The New Englander

~

At night

when i can't fall asleep

i think of you

i imagine you coming into my room

and kissing me on the cheek

then climbing into my bed

and holding me until i fall asleep

When rich people (read: tech employees, in this context) move into a neighborhood or city, two things happen. In this order: things start getting better for the area. The new residents have more disposable cash, which boosts the local economy. This lasts for a few years. Then, the area turns from highly livable to highly desirable. Rents start zooming to astronomical levels. People who were previously middle class and could afford a nice place in say, Cole Valley, are now being kicked out in favor of coders and their ilk.

In San Francisco’s specific case, along with a few others, these people being kicked out of Cole Valley don’t stay in the city. They know that the same thing will happen to whatever neighborhood they move into (unless it’s the Tenderloin or Bay View, really). So they leave the city.

Now I don’t know the actual value these people had to the city. In all likelihood they were just people who lived there, not important community members or writers or activists. But entire neighborhoods being displaced? Thousands upon thousands of people? That doesn’t just mess with the local dynamic; that can upend an entire city, via a domino effect. That’s what’s happening now.

If you’re a mid-level tech employee, you can’t afford Hayes Valley. You can’t afford the part of the Mission that you like. You certainly can’t afford the new buildings going up by your office in SoMA. So where do you go? Cole Valley. Now multiply that by, oh, 10,000. In a city of 825,000, 10,000 is a lot. 10,000 people moving into a neighborhood not all at once, but close enough, is near catastrophic.

This is what’s been going on in San Francisco for the past decade or so. It’s only going to get worse. The city government, headed in theory by Mayor Ed Lee but in reality former Mayor Willie Brown, via his San Francisco Chronicle column, is on Big Tech’s side. Brown still holds an extraordinary amount of power and influence in the city, and Lee is a former Brown aide. Lee has actual authority, but people still know him as Willie Brown’s choice. Willie Brown has applicable authority. Brown (and Lee) are both very into “entrepreneurs” (read: tech companies), so entrepreneurs do not need to worry about things like San Francisco’s notoriously high taxes. In order to keep Twitter in the city, Ed Lee and the City Council gave Twitter a six year payroll tax break. That’s millions of dollars that the city honestly can’t afford to lose.

There’s so much to be said on this (I haven’t even touched on the morally corrupt tech business news outlets/cheerleaders), but not much to be done. The population of San Francisco is being displaced by thousands upon thousands of almost offensively highly paid coders whose incomes have caused an excessive boost in local real estate prices. This is not unique to San Francisco, but San Francisco is a special case. Tech Boom 2.0 is hitting San Francisco on a much larger scale than say, Chicago or New York, and in a much more confined area because there’s so little physical land to go around. The secondary effect of gentrification after initially creating livable neighborhoods and generally civic minded communities is the astronomical hike in real estate once the neighborhood goes from “livable” to “desirable.” In the current political establishment, there is little to no desire to remediate the situation.

    Ask anybody about the harsh realities of prison, and they will paint for you a picture of an unspeakable hell. It’s not just prisoners who tell of a patterned corruption in prisons (their suffering and bias is the most obvious). It is also those who are meant to uphold the law and enforce it that share horror stories. In an opinion editorial released this year in The New York Times, Nicholas D. Kristof shared an anecdote chronicling this reality. “Judges and prison officials are rebelling at the injustice of our justice system. . . Judge James R. Spencer, a federal district judge said when sentencing a former F.B.I. informant to life without parole for selling crack cocaine to support his own addiction: “A life sentence for what you have done in this case is ridiculous; it is a travesty.” This is just one example of somebody suffering the repercussions of the mass incarceration that makes America’s prisons so notorious. So why, then, if so many people with so much power in the law that disagree with this system, must this virulent issue persist? Federal legislation makes combating this tragic human rights issue nearly impossible.

