Hardcore for Nerds

"Why sneer at the intellectuals?"*
punk music, left politics, and cultural history - previously found here.
contact: gabbaweeks[at]gmail.com (sorry, no promos/submissions, thanks) or ask
Dublin, Ireland. 25, male, history and politics graduate
HFN | HFN 2012 2011 2010 2009 | HRO 2k9 | Hoover Genealogy Project | Hitler Runoff | @HC4N
*from the title of a review of Arthur Koestler's Arrival and Departure by Michael Foot, Evening Standard, Nov. 26, 1943.
May 21
Permalink
abandoned MA dissertation chapter/indefinitely postponed PhD one

abandoned MA dissertation chapter/indefinitely postponed PhD one

history politics merleau-ponty NO PAST french books
Comments (View) | 1 note
May 19
Permalink irish abortion politics statistics
Comments (View) | 1 note
May 18
Permalink

Under-45s hit ‘dramatically’ harder by recession, ESRI finds

The ‘jilted generation’: Ireland has spared the old but robbed the young

“The Irish are thought to be a compassionate people who care about human rights, but we are also capable of appalling selfishness towards our own citizens. A report this week from the Economic and Social Research Institute suggests that few developed nations have committed the level of intergenerational theft we have witnessed in Ireland since the financial crisis began.

The headline finding of the report, by Petra Gerlach-Kristen, is stark. “The younger age group on average spent 20 per cent less per week in 2009/2010 compared with five years earlier. Over the same period, those aged over 45 managed to keep most of their bubble-era gains, spending 31 per cent more each week than they did in 2004/2005.”

In a very short period, two groups in society have experienced a huge disparity in spending power. These groups are separated not by class or occupation or education but by the timing of their births.” 

Except looking beyond the “headline finding” (or just reading it carefully), the result of this “huge disparity” is that the disposable incomes in the two age groups have converged (chart on the left, from the ESRI report). And data from the OECD up to 2009 (chart on the right) shows that Ireland has a similar distribution of income by age group to the OECD average, although 18-40 year-olds still earn somewhat more and 41-65 year-olds somewhat less, with 51-65 year olds the only age group in Ireland with a poverty rate greater than the OECD average. 

This has been explained to a degree already - during the boom years Ireland did relatively well in reducing poverty in older age groups compared to a previously much worse situation, and in a way it can be said that we became a society kinder to the aged rather than one less favourable to the young. The current decline in the incomes of the young is unfortunately easy to explain - unemployment and bubble-era house prices (indeed it is only the blue line of non-housing expenditure that they are significantly worse off than the older group). The increase of the older group is more difficult to account for however, although the report itself suggests that “to a certain extent” this is “due to a rise in the average education level of older households”:

Younger and older households earned and spent about the same sums in 2009/10. While some of this may represent a natural convergence given the rise in average education levels of the older half of the population, we argue that it is also due to young households facing credit constraints and building up savings in anticipation of these. In particular, credit constraints are likely to bind for households that are unemployed, in arrears or in negative equity. Using household budget data, we construct age profiles and show that young households are indeed more likely to be facing credit constraints than older ones.”

So the recession has impacted negatively more on younger households - that’s not in dispute. But in doing so it has only brought parity between overall incomes, not a disparity; and from a Keynesian point of view presumably it’s a good thing that some of the lost demand from younger households has been taken up by older ones (and I wonder to what extent this might include intergenerational transfers and financial support), rather the overall demand plunging even further. Additionally, compared to the OECD average income was already shifted towards the young in Ireland; and since that bloc contains a wide variety of countries, it’s useful to look at particularly equal Scandinavian ones like Denmark, Sweden, Finland or Iceland - all of which skew significantly more towards older incomes (admittedly, so does the more unequal US). 

