Sunday, September 28, 2014

Finding my Inner Fanboy


Think about the next paragraph as a series of increasingly smaller concentric circles. It's not essential to do so, in fact it's entirely unnecessary, but it might be fun.

I have a father (as do we all). He's a voracious reader. He bought as many books as he could as a school and college student and managed to hold on to them through moves between multiple addresses, preserving them in (fairly) good condition. As an adult, he then had the incredibly good fortune of being able to buy a house which afforded him storage space for these books. Which he used to its full measure, stacking them high and snug, lining bookshelf after bookshelf and paying for stone shelves to be fitted in where it looked like the wooden ones might just give way.

Which is how I, decades later, in a small study with sloping ceilings and round windows and an always debilitated table-top fan, was able to discover the books of his boyhood. I encountered illustrated editions of Homer's Odyssey, books chronicling the World Wars, monthly magazines on science and mechanics, the Phantom, Mandrake, Biggles, the Hardy Boys, the gritty, grizzled cowboys of Louis L' Amour's  Wild West, Perry Mason (who I was too young and entirely too sensible to find attractive) and the man from U.N.C.L.E (whom I did not like). I read Alistair Maclean and even a little pioneering science fiction, although I didn't warm to the genre as my father had.

I wasn't the archetypal tousled tomboy with scraped knees and elbows. But as an indiscriminate reader who had the good fortune of never being schooled in 'girliness,' I genuinely enjoyed these books written for boys. They were filled with adventures and almost-disasters and acts of rough-and-tumble heroism which perfectly complemented the lessons in boarding school social justice and the slightly compliant cleverness that characterized writing for girls. At least, the writing I was reading until I discovered the more complex charms of Roald Dahl and E. Nesbit and many, many others.

I was a girl with a little bit of boy mixed in. Boys were boys with a little bit of girl mixed in. We were too young for gender consciousness. It didn't feel like a choice needed to be made between playing house and watching Blossom and reading about fighter pilots, all in a day. Our lives were gendered, I know that. Whose aren't? But we were the country's last generation of pre-lib children and we were blissfully unaware.  

I was thinking about all of this when I was wondering, on loop, what it was that I liked quite so much about Sons of Anarchy, my new favourite TV show. Which is saying something for someone who is incredibly ambivalent about television and has worked through a short-lived Mindy Project phase less than six months back.

I've tried to diagnose my affection for the show and its characters by reading critics' reviews, by looking at blog posts which are as likely to describe the show as misogynistic, as they are to examine the machinations of its strong and stronger women characters, by perusing deconstructions of the show's authentic constructions of modern-but-mythic biker subculture.

I really shouldn't enjoy the episodes as much as I do. The body count is healthy, the profanities flow on tap and some of its moral 'dilemmas' can be easily resolved by anyone with a functioning moral compass. Practically everyone on the show, even doctors doubling up as girlfriends, are bona fide killers. And I would have given anything for Charlie Hunnam to get his golden locks out of the way and invest in a proper shave and haircut. Which he eventually did get, for free, in jail.

But there's a part of me that enjoys the performances (most of them absolutely spot on), the all day drinking, the eccentricities, the quips, the noisy bikes, the improbability of wanton mayhem that's allowed to unfold as long as the debris collect outside Charming. I can acknowledge that these might in fact be good guys gone bad. Sons of Anarchy is entirely unrelatable, is removed from everyone and everything I know. But it's fun and it speaks to my long-forgotten, now grown up, smidgen of boyishness.

Dude? Man? Boy.   

And I realize that that's as good a reason to watch as any. 

Sunday, September 14, 2014

Evenings Less Ordinary

Through some mysterious alchemy of light and humidity, Bombay's skies immediately before and after the monsoons come alive in a psychedelic palette of orange, pink, yellow and purple. They are a sight to behold, a spectacle equal parts cloud and color, forming a backdrop that dignifies and dramatizes the drudgery and dross of this creaking, chaotic city. Life is, for twenty minutes or so, back-lit as in the most indulgent movies. 

But no one seems to notice.

Last week, an ordinary ride home from work was enlivened by precisely such a sight - monumental clouds changing shape and shade every moment, set against a fierce sun and blue-grey-gold skies. Something shifts within most people when they look up at the sky. But clouds, those ponderous, slow moving cathedrals of vapor have their own weighty magnificence. Looking at them on that weekday evening, watching as they let shafts of burnished September light break through, I wondered whether clouds didn't, in fact, lend the sun something of its power. After all, the sun without clouds is just a bald, shining statement of fact. Concealed, softened, its edges rubbed out and outlines blurred, it acquires its beautiful, even transcendent quality. 

And so, looking, I let myself experience a moment of rare - and actual - luminosity. But then we rolled to a stop at a traffic light, and the passengers in the car next to me looked back at me, looking at them. The spell was broken, but it was enough. 

Do yourself a favor. Look at the sky. But equally, look at the clouds. 


Sunday, September 7, 2014

What I Really Think About When I Think About Ryan Seacrest

I have moments when I wonder, in the loosest and most unstructured way possible, what it would be like to be Ryan Seacrest. 

These moments are fleeting and come by once every couple of years, if at all. They're usually prompted by equally fleeting, media-mediated encounters (or brushes, rather), with the Seacrest persona - a quick evening listen-in on radio's weekly American Top 40 show, a split second glimpse of E!'s logo as I surf through channels, contact with a long-repressed memory of American Idol, of which I have, admittedly, watched a handful of episodes.

I don't really think about Ryan Seacrest. But whenever I do, I think of him as embodying a quintessential kind of Americanness - bleached blond, pearly toothed, successful, easily familiar with the bold and the beautiful, flip and glib while mining a vein of caustic charm. Ryan Seacrest has built a media empire, is definitely driven, evidently ageless and probably very clever. He does it all in style and on very little sleep. A quick Google search indicates that he has recently launched his own clothing line. 

Ryan Seacrest sits at the intersection of celebrity, entertainment and voyeurism, pulling strings as a producer, immersed in the absurd world of showbiz, but not so much that he doesn't recognize the enormous value attached to packaging its absurdity for consumption. He seems to come equipped with an innate Teflon gloss which defies time and introspection and inquiry from the outside in. And in this, he is not unique - successful image managers, celebrity handlers and PR people probably possess it in some measure as well. 

I suppose it is the ability to capitalize on what's happening in culture without questioning its quality, the ability to participate in and accelerate the Tabloidization of Everything. An ability (and cultural current) that's symptomatic of our times, not necessarily exported to the rest of the world by the USA, but most easily associated with the LA of the rest of the world's imagination. 

Ryan Seacrest as a symbol? Imagine that.  
 
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