article’s author, Ryan Lizza, putting Ryan on the ticket is the riskiest move Romney could have made.

An Anxious America

Newsweek has a great piece in its current issue about the current economic state of America and the growing anxiety among Americans. The article, written by David Frum, proposes the possibility that the golden age of America is over and the idea that every generation will do better than the previous one is eroding. The article is filled with compelling statistics to make the case, and a lot of them are alarming. Here are some startling statistics regarding young people.

According to Frum’s article, families headed by people under 35 are 70 percent poorer today than they were in 1984, due to lower wages, student debt, and more expensive housing. As of 2010, students that borrowed money to finance their education had an average debt of $25,000. Meanwhile, that same year, the unemployment rate for college grads hit 9.1 percent. This does not count the countless number of grads underemployed.  Meanwhile, two-thirds of young Americans don’t complete college, and for high school graduates with no college degree, the job situation is even more dire. Frum writes, “They  earn less, in nominal dollars, than their counterparts of 40 years ago. They are far less likely to be protected by health insurance. Their chances of marrying, staying married, and being happy within marriage have all collapsed compared with a generation ago.”

The end of the article points out that during the last great economic crisis, in 1929 into the 1930s, there was much more government action in the form of the New Deal and other innovations. But, as Frum points out, it’s not likely anything like that will be proposed again, at least not in this era, due to the anti-government stance the GOP has adopted and the likelihood that that party will at least still control the House of Representatives after the fall election.  As a political junkie, I’m also betting that the GOP has a decent chance of winning the Senate too, due to the fact the Dems have a slim majority there, and they have to defend 24 seats, far fewer than the GOP. But I’m betting on President Obama winning re-election. However, his plans to improve the economy, largely through raising taxes on the wealthiest of Americans, will be stymied with a GOP-controlled Congress. They’ve already blocked several of his jobs  and tax bills over the last three and a half years.

Frum ends the article with a haunting assessment, writing, “Many today fear that a new America is being shaped in this economic crisis-an America in which only a talented and fortunate few will find opportunities on a global scale, while the working many will experience a long slow decline in their living standards and life chances. Many fear that the days when it meant something special to be an American are drawing to a close.”

He also poses the question that if indeed the golden age of America is over, then what will the future look like? Will college students continue to be saddled with debt and unable to find full-time jobs that lead to a comfortable middle-class life? Will people without college degrees, especially young white males, struggle because there are fewer manufacturing jobs than there were decades ago?

If the economy does improve, it seems unlikely it will happen within the next year or two. July’s job report showed that 160,000 new jobs were added, about 60,000 more than expected, but the jobs reports from the previous two months were dismal. Frum predicts it will be at least another half a decade until the U.S. is back to nearly full employment. Meanwhile,  how will America be shaped and defined in that long stretch of time? It’s clear that this ongoing economic crisis/recovery is going to have a lasting impact, especially in regards to the outlook and attitudes of Americans.

American Poet

A few months ago, I raved about the book American Poet by Jeff Van Zande. As I said in a previous post, as a poet, I loved the novel, especially some of the funnier scenes- the awkward open mic nights and the failed job interviews the protagonist undergoes. But beneath all that, there is a tenderness and a reminder how important poetry and the arts are to one’s community.

My review of the book finally appeared over at PANK. Check it out here, and please check out Jeff’s book.

Oh, How I Miss Indie Bookstores

As I write this blog, it’s about 1 a.m. on a Thursday night. I just returned from doing a reading at Farley’s Bookshop in New Hope, PA, outside Philly. By far, Farley’s is one of my favorite bookstores that I’ve read at. Its fiction and non-fiction collections are extensive, and it has a decent poetry selection, far better than what you find in Books-a-Million or Barnes ‘N Noble. Even better, Farley’s showcases several indie poetry/fiction presses, including TriQuarterly Books, Hanging Loose Press, and Press 53. They have walls and walls of books on display from indie publishers. I have yet to visit another bookstore in PA that does that.

