In “Because the Night Belongs to Her” MoDo says a punk-rock poet tells a story with operatic grandeur. The Moustache of Wisdom, in “Cut Here. Invest There.”, says in the 21st century, America cannot afford the politics of irresponsible profligacy or mindless austerity. Atlanta’s mayor, Kasim Reed, is one example of the new breed of leader. Mr. Kristof addresses “The Big (Military) Taboo,” and says when the U.S. spends almost as much on arms as every other country in the world combined, we’re overinvesting in our military. Gee — ya think? Mr. Rich asks “Who Killed the Disneyland Dream?” and says for all the inequities of America in 1956, economic equality seemed within reach, at least for the vast middle class. Here’s MoDo:
I met Patti Smith briefly at the opening of the Metropolitan Opera’s “Ring” cycle last fall.
She was wearing a black sequined jacket, white ruffly shirt and black pants, a glam version of the “gothic crow,” as Salvador Dali once described her. Her salt-and-chocolate mane was hanging in an untamed pony tail. She seemed shy and modest but fun and self-possessed, ever the cool chick.
In an era when many women resist aging, preferring to frantically pursue scary, puffy replicas of their 25-year-old selves, and at a time when women still struggle to balance sexuality and power, the 63-year-old Smith radiated magic.
My cultural lacunae included the iconic New York punk rock singer, poet and artist who dropped out for a decade to raise two kids with guitarist Fred “Sonic” Smith in Detroit. I had never seen her perform and didn’t know she was a jumble of quirky contradictions, passionate about Arthur Rimbaud and “Law & Order: SVU,” William Blake and Jimi Hendrix, grand opera and cheap talismans, listening to Glenn Gould and writing detective novels.
Beyond the jangly ruckuses about explicit photos of naked men, I didn’t know much about Robert Mapplethorpe either.
So I was startled to pick up Smith’s memoirs, which won a National Book Award last month, and delve into a spellbinding love story.
For anyone who has had a relationship where the puzzle pieces seem perfect but don’t fit — so, all of us — “Just Kids” is achingly beautiful. It’s “La Bohème” at the Chelsea Hotel; a mix, she writes, of “Funny Face” and “Faust,” two hungry artists figuring out whom to love, how to make art and when to part.
It unfolds in that romantic time before we were swallowed by Facebook, flat screens, texts, tweets and Starbucks; when people still talked all night and listened to jukeboxes and LPs and read actual books and drank black coffee.
Smith describes the wondrous odyssey of taking the bus from South Jersey and meeting a curly-haired soul mate who wanted to help her soar, even as the pair painfully grappled over the years with Mapplethorpe’s sexuality and his work’s brutality.
“Robert took areas of dark human consent and made them into art,” Smith writes about the former altar boy from Floral Park, Queens, who was bedeviled by Catholic concepts of good and evil. “Robert sought to elevate aspects of male experience, to imbue homosexuality with mysticism.”
When he began exploring his own desires in San Francisco, she said it was an education for her too.
“I had thought a man turned homosexual when there was not the right woman to save him, a misconception I had developed from the tragic union of Rimbaud and the poet Paul Verlaine,” she writes, adding that she mistakenly considered homosexuality “a poetic curse” that “irrevocably meshed with affectation and flamboyance.”
As they redefined their love, she writes, “I learned from him that often contradiction is the clearest way to truth.”
When the penniless Smith first gets to New York she sleeps in Central Park and graveyards. Once she meets Robert, they shoplift occasionally and scrape by. They are too poor to go to museums together; one goes in and describes it afterward to the other waiting outside. They share Coney Island hot dogs. Robert works as a hustler for money.
She encourages the reluctant Mapplethorpe to take photographs; he shoots the covers for her poetry book and mythic first album, “Horses.” He teases her when she becomes famous faster.
Smith vividly recalls a psychedelic bohemia in downtown New York in the volcanic late ’60s and ’70s when you could feel “a sense of hastening.”
She transports you back to the Coney Island freak shows and the Chelsea Hotel, “a doll’s house in the Twilight Zone,” as she calls the refuge for artists from Dylan Thomas to Bob Dylan. Glittery cameos include former lover Sam Shepard, Gregory Corso, Salvador Dali, Viva, William Burroughs, Grace Slick, Janis Joplin, Allen Ginsberg, Andy Warhol and her idol, Hendrix.
