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Goose Egg For Printpdf
Goose Egg For Printpdf
Tampopo
a review
by Mark Cachia-Riedl by Shea Stevenson
Tampopo (1985) is a self-fashioned “ramen
When the construction of a new building begins,
western;” a light-hearted Japanese comedy about a
the surrounding residents in the small town of
woman learning to run a ramen shop. It borrows
Geretsried are on alert. In many cases, they are soon
the plot structure of an American Western, where
notified that they have to evacuate while a bomb
two wandering truckers drift into the lives of the
squad examines unexploded projectiles that fell on
titular Tampopo and her small cast of orbiting
the town more than 70 years ago. The distribution of
goofs, and through dedication, wits, and a bit of
the remaining ordnance in the ground is completely
fighting, they turn the village ramen shop around
unpredictable, and equipment operators have to be
and ride off into the sunset Tokyo freeways.
on the lookout for their gear to encounter metal
Tampopo is important because it’s the queen of
anywhere in the sprawling, flat ground. Once the
all genre films, and to see the crown is to know its
remains of shells have been retrieved or exploded,
terrible, terrible power.
the all clear is given, construction can resume, and
Whenever I show Tampopo to someone
residents can return to their homes.
new, there are three moments that take them aback
For a long time, there was really nothing there, just an
and stand out amongst the otherwise agreeable-to-
alluvial plain next to the Isar river with gravelly, poor
the-average-American goings on:
soil overgrown with skinny pine trees and riparian
The first food sex scene. Throughout the movie
bushes. A little farther north, near the junction
we’re occasionally distracted from the “main plot”
with the Loisach, Wolfratshausen, the county town
to watch some skits, three at a time, regarding food
where I grew up, lies. And much farther north, and
in some way. These rule, and when they start, you
since the late nineteenth century connected by rail,
go: oh, okay. It’s got skits. And then one of them is
is Munich. South of Wolfratshausen, dispersed at
some hot people doing sex stuff with food and you
the edge of this alluvial forest, where cultivation
ask: is this movie rated R? (Yes.)
became possible, lay small hamlets of farms, such as
When they kill a turtle on screen. Some 3/4ths
Geretsried. The rail connection to Munich brought
into the movie, to make a dish, a character slices
my own grandparents to Wolfratshausen in 1939 to
the back of a turtle’s neck to instantly kill it.
raise their family.
cont’d on pg. 10 cont’d on pg. 3
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Ryan Tuozzolo
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Shea Stevenson Editor/Writer
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Mark Cachia-Riedl
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2
Tampopo
It doesn’t actually start with that saloon brawl. Tampopo NP
starts in a movie theater (if we were watching this on the
big screen, it would be nearly a literal mirror of us), where a
handsome mobster inundated with plates of hot food talks
a review
to you, the audience (this is the last time anyone will do
this), about going to the movies. He asks you, in a stunning
by Shea Stevenson narrative turn, what you’re eating. The first thing Tampopo
does is in effect command you to go get something to eat.
Already we are arrested. It’s broken the normative contract
of the movie and gotten us physically involved. In a turn
that most poetic-style movies take large fractions of hours
cont’d from page 1 to achieve, Tampopo has instantly given itself purchase in
You can see it moving, and then not. Despite there being the real world and in your literal personhood. When I first
some buildup to it within the scene, people are surprised watched Tampopo, I paused the movie and made myself a
when they actually do it. An American might have cut away. sandwich, then came back.