The poetry reading itself had an attentive audience that asked several quesions during the Q & A session, mostly regarding the writing process and some about publishing. If you live in the Philly area, you should check out the featured poetry readings. They take place every first Thursday of the month from 8-10 p.m. Following the featured reader, there is a limited open mic. The organizer, Bernadette McBride, does a wonderful job keeping the reading series going throughout the year.

Browsing Farley’s bookshelves made me miss the indie bookstores we used to have in NEPA, including Tutor and Anthology New and Used Books, both long gone. When they were around, they hosted a lot of workshops, open mics, and featured readings. Like Farley’s, these spaces kept the local writing scene alive, and they were especially important in allowing young writers to share their work and get feedback.

After the reading, I was happy to see that Farley’s had several customers browsing and buying books. I hope the store continues to draw a lot of customers because it’s a real asset to the community.

Now it’s time to get some sleep!

New Hope

This Thursday, I’m venturing to one of my favorite towns in Pennsylvania, New Hope, a suburb of Philadelphia located in Bucks County. I enjoy New Hope for its charm, for its array of restaurants and shops near the river that snakes and cuts through the town. I’m going there to do a reading at Farley’s Bookshop, by far one of the best indie bookstores I’ve been to, especially in PA. The store has a wide selection of fiction and non-fiction, bookshelves that showcase releases from indie presses, and a decent poetry section.

The reading starts at 8, and a Q & A will follow. I wrote my set list on paper, and it will be a little different than other readings I’ve done this year. It will include a few poems from my chapbook Front Man, but it’s also going to include some poems from the book I have coming out next summer. I’ve been holding back on reading a lot of poems from the new book because I’ll do a lot of readings next year centered around the new publication. But I’ll give a small preview at Farley’s.

I’m looking forward to this, and if you’re in the area, please stop by. If you have extra time, browse New Hope’s shops before stopping over at Farley’s.

A Scranton Venue Needs Help

A few months ago, the Vintage Theater in downtown Scranton closed its doors on the Penn Avenue location, leaving the city with one less all-ages venue. When it happened, I thought, oh great, another loss of an arts venue in this area. I’ve always felt that all-ages venue are important to any community. When I was in high school, I wasn’t into sports, so I found solace in attending punk and indie shows at some other now-defunct venues- Cafe Del Soul, Homebase, and Cafe Metropolis. These places welcomed kids that were into music, art, or poetry. When I lived in the Philly area for 7 or 8 years, I also hung out at various arts venues and started doing a lot of poetry readings. Without those venues, maybe I never would have become a poet/writer. They provided a place for me to exercise my craft and share my work in writing groups and with a live audience at open mic nights, long before I went around the tri-state area doing featured readings.

Fortunately for the Scranton arts community, the Vintage Theater is trying to re-open to a new location in the downtown. A task force has been created, and I’m happy to say that my girlfriend Jenna and I are on it, along with a lot of other artists, musicians, and writers that care about places like this. To make the Vintage Theater succeed, there are a few fundraisers coming up. This Friday, there will be a fundraiser at the Houdini Museum, located at 1433 North Main Ave. The event starts at  7 p.m. and will feature music and comedy. Tickets are $15. Refreshments will be provided.

There will be another fundraiser on Thursday August 9 at Mert’s Bar, located on Penn Avenue in the downtown. Tickets are $20, and that will provide access to an open bar and food. There will also be a raffle for various gift baskets and prizes.

The venue is also raising money through an Indiegogo campaign, and the goal of that is to raise $3,500 in about three and a half weeks. You can make a small donation online by clicking here.

This area barely has any all-ages venues left, so let’s help the Vintage Theater re-open and stay open.

Every Word Handwritten….