The more commercial and society-minded Robert dreamed of breaking into Warhol’s circle, but Patti was suspicious. “I hated the soup and felt little for the can,” she writes. “I preferred an artist who transformed his time, not mirrored it.”
When Robert was ravaged by AIDS, a distraught Patti drove and flew back and forth from Detroit to New York to hold and soothe him.
She wrote him a letter, recalling that he once said that art was like “holding hands with God.” Urging him to grip that hand hard, she concluded: “Of all your work, you are still your most beautiful.”
The March morning in 1989 that he died, at 42, she woke up to hear an opera playing on an arts channel on a TV that had been left on. It was Tosca declaring her passion for the painter Cavaradossi, singing “I have lived for love, I have lived for Art.” It was her goodbye.
Here’s The Moustache of Wisdom, who’s in Atlanta:
As I’m about to start a four-month book leave, I need to get a few things off my chest: President Obama understood, rightly, that our economy needed more stimulus, so, given the G.O.P.’s insistence on extending the Bush tax cuts for all, he struck the best deal he could. The country, we are told, is now in a better mood, seeing our two parties work together. I, alas, am not in a better mood.
I’ll be in a better mood when I see our two parties cooperating to do something hard. Borrowing billions more from China to give ourselves more tax cuts does not qualify. Make no mistake, President Obama has enacted an enormous amount in two years. It’s impressive. But the really hard stuff lies ahead: taking things away. We are leaving an era where to be a mayor, governor, senator or president was, on balance, to give things away to people. And we are entering an era where to be a leader will mean, on balance, to take things away from people. It is the only way we’ll get our fiscal house in order before the market, brutally, does it for us.
In my book, the leaders who will deserve praise in this new era are those who develop a hybrid politics that persuades a majority of voters to cut where we must so we can invest where we must. To survive in the 21st century, America can no longer afford a politics of irresponsible profligacy. But to thrive in the 21st century — to invest in education, infrastructure and innovation — America cannot afford a politics of mindless austerity either.
The politicians we need are what I’d call “pay-as-you-go progressives” — those who combine fiscal prudence with growth initiatives to make their cities, their states or our country great again. Everyone knows the first rule of holes: When you’re in one, stop digging. But people often forget the second rule of holes: You can only grow your way out. You can’t borrow your way out.
One of the best of this new breed of leaders is Atlanta’s inspiring mayor, 41-year-old Kasim Reed. A former Georgia state senator, Reed won Atlanta’s mayoral race in December 2009 by 714 votes. The day he took office, Atlanta had $7.4 million in reserves, an out-of-control budget and was laying off so many firefighters there were only three personnel on a truck, below national standards. A year later, it has $58 million in reserves, and Reed has a 70 percent approval rating — which he earned the hard way.
Reed started his reforms by enlisting two professionals, not cronies, to help run the city: Peter Aman, a partner at Bain & Company, a consultancy, to be his chief operating officer; and John Mellott, a former publisher of The Atlanta Journal-Constitution, to lead a pension review panel. Atlanta has 7,000 city employees, but today, says Reed, “you can’t hire a receptionist” without it “personally being approved by Aman.”
Then Reed tackled the city’s biggest problem: runaway pensions, which were eating up 20 percent of tax revenues and are rising. In the early 2000s, the police, fire and municipal workers’ unions persuaded the city to raise all their pensions — and make it retroactive. So, between 2001 and 2009, Atlanta’s unfunded pension obligations grew from $321 million to $1.484 billion. Yikes.
Reed couldn’t cut existing pensions without lawsuits, but he cut back pensions for all new employees to pre-2000 levels and raised the vesting period to 15 years from 10. When union picketers swarmed city hall to protest, Reed invited them all into his office — in shifts — where he patiently explained, with charts, that without pension reform everyone’s pensions would go bust.
By getting the city’s budget under control, Reed then had some money to invest in more police officers and, what he wanted most, to reopen the 16 recreation centers and swimming pools in the city’s most disadvantaged neighborhoods, which had been shuttered for lack of money. “People were shooting dice in the empty pools,” he said. Local businesses have now offered to finance after-school job-skills programs in the reopened centers. Cut here. Invest there.