long time before it was ads, but movies and ads have grown
The second food sex scene. Same as the first, but even more And after the credits roll, the equation proves so powerful
up together. They can’t be separated anymore.” We were
iconic. Something about the first one has people let their that it even works in reverse. The act of eating itself, for
sitting in Central Park in the sun (summer, hot). In my
guards down, imagining that the whim has passed. In fact, a time, becomes a reference to Tampopo. It shows then
memory his waxing on this subject lasted for well over ten
it’s the only repetitious skit. its final form as a work of profound philosophical power;
minutes. He was an apocalyptic thinker and, I imagine, had
What place do these moments have in the perfect American a piece of media so effective that it joins the ranks of
not seen as many foreign films as he thought. “There will
genre film? This question is the fulcrum through which we films so persuasive that their effects are only comparable
be no more movies in a hundred years,” he said; “once we
can lift our understanding of the movie itself. to hypnotism. It shows itself as extraordinarily effective
have VR it will all be holograms and 2-D movies will be like
Tampopo is about food through a seemingly intrinsic propaganda. This is, after all, the meaning of a genre film.
vinyl records. Your kids will laugh at you for showing them
playfulness that usually manifests There are two important and generally
a flat movie.” I did not argue with him although I did think
as comedy. But while most of it opposed schools of thinking about
he was an idiot. The first point, if not correct, is a reaction
is funny, so too is it sexy, because filmmaking that came to prominence
to something real.
sometimes food is sexy. So too is it in the 1960s: Montage cinema (which
It’s essential to note that Juzo Itami (director of Tampopo)
sad, because sometimes food is sad. believes that the edit is supreme, each shot
got his start in commercials, and only got the movie
It’s triumphant, grim, nostalgic, gaining meaning from its cut in the movie)
made because his commercials had been so successful.
aloofly-contemplative in turns and poetic cinema (which believes that
Commercials are, needless to say, the purest form of
because it’s triangulating some each shot individually gains its meaning
montage cinema. Many directors come from commercials
massive (ancient) theme within from the inherent play between the
(David Fincher, Ridley Scott, and Zach Snyder to name a
the diligently-kept confines of audience and the image).
few) for this exact reason. That’s where the money is.
its Western structure. Tampopo, These are not mutually exclusive by any
What Itami and company have done with Tampopo is a
in its surprises, scatter-plots the means, but they represent vastly different
bit like building a nuclear energy plant just to power your
breathtaking silhouette of an idea ideas about what movies are “for” as an art.
electric oven. In mastering (for a fleeting instant) the craft
that we can’t help but connect the To the montage theorist, each shot has a
of normative Western filmmaking, they necessarily found a
dots on. Its story is then about NP definite meaning- their filmic language is
befouled treasure in its depths; a hypnotism; the invocation
something larger than any one story can possibly be. It needs clean and precise. The music swells and we know to feel
of an utter compulsion in a receptive audience. Tampopo is
somewhere (someone) to spill forth into. pride, or the lights dim so we know to feel scared. We see
armed to the teeth and uses its knives to carve you a steak.
Scholar Amy Hungerford makes a (perhaps pompous but) a man saluting, and cut to the flag. To the poetic theorist,
“Why do you have so many knives?” You may ask it. “What
useful distinction when she discusses the difference between each shot can be thought of as a question (often a leading
do you mean?” It will respond. Then, after some thinking,
“genre” fiction and “literary” fiction. To paraphrase: genre question, but a question nonetheless). What’s happening
it will continue: “This is what movies look like.” You will
fiction attempts to please you by showing you a familiar here? Where are they going? What do I think of this? In
reply that knives are pretty cool.
pleasure; the detective will solve the crime, the action hero this conception of the art form, there is no set meaning- it’s
You will eat a professionally made bowl of ramen at your
will beat the bad guy, a fairy tale will start with “once upon a painting in a gallery and you’re looking at it. You tell me,
earliest convenience after your screening ends, knowing
a time.” Literary fiction attempts to create pleasures outside man.
that it’s because a movie told you to.
of those charted by any specific genre, and also try to say A fairly obvious line can be drawn between montage
Tampopo reminds me of that Central Park conversation
something bigger about the human condition, storytelling, cinema and genre fiction. After filmic language has become
every time I watch it. The film calls to mind his partial
art, etc. The literary is then essentially self-reflective and in ingrained enough in a society, just seeing the stories play
correctness- it’s an ad that tells you to do something. In
some ways novel. out in a language we understand is gratifying. It’s the exact
mastering its craft, it reveals that that craft is advertising,
Of course, all art can be placed somewhere on a sliding scale same reflex that we get when we read, but the language is
is propaganda, is control. Yet it also calls to mind the
between these two imagined extremes. Tampopo seems at all-surrounding, omnisensory, intrinsically infatuating in a
utter shortsightedness of such a way of thinking. What is
first to be a straightforward case of the former: it’s a Western way that the written word simply isn’t.
