Tuesday, September 21, 2010

Ethnography: Lots of Awkward Conversation

Checked out Aroma Cafe in my town to observe people. This is a distillation of what I saw.
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            The place I went to was called Aroma CafĂ©, a small restaurant in North Hollywood. I can’t seem to go there without seeing several couples of varying ages or types.
            Watched couples in line waiting to order (the line always goes out the door so you can see people as they wait outside then transition to the indoors). Some stand a little apart from each other and look at their menus without talking much. Some stand like they are one person, the girl leaning on the man as they both share one menu. They don’t talk much either and they hold each other close. Others talk constantly, flirting, touching and laughing as though they were alone. The people taking orders don’t really notice the couples, just individual orders as they come. When asked if people are paying together or separate, only one guy paid for both him and his partners meal. The girl stood off to the side a little when he did so and thanked him quietly. Once the girl would not let the man pay for her which caused a small holdup as they quietly talked about who would pay until finally agreeing to pay separately. There was a moment where a girl seemed surprised that the person she was with wasn’t paying for her but she reacted almost immediately with a smile and the man didn’t notice or didn’t seem to notice at the time.
            Sitting on the patio, I could see more couples. Some of the same couples who had been in line before, and some new ones. I saw at least one married couple (or at least a man and a woman each wearing a wedding ring sitting together). They ate slowly, and they talked a lot while they ate, so their plates weren’t cleared for a long time. They sat across from each other at a small table and looked at each other while they did so. The man who was talking gestured expressively with his hands and arms and the woman laughed while he did which made him smile in turn. There was a couple in the corner of the patio who held hands constantly when they weren’t holding a fork or utensil. They were sharing a big piece of what looked like red velvet cake or some kind of dessert. They both looked young, and the girl kept resting her head on the others’ shoulder in between bites. Every now and then he would pop a quick kiss on the top of her head or her brow, or she would turn her head and they would share a kiss on the lips that didn’t last very long. When someone came by to take their empty plate, they held still for a brief moment until he went away, and then they relaxed again.
            There was a couple that seemed nervous, a couple I had seen in line. They both talked constantly but quietly, not wanting to draw too much attention to themselves. The woman wore glasses and kept pushing them up her nose. The man would lean forward as he talked to her, earnestly looking into her eyes. They sat across from each other as well and each hardly touched the other at all. They sat longer than I was there. By the time I left their plates had been taken away but they hardly seemed to notice as they went back and forth in conversation, taking brief pauses every now and then for a sip of coffee or water.
            I don’t know if I saw anything particularly radical but it was interesting to see the connections being made (or not made!) as the night went on. The depth of older relationships was easy to see as a middle-aged couple slowly went about their meal: the husband/ boyfriend/ life partner knowing how to make the person he was sitting with crack up with just a gesture or phrase. I have no idea how long they had been a couple or if they even were, but it seemed like they had weathered a few storms together (hopefully nothing as rough the couple in “Fatal Attraction,” though I can see how that would bring people closer together as well). The freedom they had with each other, the way they talked, the way they moved, how they waited on each other if the other had a story or anecdote- these are people who have a deep love and respect for each other. Contrast that to the young couples in line, who seemed to not have known each other for very long or who seemed to not care for each other as deeply.
            It could be a generational thing, but I noticed that the people who looked my age weren’t overly interested in the person they were with except for the last couple I observed, who seemed to be on a first date. Phones were looked at during conversation or in line, text messages occasionally sent, but this didn’t seem to bother anyone on either side of the equation. Perhaps this takes “radical” out of the equation, but these people were tolerant to let that happen during a normal meeting with someone of the opposite gender. Seems rude to me, but I haven’t been on a date in ages so what do I know?
            I didn’t notice any same-sex couples but it wouldn’t surprise me if I just didn’t notice them. My eye gravitated towards clusters of two who seemed to be sharing intimate moments. I was intrigued by the two young couples, the one in the corner who shared dessert, and the maybe-couple whose members clearly hadn’t known each other very long but definitely were interested in doing so. I got to see the earnestness and undivided attention that goes into meeting someone for the first time, and I got to see the relaxation, the contentment of two people who had been together for perhaps a little longer.
            I wished I would have seen a former lover burst into the patio and swear to kill the new beau, and have a fight ensue. That would have been radical in every sense of the word. Mostly I saw warmth and contentment.

Tuesday, September 14, 2010

Undercurrents of Emtional Violence

This is less about emotional violence and more about why Tennessee Williams' Cat On a Hot Tin Roof is a fantastic play that I hadn't read until about a week ago. I have this tendency to avoid things that people tell me I would like ("Mad Men," books on philosophy, various movies like the excellent "The Savages"). I'm not sure if it's fear- or maybe I just like to string people along. My roommate has been trying to get me to watch "Buffy the Vampire Slayer" for at least a year and a half now, but I keep putting it off.