This goes deeper than legislation, however. The Corrections Corporation of America gets help from government contracts. Private prisons build relationships with right-wing politicians. A devastating example of this symbiotic dynamic between the government and the privatization of prisons was revealed in a piece done in the Times by Paul Krugman, documenting Chris Christie’s (R-New Jersey) “close, personal ties” to Community Education Centers, which is a halfway house system for criminals. Halfway houses are an offshoot of private prisons, carrying over the same ethics, style of imprisonment and punishment, and attempt to reform. Despite claims from Christie that the Community Education Centers is a morally sound, and safely conducted system, prisoners are still abused and raped by other inmates, the halfway houses are severely understaffed due to budget confines, and those who do work there are disillusioned and do nothing to ease the pain of people spending their life there (those of which are there for non-violent crimes). Krugman continues in his Times piece, “You shouldn’t imagine that what was discovered about prison privatization in New Jersey is an isolated instance of bad behavior. It is, instead, almost surely a glimpse of a pervasive and growing reality, of a corrupt nexus of privatization and patronage that is undermining the government across much of our nation.” This is undeniably true. Reports of abuse, unfair life sentences carried out by reluctant judges, and the continued growth of private prisons as a business are ubiquitous in nature.

    Personally, what makes this entire ordeal with the CCA and other private prisons so dubious for me, is that they do not wait for people to commit crimes to predict how many cells they will have to fill. The root of predicting this criminality starts by turning an eye towards childhood. Neil Gaiman, an English author popularly known for his children’s books, wrote an interesting, and eye-opening article in The Guardian. He underscores the importance of literature and education by prefacing, “Once in New York, I listened to a talk about the building of private prisons -- a huge growth industry in the U.S. The prison industry needs to plan its future growth -- how many cells are they going to need? How many prisoners are there going to be 15 years from now? And they found they could predict the answers very easily, using a pretty simple algorithm, based on asking what percentage of 10 and 11-year olds couldn’t read.” What a startling revelation. At a time where high school students are dropping out at such a high rate never seen before, education funding decreasing or being slashed altogether throughout the country, and America falling behind in education comparative to places like Japan, it is difficult to deny the correlation that exists between falling education rates and rising crime rates. Are we inadvertently putting our children in the crosshairs of the private prison industry? With America incarcerating people at five times the rate as the rest of the world (to put that in even more context, that is more people imprisoned than citizens in countries such as North Korea, Saudi Arabia, China, and even Russia), and with so many students dropping out and doing poorly on the Programme for International Student Assessment test (PISA), it’s a sad reality that puts the evils of the CCA in perspective. Moreover, poverty in the U.S. continues to grow at an alarming rate ever since the recession that started in 2008.

Due to this problem that the rich have created by subsidizing the utmost 1% of gains in the country, job opportunities for the “99%” disappear. Consequently, people become desperate and turn to selling and abusing drugs or getting involved in other criminal operations to support themselves and their families (who are either oblivious to this activity or have no power to stop it). When they eventually get caught, as they always do, they spend the rest of their lives going straight into the system that created those circumstances to begin with. Furthermore, with no access to money before turning to drugs, they were not able to get access to higher education -- reaffirming the correlation between low education levels and the likelihood of committing crimes. In a nation where everybody loves to talk about freedom, and how hard we had to fight to obtain it, we have done a superb, brilliant job at creating a for-profit modern day slavery nightmare.

1. Arcade Fire - Reklektor

I've been such a huge fan of Arcade Fire's material since I was a junior in high school. Their music, along with stuff like Radiohead, Modest Mouse, and The Smiths is what propelled me into more alternative music. Their earlier works were playful, yet meditative. Funeral fascinated me, and I fell in love with Neon Bible almost instantly. The Suburbs was weirder for me, and now I know why with the release of Reflektor. The band, just like me, has been maturing. Growing up. Reflektor is emotionally self-aware and fully realized. The lyrics are beautiful, and at times show hints of heartbreak. That's something that as a teenager, I just didn't comprehend; but as I continue to grow older and live life, so too do these guys. This is without a doubt their magnum opus and absolutely my favorite album of the year. James Murphy's (of LCD Soundsystem fame) taut production and neo-disco sound mixed with Arcade Fire's crunchy, dense indie rock style makes for a beautifully huge tour de force. Tracks like "We Exist", "Joan of Arc", and the self titled song are giants.