Tampopo asking you to do? It asks you to enjoy food. It is
and it wants you to know it; they give the trucker a cowboy To a propagandist, the difference is immediate and
as nonspecific and harmonious as that: enjoy food, it is life.
hat and start with a saloon ramen shop brawl. The “main plot” obvious: movies are their subjects, words are words. There
Tampopo is an ad, and ads are art.
is caked in Western tropes, revels in them, performs many has never been a propaganda machine more effective than
Defiance of some standard American conventions is at
familiar beats with a gleeful dedication to the fundamentals genre film. Most people cannot put it into words: it just
least part of what makes Tampopo such an effective and
of modern American narrative storytelling. The training feels good. Genre/montage filmmaking is violent in its
multi-purpose tool. There is disgust embroiled with the
montage, the mentor’s mentor, the grand re-opening, the most basic elements: you can arrange it into something
humor. There is subversive arousal in the disgust. There
showdown at noon. After all, it is the perfect genre film. And beautiful, but its pieces have things they do best; it is a
is a different sort of humor below the subversive arousal.
yet: language of hypnosis, inseparable from a violent control.
It creeps into your skin and why not let it? It’s harmless.
I had an older friend once, a real melancholy sort of
Matter of fact: it’s probably good for you.
man, who told me that he thought movies were an Not even the people who made Tampopo could make
immoral medium “corrupted to the core Tampopo again. They tried. It’s lightning in amber, still
by advertising. It’s all advertising. glowing, still hot.
Literature had time to Watch Tampopo at your earliest
grow for a convenience. You’ll like it. Find it
wherever.
HM
3
Queen of the
The boy and I slept above and they slept below. Everyone
had seemed concerned by the pantry full of sardines and
the smell of the place that was admittedly putrid. I left
them alone for long stints to go to the water and swim back
O R 1
5
READING GARCIA LORCA:
The entrevista that follows is a portrait. All conducted in Madrid — first at the Hotel Savoia, All the same, the interview proclaims more affinity with the aesthetic bents of its moment
then at the Residencia de Estudiantes proper, where García Lorca was a student from 1918 to than the political (as if the two are purely separable). The sketch is highly subjective, as all
1928 — it paints for the reader a peripheral image of Federico García Lorca, both distant and are — and Ortega, a Mexican journalist, only 24 at the time of publication. Though one might
near. It is as if we could almost reach out to touch the poet himself, as interviewer Gregorio expect conversation at the Savoia, for instance, to have revolved around aesthetic and structural
Ortega Hernandez does, as if the poet becomes to us more than the astounding phantasm of a potentials for Republican renovation, the setting Ortega paints here drags, bordering on aimless.
body of poetry, theatre and prose left behind before his assasination. Is this a product of a lyrical bent to Ortega’s reporting (brimming with imagistic reference
to Spanish poetry, mimicking rhythms of verse, alternating in tense), a condescension of his
The year of publication is 1926. Here, García Lorca is still a student, and at least two years contemporary Spanish avant-garde, or an otherwise truthful, to his eye, representation of a
into formal work on Romancero Gitano, the collection of ballads (at once narrative Spanish stalled congregation? We cannot know, and there is a gift in permission to receive the reading
romancero and lyric poetry; at once informed by avant-garde modernismo and deeply attuned lightly, not forcing from it a tense wrangling of absolute fact, but delighting in its elegances just
to Romani Spanish folk song) with which he would become the preeminent Spanish literary as the sun delights upon the oleanders.
voice of his generation.