I’ve written before about the problems with the ‘intergenerational equity’ argument and how it undermines concepts of solidarity and almost explicitly rejects class-based politics (as it does here). To split society along age lines blatantly ignores that the greatest inequalities are replicated within each group; but what is particularly bad about this example is that its simplistic reading doesn’t even stand up on its own figures, were we to use the distribution of income between young and old as the main measurement of the fairness of our society. 

ireland economics politics statistics
Comments (View) | 1 note
May 16
Permalink
likeapairofbottlerockets:

theothernwa:

Finally got access to Joel Stein’s paywalled TIME cover story, “The Me-Me-Me Generation.” Glad he cleared up this misunderstanding about poor millennials so eloquently and non-racist-ly.

Wow I’m so glad I still haven’t read this. 

How Not To Do Intersectionality

likeapairofbottlerockets:

theothernwa:

Finally got access to Joel Stein’s paywalled TIME cover story, “The Me-Me-Me Generation.” Glad he cleared up this misunderstanding about poor millennials so eloquently and non-racist-ly.

Wow I’m so glad I still haven’t read this. 

How Not To Do Intersectionality

Comments (View) | 46 notes
Permalink
Modern Vampires of the City - some initial thoughts:
it’s nice to have an album that has such a strong positive reception without it being a ‘new’ band; we’ve had the hyped-up debut stage, the on-mature-reflection thinkpiece’d sophomore stage, and now they’re on their third record in good time. Two of the normally most curmudgeonly people in my Twitter feed (not, admittedly, usually on the topic of music) are big fans of it so far. 
I don’t use iTunes and it hasn’t been released on Spotify yet, so while everyone was talking about it I still hadn’t heard it - aside from the singles, and once while part of it was playing in a record store - so, figuring I’d be buying it anyway, I went straight for the vinyl today. The moment of putting the needle down on the start of the record was actually the first time I’d heard the opening song, something which rarely if ever happens in my listening.
I like it, obviously enough, but at the same time I’m only getting into it. What I do like in particular so far is that feels like such a composite record: ‘layered’ would suggests depths that I haven’t uncovered yet - which may or may not be there - but it’s more that it’s a familiar sound mixed with snippets of, seemingly, everything. 
Hey, Vampire Weekend are appropriating my culture now! (The end of ‘Unbelievers’, with its pipe-band crescendo - the liner notes credit players of a tuba, trombone, trumpet, accordion and a ‘flistle’, presumably a combination of flute and whistle.) 
The stark purity of the black/white design on the record itself - even as merges into misty grey on the front cover - I think complements, and probably has an influence on, the idea of the music being a perfectly balanced amalgam of sounds. 
Already I’ve seen it described as a ‘perfect pop record’: that didn’t make much sense to me based on the singles, although they do have a rather striking dissonance about them; through the record as whole, however, is a reminder of how their first record felt - summery, playful and free, yet this time even more lighfooted and airy. I really liked Contra as well, but by comparison it felt much more statement-like.
Vampire Weekend » The Clash, Contra » London Calling (or rather, Give ‘Em Enough Rope), Modern Vampires of the City » Sandinista!?
That minute few seconds of dub echo on ‘Hudson’; the semi-faux-baroque piano closing out the album on ‘Young Lion’ (as a throwback to the first record, surely); everything’s a little weird on this album, but precisely and economically so - and that is perhaps its greatest strength.

Modern Vampires of the City - some initial thoughts:

  • it’s nice to have an album that has such a strong positive reception without it being a ‘new’ band; we’ve had the hyped-up debut stage, the on-mature-reflection thinkpiece’d sophomore stage, and now they’re on their third record in good time. Two of the normally most curmudgeonly people in my Twitter feed (not, admittedly, usually on the topic of music) are big fans of it so far. 
  • I don’t use iTunes and it hasn’t been released on Spotify yet, so while everyone was talking about it I still hadn’t heard it - aside from the singles, and once while part of it was playing in a record store - so, figuring I’d be buying it anyway, I went straight for the vinyl today. The moment of putting the needle down on the start of the record was actually the first time I’d heard the opening song, something which rarely if ever happens in my listening.
  • I like it, obviously enough, but at the same time I’m only getting into it. What I do like in particular so far is that feels like such a composite record: ‘layered’ would suggests depths that I haven’t uncovered yet - which may or may not be there - but it’s more that it’s a familiar sound mixed with snippets of, seemingly, everything. 
  • Hey, Vampire Weekend are appropriating my culture now! (The end of ‘Unbelievers’, with its pipe-band crescendo - the liner notes credit players of a tuba, trombone, trumpet, accordion and a ‘flistle’, presumably a combination of flute and whistle.) 
  • The stark purity of the black/white design on the record itself - even as merges into misty grey on the front cover - I think complements, and probably has an influence on, the idea of the music being a perfectly balanced amalgam of sounds. 
  • Already I’ve seen it described as a ‘perfect pop record’: that didn’t make much sense to me based on the singles, although they do have a rather striking dissonance about them; through the record as whole, however, is a reminder of how their first record felt - summery, playful and free, yet this time even more lighfooted and airy. I really liked Contra as well, but by comparison it felt much more statement-like.
  • Vampire Weekend » The ClashContra » London Calling (or ratherGive ‘Em Enough Rope), Modern Vampires of the City » Sandinista!?
  • That minute few seconds of dub echo on ‘Hudson’; the semi-faux-baroque piano closing out the album on ‘Young Lion’ (as a throwback to the first record, surely); everything’s a little weird on this album, but precisely and economically so - and that is perhaps its greatest strength.
vampire weekend mvotc vinyl vinyl photos
Comments (View) | 4 notes
May 15
Permalink
thewoodquarter:

Waiting to board.

in case anyone missed the joke…

thewoodquarter:

Waiting to board.

in case anyone missed the joke

irish
Comments (View) | 2 notes
Permalink irish economics
Comments (View)
Permalink

Anilingus

citationneeded:

Not to be confused with Aer Lingus.

Link

Whatever Aeroflots your boat (not to be confused with…)

[actually, according to the Wiki article ‘Aer Lingus’ was an anglicized spelling of ‘Aer Loingeas’ (same pronunciation, more or less), or ‘Air Fleet’ in Irish]

(via thesefewpresidents)

Comments (View) | 44 notes
May 14
Permalink

Editors - ‘A Ton Of Love’ (2013)

While we’re arguing about Savages, my actual favourite UK post-punk/Joy Division apers are due to release a new album, the first since 2009’s In This Light and On This Evening (which I wrote about here). It appears they have since lost their lead guitarist Chris Urbanowicz due to ‘differences in musical direction’ - I assume he was responsible for their shimmering, high-flying sound which is notably absent here. Instead, it feels dry, muted, spacious - and even more 80s. Rather than their previous gloomy Factory Records posturing updated for the modern taste in bombastic rock, it’s a throwback to the stadium rock of the day: Springsteen and U2 both come to mind. And I wouldn’t expect to like that, especially not the latter, but I really do.

There’s something to the lyrics, normally impenetrably vague, that resonates too: “now bathe my idle soul in… desire”; what could better, and more beautifully, describe the modern, materially sated human condition? And wrapped in the soft sax and ringing chords of the sound of the technological and economic liberation of the 80s; the decade in which a new openness promised everything, just as our crisis today is subsumed into the internet’s instant gratification. “I don’t trust the government” is a familiar and jaded cry, but “I don’t trust myself” is a more chilling sign of the breakdown between the individual and the collective. ‘Desire’ is the animating force of our capitalism, here expressed in pitch-perfect irony as the throwback sonic signifiers of pleasure, hope, and confidence.

Much better than manifestos about silence, I think (and their art, as always, is wonderful). 

(Source: Spotify)

editors 80s uk
Comments (View) | 6 notes
Permalink savages
Comments (View) | 6 notes