2. Kanye West - Yeezus

Back in May, when I saw Kanye on my television performing New Slaves and Black Skinhead on Saturday Night Live, I was mildly blown away. I'd always known about 'Ye, but I never took the time to fully explore his discography (of course, I knew all the songs that everyone is supposed to know). I felt a little weird getting to the Kanye game so late (my only exposure at the time being to Graduation and 808's & Heartbreak), but Yeezus was a game changer. Its production and industrial powered minimalism will allow easy comparisons to the work of Death Grips, but there's a glaring difference. Whereas MC Ride and Zach Hill's oeuvre is that of destructive beats and an almost nihilist take on music, Kanye balances the dichotomy with a huge heart. Though just as every bit as mean and gritty as stuff like The Money Store, Yeezus is emotionally devastating. It's intimate. It's absolutely fucking insane. "Blood On the Leaves", "Hold My Liquor", and "Bound 2" are my personal favorites. They're so mature (as 'Ye has always been) yet taking up some anger with the flaws of society (very evident in "New Slaves"). What an unbelievably excellent album.

3. The World Is a Beautiful Place & I Am No Longer Afraid to Die - Whenever, If Ever

TWIABP's full length debut album is a revelation. This album (and super talented band), along with many other bands in the emo genre, helped make talking about emo seriously relevant again. NPR, Pitchfork, and others go on and on about the emo revival. It's not hard to see why; these guys are young, intellectual, and ultimately, brutally human. Their style is very distinct and easily distinguishable from other emo groups (some of which out there suffer from sounding almost too alike). The synths, trumpets and strings -- and of course the unrelenting guitar work make these guys the cream of the crop. Whenever, If Ever, to be more specific on this issue, is a bit of a short album, but manages to break new ground in the indie rock field in just 10 tracks. There's way too many tracks to talk about what makes this album what it is, but at the end of the day (and the album!) it is "Getting Sodas" where TWIABP comes into their own and shows the world that they love what they are capable of. The first two and a half minutes of the song are reminiscent of the heavy guitar work found in such acts like Built to Spill or the rawness of The Pixies, or even Modest Mouse. It's easy to see how bands like those have inspired TWIABP; but the five minute curve ball sets them apart as their own persons that will prove to be inspiring to others. It's a dizzying labyrinth of groundbreaking emotional epiphanies.

This album changed me. It made me able to articulate what I feel. I knew how to feel my emotions and express them through singing along to all of these songs with my friends. (Other stand-out tracks: "Heartbeat in the Brain", "Gig Life", "Picture of a Tree That Doesn't Look Okay")

4. Yo La Tengo - Fade

They've done it again. The thing that makes Yo La Tengo so memorable for me, aside from their expansive style and seamless exploration of different genres (shoegaze, indie, punk, folk, ambient, etc.), is how Ira Kaplan and Georgia Hubley express the challenges of love and marriage in every album. It's been the undercurrent of all 14 of their albums (having been married before even starting YLT back in 1984). Here, in Fade, they're growing old together. They reflect on a life time of loving memories and mistakes made along the way. It's very beautifully done, really. What sets this album apart from its 13 predecessors (going up against such iconic releases as Painful, I Can Hear the Heart..., and Electr-O-Pura) is its grand, almost cinematic view. The album is divided in two parts (a theme not previously explored in their discography, either); one half done with electric guitar and savage drumming from Hubley (who's one of my all time favorite drummers). The other half a soft, acoustic style marked by raw emotion. With "Ohm" "Is That Enough?" and "Stupid Things" in the first half, they pose questions and admit wrong doings ("Every stupid thing I said") which lays out the emotional groundwork for the album overall. In the last tracks, though, they answer these questions and provide some real, tangible insight on their life. James McNew's bass-work here makes this album a masterpiece (he can do no wrong for me). The final song on the album "Before We Run" is a return to form from earlier in the album, bringing us full circle. It's a great closer. The drums slam in the backdrop of lovely trumpets and electric guitars. Where the second half of the album is sleepy and lowkey, this does its job well to bring us out of that romantic stupor. At nearly half a century old, Kaplan, Hubley, and McNew prove that they still got it -- and they're not going anywhere.

5. Deerhunter - Monomania

This album was a huge sleeper hit for me. I enjoyed it on my first few listens, but I didn't fully understand it in the way that I did Halcyon Digest, which, by all accounts, is the better album of the two. But here, they explore new territory. Their sludgy garage rock style, done only the way Bradford Cox can, is both fucking awesome and totally stymies me. Seeing them live in Boston a few months ago definitely helped me look at this release in a new light. Monomania is a great, unique addition to their catalog. "Pensacola", "Back to the Middle" and "Neon Junkyard" are my personal picks for the best tracks.