Gregorio Ortega Hernandez printed the original article along with two poems from García
We find Spain at this time still amidst the discontents of Restauración of the Bourbon crown, Lorca’s collection Canciones (1921-1924). The poem I’ve selected to translate here comes from
and at this time under the dictatorship of Miguel Primo de Rivera. Five years later, republicans, Primeras Canciones, or First Songs, which the poet wrote in 1922. As Ortega records García
socialists and members of the Catalan left would join to form the Second Spanish Republic, Lorca himself declaring: Creo que a un poeta, antes de hacerle preguntas, deben escuchársele
with Manuel Azaña (present here at the Savoia) as minister of war and, eventually prime sus poemas — (shakily) “I think that, before asking a poet questions, one ought to listen to
minister — a political experiment violently shuttered by the Spanish Civil War. their poems.” I hope to afford the reader such an opening.
–Ryan Tuozzolo
AN INTERVIEW: Azaña; the dazzled eyeglasses of Claudio de la Torre; the irony Rivas Cherif, García Lorca, González Rojo, Durán. They cited
of Rivas Cherif; the malice of García Lorca; the enthusiasm of Paderewski — “The Minuet’ — Stravinsky, Gaona, Joselito,
From: ‘THE NEW SPAIN: FEDERICO GARCIA Gustavo Durán, musician.
LORCA’ Belmonte, Granero, Fokine.
The talk was of bulls, of toros. Incidental subject. García Lorca Loose names in the thirst of the avid afternoon.
Translated by Ryan Tuozzolo — face tanned, hair half-combed, half-fallen over his forehead,
eyes small and penetrating — spoke with a thoughtful abandon
By way of one of the shores of the underground Madrid more agile than winter hours. He was beside me, positioned
river that runs through Alcalá — at times with a slow, slightly back, so that we all watched him in profile.
profound, joyful song colored by the womens’ sheer RESIDENCIA DE ESTUDIANTES, Pinar, 21-23. 28006,
dresses; at times dense and still from the suffocating Madrid
— La fiesta taurina, the bullfight — he affirmed with a
heat; at times allowing brief respite for dazed eyes — scholarly jest — is the most perfect game created by man. With
and which widens with advancing current to surround The taxi arrived at La Cibeles, and I thus – with haste, tossed
harmony in its parts, it always unfolds with rigorous order; it to the right by a tree-shaded path — at the Residencia
the island of La Cibeles with wounding, cutting rapids begins at the precise moment, as in a match of Las Cortes. The
keen on finding vulnerable pupils: de Estudiantes. Midday was stalled on the branches in a
bullfighter knows the precise number of hits to give the bull, luminous ecstasy. García Lorca received me; the cordiality
and the best side from which to stab him. There are toreros of the environment condensed in our greeting, in the walk
Our tables had the feel of a beach lounge, available for like Belmonte, who create a superhuman emotion. A fight is
those who rest, more ready each moment to return to through the Garden of the Oleanders, in the comings and
animated with color and with joy. Only the Holy processions goings through the pavilions and the laboratories. We
the city — and yet we are inside of her —or to some of Toledo and Sevilla, in solemn liturgy, are comparable.
dilated marine voyage: Pedro Salinas, Claudio de la found everything quiet. The students of the Residencia had
Torre, Federico García Lorca, Cipriano Rivas Cherif, dispersed, en route to summer adventure or to familiar homes.
I pushed back, shaken with memories by my own extended Only a numbered few of us remained.