Back when the Gaslight Anthem only had one full-length album out and a just-released four-song EP, I saw them open for the Loved Ones at the Unitarian Church in Philly, as part of a record release party for the Loved Ones’ second album. Only a dozen or so people were there for Gaslight Anthem, myself included. After the band finished its set, I met front man Brian Fallon and told him his band was going to get big. He shrugged it off, and came across as sheepish and shy. I saw the band several times over the next few years since that show, and they played bigger and bigger venues each time, and Fallon was more comfortable on stage, offering banter and smiles. At another show, I met the band again at the Trocadero in Philly because they were featured on the cover of Wonka Vision Magazine, a publication I was writing for at the time. I had the duty of handing out free copies of the magazine at the show, and the band showed it to their parents, who beamed with smiles. Far bigger things were to come for the group, which made the Wonka Vision cover pale in comparison. Since then, the band has gained a rabid fanbase, toured all over the world, and shared the stage with one of its biggest influence, Bruce Springsteen. The foursome has been featured in Rolling Stone, the New York Times, and countless other publications.

Today, the Gaslight Anthem released its fourth album and major label debut Handwritten. Anyone who heard the band’s first album, Sink or Swim, when it came out back in 2007, knew the band was capable of writing an album like Handwritten. Under the punk rock grit of Sink of Swim are big choruses and catchy hooks.

Handwritten is a stellar album on so many levels. The opening track, “45,” is reminiscent of old Gaslight Anthem, It’s fast, catchy, and fun. It also hits on a major theme of the band’s music- loss and nostalgia. “Let her go/Let someone else lay at her feet,” Fallon croons. The only other track that sounds like Sink or Swim-era Gaslight is “Howl,” one of my favorite songs on the record, and also the shortest, clocking in at about 2 minutes. The song doesn’t have any guitar solos or a huge hook, and because of that, it’s a welcome change in the middle of the album.

The rest of the tracks showcase the band’s ride range of influences. “Biloxi Parish” pays homage to the blues, and it has been a staple of the band’s set list for the last year and a half or so, though the studio version has a major lyrical change. The original version includes references to Asbury Park  music shows and the band’s Jersey roots in the final verse, but Fallon removed those lyrics for the album version, perhaps because the band is well beyond the Asbury Park days at this point.

The album’s title track, “Too Much Blood,” and “Desire” feature some of Fallon’s most heartfelt, emotive singing to date, as well as impressive, searing guitar solos by Alex Rosamilia. Lyrically, Fallon still references the past and long-lost eras just as much as he did on previous albums. There are plenty of references to youth, cars, and “Betty Davis eyes.” And on the track “Howl,” he poses the question, “Radio, oh radio, do you think there’s still some magic/left in our souls?”

The album concludes with the quiet track “National Anthem.” This song is just as haunting and well-written as the band’s other softer songs- “Blue Jeans and White T-shirts” and “Here’s Looking at You, Kid.” Like those other songs, “National Anthem” references fleeting youth and old loves. Fallon declares, “I will never forget you, my American love.”

Handwritten is the album the Gaslight Anthem has been building up to, ever since they released Sink or Swim. More than any album, it includes all of their influences: punk rock, Bruce Springsteen, classic rock ‘n roll, the blues, gospel, and soul. I wouldn’t be surprised if these songs land the band in arenas, which is the obvious next stage of the group’s career. The new album’s huge hooks would sound great played to 20,000 new fans.

Musings on the Dark Knight Rises

Last night, Jenna and I went to a midnight showing of The Dark Knight Rises. I wish the movie was making news this morning for other reasons than the horrific shooting that happened in Colorado at another midnight premiere. With that said, I wanted to offer some thoughts on the film. If you haven’t seen it yet and don’t want the plot to be ruined, then read this blog post after you see it.