Reed combines a soft touch with a hard head. I like how he talks about both Atlanta and America: “We are not going to be what we have been for the last 50 years if we don’t change, and everybody in a position to have more than two people listening to them needs to be saying that, because the time we have to make the adjustments is running out. We need to get on with it. Whether it’s the deficit, education or investing in young people or immigration — we are not tackling [them] in the fundamental ways required. We’re just doing it piecemeal. We’re just playing and surviving. And we need to be very clear where just surviving takes you: it takes you to a lifestyle of just survival.”
In a recent address, Reed elaborated: “The bottom line is that for the country to do and to be what we have been … there must be a generation tough enough to stick out its chin and take the hit. … It is time to begin having the types of mature and honest conversations necessary to deal effectively with the new economic realities we are facing as a nation. We simply cannot keep kicking the can down the road.”
Four month book tour leave? What a lovely Christmas gift for us! Next up is Mr. Kristof:
We face wrenching budget cutting in the years ahead, but there’s one huge area of government spending that Democrats and Republicans alike have so far treated as sacrosanct.
It’s the military/security world, and it’s time to bust that taboo. A few facts:
• The United States spends nearly as much on military power as every other country in the world combined, according to the Stockholm International Peace Research Institute. It says that we spend more than six times as much as the country with the next highest budget, China.
• The United States maintains troops at more than 560 bases and other sites abroad, many of them a legacy of a world war that ended 65 years ago. Do we fear that if we pull our bases from Germany, Russia might invade?
• The intelligence community is so vast that more people have “top secret” clearance than live in Washington, D.C.
• The U.S. will spend more on the war in Afghanistan this year, adjusting for inflation, than we spent on the Revolutionary War, the War of 1812, the Mexican-American War, the Civil War and the Spanish-American War combined.
This is the one area where elections scarcely matter. President Obama, a Democrat who symbolized new directions, requested about 6 percent more for the military this year than at the peak of the Bush administration.
“Republicans think banging the war drums wins them votes, and Democrats think if they don’t chime in, they’ll lose votes,” said Andrew Bacevich, an ex-military officer who now is a historian at Boston University. He is author of a thoughtful recent book, “Washington Rules: America’s Path to Permanent War.”
The costs of excessive reliance on military force are not just financial, of course, as Professor Bacevich knows well. His son, Andrew Jr., an Army first lieutenant, was killed in Iraq in 2007.
Let me be clear: I’m a believer in a robust military, which is essential for backing up diplomacy. But the implication is that we need a balanced tool chest of diplomatic and military tools alike. Instead, we have a billionaire military and a pauper diplomacy. The U.S. military now has more people in its marching bands than the State Department has in its foreign service — and that’s preposterous.
What’s more, if you’re carrying an armload of hammers, every problem looks like a nail. The truth is that military power often isn’t very effective at solving modern problems, like a nuclear North Korea or an Iran that is on the nuclear path. Indeed, in an age of nationalism, our military force is often counterproductive.
After the first gulf war, the United States retained bases in Saudi Arabia on the assumption that they would enhance American security. Instead, they appear to have provoked fundamentalists like Osama bin Laden into attacking the U.S. In other words, hugely expensive bases undermined American security (and we later closed them anyway). Wouldn’t our money have been better spent helping American kids get a college education?
Paradoxically, it’s often people with experience in the military who lead the way in warning against overinvestment in arms. It was President Dwight Eisenhower who gave the strongest warning: “Every gun that is made, every warship launched, every rocket fired signifies, in the final sense, a theft from those who hunger and are not fed, those who are cold and are not clothed.” And in the Obama administration, it is Defense Secretary Robert Gates who has argued that military spending on things large and small can and should expect closer, harsher scrutiny; it is Secretary Gates who has argued most eloquently for more investment in diplomacy and development aid.
American troops in Afghanistan are among the strongest advocates of investing more in schools there because they see firsthand that education fights extremism far more effectively than bombs. And here’s the trade-off: For the cost of one American soldier in Afghanistan for one year, you could build about 20 schools.
There are a few signs of hope in the air. The Simpson-Bowles deficit commission proposes cutting money for armaments, along with other spending. Secretary of State Hillary Clinton unveiled a signature project, the quadrennial diplomacy and development review, which calls for more emphasis on aid and diplomacy in foreign policy.