Néstor, Gustavo Durán, Manuel Azaña, González Rojo, visual experiences:
etc., those off to more temperate shores, and those of us
who remained to await the fall, the winter. This room of Later, in his room — Franciscan in simplicity — García Lorca
— ¡La danza! showed me two Dalí paintings: “Homenaje a Charlot,” one, and
the Savoia, then, was one of farewells.
the other a woman sewing before a window. The painter —
He smiled. Repeated, blunt and acerbic. remarkable, young — is one of the myths of García Lorca, teller
But that unmoving afternoon, she herself detained
by the sun’s oppressive reign, and whom we all wished of tales (at least according to the poet himself — when a rumor
— Sí, la danza. But is not the bullfight a dance, only with one is passed between writers, from one to the other like a ball: who
would make greater haste, we were all present, reunited, element more: el tragico?
in pause. said it? and if one clarifies: García Lorca, nobody believes it
anymore). Salvador Dalí is quiet; it is the poet who molded his
Rivas Cherif intervened, describing to me an evening of bulls legend, his philosophy, the celebrated interjections that García
I saw, immediate: the robust, tall body of Pedro Salinas, in Sevilla. Claudio de la Torre observes us, obliquely, through
strictly bound in his black suit, with a live face, full of Loca repeats, accommodating them to the circumstance: Como
his eyeglasses. The conversation loses its thread between dice Dalí… The poet has written an “Oda Didáctica a Salvador
color; the discontent — disillusionment? — of Manuel
6
A POEM, AN ENCOUNTER
Dalí” for the painter. We finished lunch, closed with a wave of mystery.
the crossties to connect them. He read. He reads with an
“Homenaje a Charlot” possesses a broad-stroked grace, unity (And what of the fragrance of the Spanish vines?) inspired face, lifted, gesturing with his right hand. In the
of a multiplicity of sensations. And the young woman sewing background, the oleanders …
carries a political note — of the city and, more precisely, of We returned to the bedroom. The window through which we
the barrio — and an enchanting simplicity in the made had watched the oleanders was open. García Lorca went on — You will notice, Ortega, that in my poems I make use of
atmosphere, pieced together like the body of the youth, all confiding … elements not used before: the carabinier, the Englishman
minute delight of the hands, of the eyes. The poet moved who goes to Andalucía, etc. My goal is to achieve a theatre
the paintings to the best light, so that I might appreciate — I yearn for a made work of art, built with a skeleton of silver, that is both of my land and universal, like Falla in ballet with
them, all together, in front of the oleanders, upon which the seated with firm resolve and with great breath. Small verses El amor brujo… Listen, this ballad of the Englishman, of the
sun delighted, refracting with pleasure. are not worthy of poets. It is necessary to write the ode, the gypsy, of the wind, a renewed wind, made myth by me …
extended poem. I’m being plain: I’ve written some ballads that
We answered the call for lunch. Clean, hospitable tables I strive to incorporate into the Romancero. They are borne (In the background, growing dark, the oleanders.)
received us for a frugal meal. We spoke, leaned in a bit with this intention; if I didn’t say so, I wouldn’t be of any use.
towards one another in order to enclose ourselves in our Art, mi amigo, is a game, yes, but a serious game … I left the reading with a grief of harmonies.
own miniature, exclusive universe, both near and distant
from our sparse classmates. He told me of the visit of Dalí Positioned with my eyes towards the window, I saw García The footpaths of the Residencia called to us to walk them.
to Picasso, the cold and magnificent man of Málaga. I told Lorca move emphatically, yet without agitation, contained … Our footsteps traversed them, with that grateful and
him that I’d seen La Niña de los Peines, renowned singer of profound contemplation found deep within the golden
Sevilla: before a beautiful backdrop, a girl in song — ugly — El ultraísmo? It left nothing, nothing. Theatre is progressing arrows of the trees, within the waters of the Canalillo, full of
and aged — next to a modest, yellowed guitarist — agile of poorly in Spain; the plays are gaudy, dirty. I have The Breasts rumors, within the clean sky of Madrid.
hand. of Cachiporra, Marina Pineda and others, which Gregorio
Martínez Sierra read. Crying, he embraced me as the renovador He approached to bid me farewell.