First, I’ll admit that Batman was never my favorite comic book hero. I always was and still am an X-men guy, both the comics and movies. That said, I have loved the way that director Christopher Nolan has treated Batman in his three movies. He brought a grittiness to the character that represents some of the best Batman arcs in the comics. I also love some of the ways in which Nolan addresses social and political issues in the films. You can consider the last movie, The Dark Knight, one of the best takes in cinema on the post-9/11 world. I say that because you can draw some resemblance to the videos the Joker makes of the victims he kidnaps to the videos Bin Laden has made over the year. But more importantly, the film addresses the issues of enhanced interrogation, spying, torture, and ethics.  Batman has a major computer system that spies on millions of citizens in Gotham, using cell phones. His technology guru, Lucious Fox, played by Morgan Freeman, opposes the technology and calls it unethical, but ultimately uses it, just once, before destroying it after locating the Joker. Prior to that, there is the issue of how Batman deals with the Joker as a terrorist once he has him alone in a cell. He punches him and bangs his head off the table. There is much in that film that alludes to the Patriot Act, torture, and the way we deal with terrorists post-9/11.

This brings me to the latest and final installment in Nolan’s take on the Batman saga, The Dark Knight Rises. Going into the film, I had high expectations. The trailers only made me more excited. Yet, in the back of my mind, I knew it probably wouldn’t top The Dark Knight, let alone Heath Ledger’s performance as the maiin foe of the caped crusader.

After walking out of the theater around 3 a.m. and thinking about the movie before bed and the morning after, I felt a little let down. The third Batman movie feels like a huge action flick and little more at times. There are explosions galore, especially near conclusion when the Gotham police department and Bane’s revolutionaries face off. There are car chases, motorcycle chases, and multiple fisticuffs. At times, it felt like too much. I also took issue with the plot. Nolan tried to squeeze way too many classic Batman story arcs and too many characters into one three-hour film. I didn’t find the main villain, Bane, nearly as menacing as the Joker. In fact, I found him difficult to understand throughout most of the film, due to his mask and the effects placed on his voice, which I know, is part of Bane’s character. I’m uncertain why he does what he does , why he wants to destroy Batman and Gotham. The speeches he gives are often muddled and vague. He speaks of wanting to liberate Gotham and turn it over to the people, but why exactly, and why does he then want to blow it up with an atom bomb? The Joker’s intentions were clear. He reveled in upsetting the system,  causing chaos, and destroying any sense of structure, order, and safety.

I found some of the main themes of the film as hazy as Bane’s speeches.  I guess a viewer can draw distinctions between today’s economic/class issues and The Dark Knight Rises. Bane’s people overtake and imprison the superrich, including Bruce Wayne and his plutocrat friends; however, we never actually see the wealthy doing anything destructive to the poor at any point in the film. Still, Catwoman hisses to Bruce Wayne early on that he and his friends have taken too much for too long, leaving too little for everyone else.

Another issue I had is the way the lower and middle-classes are depicted.  Early in the film they are shown as janitors, construction workers, and shoe shiners, and they join Bane’s army.  Even though these people may be desperate and may be working for very little money, would they really follow a psychopath who’s new in town? I was also annoyed that the only ones who can save the city are Batman and his friends that are superheroes and plutocrats. The only semi-average/normal guy who helps out is a beat cop played by Joseph Gordoon Levitt. But even he becomes something more. Here is a major spoiler- he turns into Robin. By the time the credits rolled, I felt as though Nolan was saying that the only ones who have the power to save America from itself, from the great class divide and economic turmoil, are the plutocrats, the upper 1 percent, people like Bruce Wayne who have billions to invest in noble causes.

The movie does have a lot of positives. It is stunning visually, especially some of the arial shots of the city, and kudos to Nolan for shooting all of the movie on film, not using CGI. Some of the acting is just as strong. Anne Hathaway does a wonderful job as Catwoman. She is badass and sexy. Joseph Gordan Levitt is solid as cop/detective Blake. Christian Bale is good in his final performance as the caped crusader. Tom Hardy is a good actor, but Bane just isn’t as menacing or twisted as Heath Ledger’s performance as the Joker.  Like a lot of other trilogies, Batman’s weakest link is its third part.  I got the sense that Nolan wanted to be done with the Gotham saga and he didn’t quite pour everything he had into the last movie. I’m sure that Heath Ledger’s death made filming the last movie that much more difficult, but we can all be thankful that we have his haunting performance  as the Joker preserved on film.