“Leading through civilian power saves lives and money,” Mrs. Clinton noted, and she’s exactly right. The review is a great document, but we’ll see if it can be implemented — especially because House Republicans are proposing cuts in the State Department budget.
They should remind themselves that in the 21st century, our government can protect its citizens in many ways: financing research against disease, providing early childhood programs that reduce crime later, boosting support for community colleges, investing in diplomacy that prevents costly wars.
As we cut budgets, let’s remember that these steps would, on balance, do far more for the security of Americans than a military base in Germany.
Last but not least, here’s Mr. Rich:
Of the many notable Americans we lost in 2010, three leap out as paragons of a certain optimistic American spirit that we also seemed to lose this year. Two you know: Theodore Sorensen, the speechwriter present at the creation of J.F.K.’s clarion call to “ask what you can do for your country,” and Richard Holbrooke, the diplomat who brought peace to the killing fields of Bosnia in the 1990s. Holbrooke, who was my friend, came of age in the Kennedy years and exemplified its can-do idealism. He gave his life to the proposition that there was nothing an American couldn’t accomplish if he marshaled his energy and talents. His premature death — while heroically bearing the crushing burdens of Afghanistan and Pakistan — is tragic in more ways than many Americans yet realize.
But a third representative American optimist who died this year, at age 91, is a Connecticut man who was not a player in great events and whom I’d never heard of until I read his Times obituary: Robbins Barstow, an amateur filmmaker who for decades recorded his family’s doings in home movies of such novelty and quality that one of them, the 30-minute “Disneyland Dream,” was admitted to the National Film Registry of the Library of Congress two years ago. That rare honor elevates Barstow’s filmmaking to a pantheon otherwise restricted mostly to Hollywood classics, from “Citizen Kane” to “Star Wars.”
“Disneyland Dream” was made in the summer of 1956, shortly before the dawn of the Kennedy era. You can watch it on line at archive.org or on YouTube. Its narrative is simple. The young Barstow family of Wethersfield, Conn. — Robbins; his wife, Meg; and their three children aged 4 to 11 — enter a nationwide contest to win a free trip to Disneyland, then just a year old. The contest was sponsored by 3M, which asked contestants to submit imaginative encomiums to the wonders of its signature product. Danny, the 4-year-old, comes up with the winning testimonial, emblazoned on poster board: “I like ‘Scotch’ brand cellophane tape because when some things tear then I can just use it.”
Soon enough, the entire neighborhood is cheering the Barstows as they embark on their first visit to the golden land of Anaheim, Calif. As narrated by Robbins Barstow (he added his voiceover soundtrack to the silent Kodachrome film in 1995), every aspect of this pilgrimage is a joy, from the “giant TWA Super Constellation” propeller plane (seating 64) that crosses the country in a single day (with a refueling stop in St. Louis) to the home-made Davy Crockett jackets the family wears en route.
To watch “Disneyland Dream” now as a boomer inevitably sets off pangs of longing for a vanished childhood fantasyland: not just Walt Disney’s then-novel theme park but all the sunny idylls of 1950s pop culture. As it happens, Disney’s Davy Crockett, the actor Fess Parker, also died this year. So did Barbara Billingsley, matriarch of the sitcom “Leave It to Beaver,” whose fictional family, the Cleavers, first appeared in 1957 and could have lived next door to the Barstows. But the real power of this film is more subtle and pertinent than nostalgia.
When the Barstows finally arrive at the gates of Disneyland itself and enter its replica of Main Street, U.S.A. — “reconstructed as it might have been half a century earlier,” as the narration says — we realize that the America of “Disneyland Dream” is as many years distant from us as that picture-postcard Main Street was from this Connecticut family. The almost laughably low-tech primitivism of the original Disneyland, the futuristic Tomorrowland included, looks as antique in 2010 as Main Street’s horse-drawn buggies and penny-candy emporium looked to the Barstows.
Many of America’s more sweeping changes since 1956 are for the better. You can’t spot a nonwhite face among the family’s neighbors back home or at Disneyland. Indeed, according to Neal Gabler’s epic biography of Disney, civil rights activists were still pressuring the park to hire black employees as late as 1963, the same year that Martin Luther King Jr.’s march on Washington and Betty Friedan’s “Feminine Mystique” started upending the Wonder Bread homogeneity that suffuses the America of “Disneyland Dream.”