— Did you enjoy it? del teatro español, meant to do away with that which does not
frighten the public … The sun — exhausted from the day — sought rest upon the
I answered, still enraptured in the wonder of that tired voice, houses, lying prone.
nearing its end yet still sublime when it wants to be: I smiled. García Lorca smiled, in good humor. The rain of
words continued: — Adiós, granadino
– It left me astounded.
— … the forms, ‘in the beak of the dove I send you the live sun,’ (He is currently in Granada repeating his ballads to the
A gypsy cry of generations, preserved like the rumors of are past. Something more pure is needed, more poetic. gypsies and the moon.)
shells, synthesis of the near and the distant, returned to my
memory. He approached. Serious. And: — G. Ortega Hernández, 1926
– It is essential — García Lorca said — to hear her multiple — Ortega, although you haven’t asked me to, I will read you
times because one’s requests of her must be guided by some of my verses. Don’t tell our friends, because they will WORK CITED
intuition: you don’t know what song will come out well insist that I not publish. I think that, before asking a poet
and what won’t. It’s essential, also, to differentiate between questions, one ought to listen to their poems. García Lorca Federico, et al. Palabra De Lorca : Declaraciones
the two songs: cante jondo, or deep song, and flamenco. y Entrevistas Completas. Malpaso, 2017.
Cante jondo is the admirable one. Flamenco is decadence, From an unfinished white dresser emerged the white papers, Ortega, Febronio, “La España nueva. Federico García Lorca,”
contrivance, vulgarity. marked with brief lines, as if with unfinished railway tracks — El Universal Ilustrado, Ciudad de México, 26 de diciembre
which do not unite, from end to end, the earth — and without de 1926, pp. 21 y 56.
MIGUEL GARCIA POSADAS OBRAS II
7
black with oil. This is how they know she will survive. A
MUTANT
Trump as their President. They have a repugnance to leftist from Celluloid, from the Western movies and two-fisted TV shows
and socialist policies. However their efforts were violent and that have taught them most of what they know about the society
unorganized in a way that Union activists were not. While they live in. Very few read books, and in most cases their formal
REBELS
unions and environmental activists and even skinheads have education ended at fifteen or sixteen. What little they know
discernible lineage, MAGA fascists are a somewhat new of history has come from the mass media, beginning with
breed of rebels. by Olivia L. Brummett comics ... So if they see themselves in terms of the past, it’s
Since Nixon’s 2nd term, the beef between right because they can’t grasp the terms of the present, much
and left wing voters had been a spectacle of American less the future. They are the sons of poor men and drifters,
patriotism that came to a red, white and blue head every 4 losers and the sons of losers. Their backgrounds are
years. Right wingers resembled a crowd of Archie Bunkers overwhelmingly ordinary. As people, they are like millions
from All in the Family. But even that show pretty much of other people. But in their collective identity they have
ended with Nixon too. With a steady decline in funds a peculiar fascination so obvious that even the press has
for public education and pay for the middle class, Archie recognized it, although not without cynicism.”
Bunker can’t afford to realize the guy he’s voting for is The sons of the sons of losers have bred to fruition.
lobbying to steal his livelihood. The right’s upstanding
middle class history has bred with their lower class HOW WILL REBELS MUTATE IN THE FUTURE?
counterparts. Yes. Proud boys, trailer trash, hicks. Upper
So is that where the rebels of 2023 leave us? A bunch of
class republicans feel divided on many of their parties
uneducated, racist, sexist, cowards on the internet?
developing new campaign methods.