And then I remember that she's in it. Time to start watching.


The point is, I read Cat and was staggered by the emotional depth and complexity the characters displayed (well, most of the characters. Mae and Gooper don't really go beyond scheming, moustache-twirling villainy). It's still a relevant play, one that could be performed today just as easily as 30 years ago. The themes and characters make sense. Closeted homosexuality hasn't gone away, especially in the the South- not that that's the only part of the play that matters, but it's still something that demands exploration and investigation.

Why can't Brick connect with his (ostensibly beautiful) wife, Maggie? Is he actually physically repulsed by her, or is it something deeper? He can barely stand her touch- the only way he goes to bed with her is when he's fall-down drunk. If he's trying to deflect accusations of homosexuality, he could perhaps try and love his wife more- there's that quote about "doth protesting too much," maybe it makes his entire family suspicious and the accusations and drama fly out of there. No, though- every time Maggie and Brick are in a room together, he hardly pays her the slightest bit of attention.
Her. Damn, Brick. I'd be picking that up on the daily. 

Brick doesn't try and hide his distaste for Maggie- but it's more than just her physically being a female that sets him off. Maggie says she slept with Skipper, the object of Brick's desire, before Skipper died- she did so because that's the only way both of them could get closer to Brick without seeming like godless perverts. Skipper is the one commonality the two of them had, the only thing that could bring Maggie and Brick together sexually. Once he dies, Brick shuts down; he doesn't sleep with Maggie, he gets drunk daily, and drifts away from his family.

I can practically guarantee that this family drama is being lived right now somewhere six or seven hundred miles east of here. Not in a cliche way. These are universal themes of love, trust, and sexuality- also death and denial, hope and fear. Pieces of art like this don't come around often. Truth be told, the reason I signed up to present this play to the class was because I wanted an excuse to check it out. "I mean, I probably won't read it on my own... this is a great way to FORCE me to read it!" I'm glad I did. Now if only there was someone to force me to watch Buffy so I can appease my roommate...

read: Cat On a Hot Tin Roof- it's worth it. Get a group of five or six friends together and go for it
listen: Louis Armstrong's "Do You Know What It Means to Miss New Orleans"
watch: "A Streetcar Named Desire," another Williams masterwork. Marlon Brando is electric as Stanley, an iconic role that is still being parodied today.

Tuesday, September 7, 2010

Linguistics: a crash course in "wait, what?"

I have never ascribed so much meaning to the word "meaning."
Having just read some of Ferdinand de Saussure's "Course in General Linguistics" I can safely say I would be terrified to have that as an emphasis. I keep thinking if I stare long enough at the words, I can make them come alive for me, shape them into something that makes me have an "aha!" moment. Hasn't quite happened yet.


I love how Saussure compares language to chess- how each linguistic term "derives its value from its opposition to all the other terms," just as pieces on a chessboard become more valuable depending on where they are in relation to other pieces. Saussure asks you to understand that language is all about individual moments, with a set of conventions posed upon them that gives each moment context and meaning. Crazy stuff.


Also checked out Simone de Beauvoir's The Second Sex- lady makes some excellent points. From the beginning (at least as long as I can remember) we've viewed women differently and always, ALWAYS allowed them different rights than the rest of society. The examples cited in the work make perfect sense- woman has always been "The Other," even more so than Jews and African-Americans. There is talk of a vicious cycle that occurs when something is expected to keep happening because one allowed it to happen in the first place. As for me, I know there's still a glass ceiling; anyone who says there isn't would be lying to themselves. I feel like things are changing for the better, though. Better? Well. Things are different than they were fifty years ago, I can certainly say that.
at least there's slightly less of this happening


Been reading all kinds of things for my Critical Theories class as well. You ever hear of this guy Plato? Aristotle? I guess they knew what they were talking about. Thousands of years ago. My brain is full of philosophy and how it relates to writing and rhetoric. Hopefully there comes a point where I can actually sort this stuff out and apply it, not just talk briefly about it in class.

That's ultimately what I want: to be able to act for a living, and then have badass discussions of literature on the side. Or even during, wouldn't that be a trip?

Read: Aristotle's Poetics. Incredible how everything said about character, plot, and structure still mostly applies to movies today.

Listen: "The Hazards of Love" by the Decemberists. Now THERE is a band who understands language and how to wrangle it down and make it their own.

Watch: http://www.youtube.com/watch?v=2_HXUhShhmY incredible