If you’ve seen the movie, I’m curious to hear what you thought of it.

What’s the Matter with Poetry Today?

Today, I came across an interview with John Timberman Newcomb on Inside Higher Ed. The interview centers around Newcomb’s new book, How Did Poetry Survive? The Making of Modern American Verse. I haven’t had a chance to order the book yet, and I’ll have to save for it, since it’s currently available in hardcover only and $75. However, the subject fascinates me, and I’m glad someone is exploring what has caused the current status of poetry and why so few Americans read it.

That said, I disagree with a lot of what Newcomb says in the intervew. Near the end of it, he makes the argument that part of the problem with contemporary American poetry is that it fails to address historical and world issues, and what he calls, “ordinary life.” He states, “Don’t turn your back on the world around you, or on history, or on ‘ordinary  life.’ I am not an expert in very recent American poetry so it’s presumptuous  for me to say so, but some recent verse I’ve read seems primarily or entirely  concerned with the inner life of the poet — his or her responses to the natural  world, to works of art, to somewhat rarefied emotional states.” He also says, and this part I do agree with, that some contemporary American poets and scholars feel poets writing now should not address the political. Is this advice given to ensure young poets aren’t just writing diatribes?

There are plenty of contemporary American poets that address the world around them. Terrance Hayes, Major Jackson, Brian Turner, Kim Addonizzio (her most recent book, Lucifer at the Starlight), Patricia Smith are only a few examples, and there is the generation before them, Carolyn Forche, Adrienne Rich, Maxine Kumin, and SO many more. Jackson, Hayes, and Smith do an excellent job addressing race. Turner has two collections out about the war in Iraq. Forche, Rich, Kumin, and others have a long history addressing feminism and gender roles. Last year’s poet laureate, Philip Levine, is a champion of the working-class, so again, I don’t understand Newcomb’s statement, and it makes me question how much contemporary verse he has read.

I think several other reasons exist for poetry’s problems, the least of which is the content currently offered. It is sometimes a challenge to get young people to read much of anything, let alone a collection of poems. Furthermore, there is the issue of bad poetry, meaning people that get up there at open mics with very little practice, having read very little poetry, and as a result, the work is melodramatic and cliche, rife with too many worn-out references to Greek myth, or it sounds like it was written in the 19th Century. One bad reading can turn a lot of people off. There is also the issue of how poetry is taught in schools, especially  middle schools and high schools, where it is reduced to a disection of meter and form, nothing more. Yes, those elements are important to know, but poetry is not a math formula. Restricting poetry to only a formal aspect squeezes all pleasure out of it.

I am eager to purchase Newcomb’s book and understand more his views on contemporary American poet and how it got to the state it’s in.

And the Summer Readings Roll On

Last weekend, I had the chance to read with a jazz band and some other poets at the AFA Gallery, as part of the weekly drawing social. At first, the challenge of reading with a band was not easy, and I may have read a little too fast through the first two poems or so, but after a while, I feel into a groove, and slowed down the rhythm for the band to chime in, which featured a harp, sax, cello, and drums. As I said during the reading, I’m a fan of combining art forms as a way to draw other people in who may not care about poetry, or jazz, or art. I hope to participate in more events like this in the future. Here are some pictures that my friend Rich Howells took. He also read and was a co-organizer of the event.

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This Saturday, I’m reading at the Hawley Silk Mill with my friends and fellow writers Alexis Czencz Belluzzi and Susan Luckstone Jaffer. Following our reading, there will be a Q and A session and open mic. Check it out if you’re in the area. I haven’t been to this venue yet, but I’m excited to read there.