Quite the switch up given former American counter-
The turn over rate for counter-culturists occurs frequently
culturists: in the 50’s and 60’s they were the beat generation,
because, as the name implies, they are quick to invite
hippies, civil rights activists, protesters, motorcycle gangs,
conflict as a means of altering the culture that abhors them.
anti-war/Vietnam protesters. 70’s and 80’s they were
That is to say, the same conflict between the mainstream and
hippies, yuppies, yippies, pacifist protesters, metal heads, and
those who oppose it has been happening since humankind
punks. 90’s counter-culturists retained little of their unionist,
learned to barter. More so than in the past, many 2020’s rebels
striking predecessors of the 20’s-30’s. The USA brings you
act first as individuals rather than a generalization of peers.
skateboarders, homeless junkies, the punk, the grunge, black
gangs, (for a short time)hip hop. These rebels waged the war on
WHAT ARE THEY REBELLING AGAINST?
suburbia and homemade apple pie. Consequently, the rebels of the
Capitalism? Socialism? Racism? Abortion? Everything? 2000’s become fewer, they are the arsonists of the 08’ recession, 90’s
There’s a steady fight among unionists and activists against corporate college dropouts, the unemployed, and the punks cling on.
greed. Either for the environment, or the common person’s wages, these acts That’s a long list that could be a whole lot lengthier – not accounting for
of defiance are richly seasoned with historical context. Less so for the environmental years of idealized western media and television, creating and absolving whichever bad
activists, as their roots in the science field have been dissolved by the past - and present guy they’re paid to make. Modern rebels must make quite the impression as they stem
- involvement of hippies. The advantageous benefits of educating oneself on the away from the methods and attributes of their predecessors.
topic they are advocating for were completely lost on hippies and promoted a side to Presently, faded intellectualism of past counter-culturists debilitates their present
environmental activism that frequently does not help the environment at all. understanding of their dissent from credibility. As long as education remains on the
Union groups will continue to exist as long as an unfair relationship exists between downward trend in the United States, our rebels will become more fragmented in
laborers and those they labor for. Environmental groups will persist as long as there their groupings.
are people polluting the Earth at the risk of biological life. Counter-culture in 2023 is an oxy-moron, a cultivation of simultaneous intellectual
The separation of the individual from their respective community is an impertinent growth and deterioration in juxtaposition with across the board decomposition of
social change in mainstream-opposed sub-cultures that has transpired slowly tolerance for the ‘other’. An effort to internalize change has resulted in a surface
over the past century. Individual expression, after being paraded around by level merger of liberal counter-culturist ideals and the mainstream media. The
artists, hippies, gangsters, and punks since the 60’s, has finally been welcomed induction of ongoing technological advancements has led to stark individualism
into the mainstream. Ironically, in lieu of this development, culture and those among the average American.
who counter it have reached a paradox of sameness. To put it in layman’s terms, it’s chaos. There’s no discernable main antagonist.
For example, counter-culturists were successful in breaking the social norms There are a considerable number of rebels out there who don’t know their
for physical appearances and personal philosophy; however, while this has history and who lack basic education. Media attention tends to distract
progressed society in terms of promoting ableism and gender equality, from the point of any counterculturist statement, frequently presenting
some methods of promoting individualism have lost tremendous impact. their actions under the lens of a corporate agenda that alienates citizens
Broadly speaking, individuality is encouraged. Any fashion trend will from one another.
find a group to accept it in 2023, be it politically incorrect or dirty and The US has a rich history of conflict - economic, social, ecological,
hemp sewn, making the counter-culturist outfits of the last 100 years theological, militaristic, diabetic, not to mention beingsexist, racist,
just another personality you find walking down the street. However (more -isms), you name it. Remembering the past by analyzing the
different costumes can still ignite old flames. Satanism is practiced present lays a path to a better future. Rebels will continue to mutate
frequently and with growing communities while being consistently based on their surroundings while still maintaining semblance to
shunned by enraged christians. Activism is encouraged, though their common desires. No matter the form, there will always be
commonly deemed unnecessary. Racial diversity is encouraged those who fight for difference and those who counter, creating
on TV but the Supreme Court has recently ended affirmative an infinite helix of yearning for change.
action. We are a culture that pretends to accept everything
and refuses change all at once.
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troops, the SS rounded up thousands of prisoners at the
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May
by Emory Brigden
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