Also posted yesterday at The Daily Kos. I had a rather disturbing conversation the other day with someone I very much respect, someone—in fact—who has probably done more to improve my outlook on myself and even the world than anyone I have met in a long time. I had just shown him two slideshows, They Moved the Moon (about the California genocide of American Indians), and The Freshmen, a slideshow that started out as an attempt to find a foundation for dialogue in the pain that every individual inevitably experiences, but ended up being more like a prophecy of mutual doom amounting to a kind of self-genocide that would hardly be acknowledged (if ever) until it was far too late. He seemed to be saying that the problem was not with the world, but with me; and if I could just figure out the roots of my attraction to subjects like injustice, inequality, unmerited suffering, and genocide then everything would be—if not exactly all right—at least I wouldn’t be very concerned and therefore a happier, better adjusted human being.

I recognize that there is a good deal of truth in his point of view, I probably would be a happier, more well-adjusted human being, although probably never “normal,” at least in the normal sense of the word. This slideshow is to some extent a product of that conversation a few days ago, and I realize that I, with characteristic perversity, have responded to his call for more tightly focused self-exploration of my anxieties and fears with the goal of eventually forging a more optimistic perspective on life by doing exactly the opposite. While I wouldn’t have really thought it was possible for me to go darker after The Freshmen (which at least started out as an attempt to empathize with people I didn’t like very much at all), I think I may have managed it, in part by Guilt’s wider focus, and in part by its direct attempt to address subjects which are usually either suppressed, denied, or belittled in America: the toxic effect of social expectations and stereotypes, the use of a religion as a justification for exploiting and destroying the marginal and powerless, the silencing and even murder of those who dare to tell us truths we don’t want to hear, and the deliberate suppression of many of the more unpleasant parts of our own history that do not conform to our self-flattering image of ourselves, to our incessantly repeated mantra that “America is the greatest country in world” (I suppose it may be true, depending on what you think “greatest” means).

All of these slideshows essentially grow out of a subject (here, guilt) and a song (here, three songs). Perhaps not surprisingly I chose Marianne Faithfull’s song “Guilt,” originally released on her brilliant Broken English album, although this version is from a live performance on a late-eighties television show. I chose it largely because I thought the drums, and the propulsive drive of the song, were a bit sharper and crisper than on the original. This section largely deals with private and personal feelings of guilt, but also introduces some larger issues explored in the second section. For this next section, I chose a version of Iggy & the Stooges “Dirt,” originally released on the 1970 Funhouse album, although this one is from a 2011 live performance in Detroit, which I chose largely because of the late Ron Asheton’s stunning atonal guitar work. Here I really move into questions of collective responsibility for the way the world is and don’t really come to any cheery conclusions. The final section, to a large extent inspired by Arctic Monkeys “This House is a Circus” from their Favorite Worst Nightmare album (2007). The “house” in question is, of course, The White House, with Hair Furor being the embodiment and inevitable conclusion of the escalating fear, hatred, selfishness, and victimization that are undoubtedly hard-wired into human nature, merely waiting for the proper circumstances (unfortunately now) to bring them to full, poisonous fruition.

I would certainly understand if you decided not to watch something that I freely admit is pretty depressing (in fact, kudos to you for having read this far).  I should warn you that there are a couple of curse words (it is Iggy, after all), and one of them is even written out, a young woman flips off the camera, and a few of the images are disturbing, although probably not as bad as something you could see any day on cable TV. Personally, I’d rate it a PG. I hope you do watch it, in part because I think it works as an aesthetic object, in part because I think it is emotionally powerful and moving, and finally because they are pretty terrific versions of some pretty terrific songs.