But, for all those inequities, economic equality seemed within reach in 1956, at least for the vast middle class. (Michael Harrington’s exposé of American poverty, “The Other America,” would not rock this complacency until 1962.) The sense that the American promise of social and economic mobility was attainable to anyone who sought it permeates “Disneyland Dream” from start to finish.
The Barstows exemplified that postwar middle class. Robbins Barstow’s day job was as a director of professional development for a state teachers’ union. His family wanted for nothing, but finances were tight. Once in California they cheerfully stretch their limited expense money ($300 for the week) by favoring picnics over restaurants. As they dive into the pool at the old Huntington Sheraton, the grand Pasadena hotel where they’re bivouacked, they marvel at its reminders of “bygone days of more leisurely and gentle upper-class style and elegance.”
The key word in that sentence is “bygone.” The Barstows accept as a birthright an egalitarian American capitalism where everyone has a crack at “upper class” luxury if they strive for it (or are clever enough to win it). It’s an America where great corporations like 3M can be counted upon to make innovative products, sustain an American work force, and reward their customers with a Cracker Jack prize now and then. The Barstows are delighted to discover that the restrooms in Fantasyland are marked “Prince” and “Princess.” In America, anyone can be royalty, even in the john.
“Disneyland Dream” is an irony-free zone. “For our particular family at that particular time, we agreed with Walt Disney that this was the happiest place on earth,” Barstow concludes at the film’s end, from his vantage point of 1995. He sees himself as part of “one of the most fortunate families in the world to have this marvelous dream actually come true” and is “forever grateful to Scotch brand cellophane tape for making all this possible for us.”
Only 15 months after the Barstows returned home, America’s faith in its own unbounded future, so palpable in “Disneyland Dream,” would be shaken by the Soviet launch of Sputnik, the first Earth-orbiting satellite. Could it be that America, for all its might, entrepreneurship and brainpower, was falling behind its cold war antagonist in the race to the future? It was in that shadow that John F. Kennedy promised a New Frontier that would reclaim America’s heroic destiny, and do so with shared sacrifice and a renewed commitment to the lower-case democratic values central to both the American and Disneyland dreams of families like the Barstows.
This month our own neo-Kennedy president — handed the torch by J.F.K.’s last brother and soon to face the first Congress without a Kennedy since 1947 — identified a new “Sputnik moment” for America. This time the jolt was provided by the mediocre performance of American high school students, who underperformed not just the Chinese but dozens of other countries in standardized tests of science, math and reading. In his speech on the subject, President Obama called for more spending on research and infrastructure, more educational reform and more clean energy technology. (All while reducing the deficit, mind you.) Worthy goals, but if you watch “Disneyland Dream,” you realize something more fundamental is missing from America now: the bedrock faith in the American way that J.F.K. could tap into during his era’s Sputnik moment.
How many middle-class Americans now believe that the sky is the limit if they work hard enough? How many trust capitalism to give them a fair shake? Middle-class income started to flatten in the 1970s and has stagnated ever since. While 3M has continued to prosper, many other companies that actually make things (and at times innovative things) have been devalued, looted or destroyed by a financial industry whose biggest innovation in 20 years, in the verdict of the former Fed chairman Paul Volcker, has been the cash machine.
It’s a measure of how rapidly our economic order has shifted that nearly a quarter of the 400 wealthiest people in America on this year’s Forbes list make their fortunes from financial services, more than three times as many as in the first Forbes 400 in 1982. Many of America’s best young minds now invent derivatives, not Disneylands, because that’s where the action has been, and still is, two years after the crash. In 2010, our system incentivizes high-stakes gambling — “this business of securitizing things that didn’t even exist in the first place,” as Calvin Trillin memorably wrote last year — rather than the rebooting and rebuilding of America.
In last week’s exultant preholiday press conference, Obama called for a “thriving, booming middle class, where everybody’s got a shot at the American dream.” But it will take much more than rhetorical Scotch tape to bring that back. The Barstows of 1956 could not have fathomed the outrageous gap between this country’s upper class and the rest of us. America can’t move forward until we once again believe, as they did, that everyone can enter Frontierland if they try hard enough, and that no one will be denied a dream because a private party has rented out Tomorrowland.