6. Low - The Invisible Way

Back in June, when I was in North Adams volunteering for Wilco's Solid Sound Festival, I was able to catch Low's excellent set. Their style, most commonly known as the "slowcore movement" has helped make this band mysterious. Seeing them perform songs off their new album seemed unreal. The Invisible Way, produced by Wilco's Jeff Tweedy in his famous loft in Chicago, is a beautiful and haunting portrait (of what remains mysteriously unsettling). The guitar work, as usual is moody, and the lyrics are deeply, personally profound. What Low has done best throughout their career, which is perfectly evident here in The Invisible Way, is bringing the listener down to the emotional nadir of a heavy heart. "Amethyst", "Just Make It Stop" and "Clarence White" are relentless. These guys are experts.

7. Yuck - Glow & Behold

When "Rebirth" was released as a single, I was very pleasantly surprised to see Yuck exploring their potential for shoegaze. It's a great track, but in the context of the entire album, seems a bit awkward. I wasn't sure what to expect from their new release with the departure of Daniel Blumberg, the original front man best known for absolute strokes of genius (which is evident in his 2013 release "Unreal" as Hebronix). But Yuck proves that they are more than their front-man. Their self-titled was a monstrous masterpiece that reminded critics of Pavement and Dinosaur Jr. Here, in their second release, they explode the pretensions expected of them from fans. Without Blumberg, the members that took more of a backseat approach before, now assume a new identity for Yuck. Atmospheric instrumentals contextualize what this album is all about, and songs like "Somewhere", "Middle Sea" and "How Does it Feel?" show hints of sadness and anger. In the self titled track "Glow & Behold", they explore some casual britpop sounds and go out with a bang by creating an abrasive two minute loop of raw guitar. However, it's no rival for Yuck's self-titled closer "Rubber"; an opus just as every bit as impressive as Yo La Tengo's extreme guitar workouts heard in masterpieces like "Blue Line Swinger". Overall, though? A damn solid release that makes me excited to see where they'll go from here.

8. Drake - Nothing Was the Same

Not a lot can be said for Drake, or this release, that hasn't already been said before. I will say, though, that Drake is emotionally precocious -- moreso than his contemporaries. That bleeds straight into style of rapping that makes his music so impressive and unique. "The American Dream", as silly and unattainable as it's become in the year 2013, is explored in NWTS. Drake worked his ass off to get where he is. To get the money he has. But is any of that enough? Well, according to the motif of this album, no, it's not. Something often forgotten about huge ambitions and the desire for wealth is where it leaves you once you've obtained what you set out for. Many times, relationships are slowly alienated over time or sabotaged altogether. Here, Drake accepts the depressing consequences of the choices he made. But he doesn't dwell on them. He calls out people that are imagined (and real) rivals, or opponents to his belief system, but does so maturely (and at times, hilariously). He has found a pensive medium and thus, a great album. It'll be fun to see what comes next in his career, because he shows that he's moving on from any mistakes he's made along the way (as he should). "Hold On, We're Going Home", "All Me", "Furthest Thing" and "Worst Behavior" are all amazing tracks.

9. The Flaming Lips - The Terror

What a fitting title for this release. "The Terror" is, simply and quite redundantly put, fucking terrifying. It's obvious that Wayne Coyne has been deeply, negatively affected by his recent divorce. It's a suspenseful album, too. Darkly droning guitars distort this album into something emotionally disturbing. The production, which is excellent, personally reminds me of the grittiness and tenacity of Nine Inch Nails. This is a fantastic album, though I try not to listen to it too often because it is so devastating. "You Are Alone", "You Lust", and "Look... The Sun Is Rising" have a je ne sais quoi about them. It is truly mystifying.

10. Vampire Weekend - Modern Vampires of the City

Modern Vampires of the City, is with no doubt in my mind, the single most fun release of the year. I've listened to it countless times this year (Pitchfork's "Best New Music" rating is definitely fitting). It's emotionally intelligent, the lyrics are endlessly clever and funny, and above all, it just seems so innocent and nice. Word play is effortlessly manipulated to tell a wonderful story of modern society and the history leading up to it. It also focuses on Ezra Koenig's personal (and maybe failed?) relationships, which is clear (and very sad) in "Hannah Hunt". In previous releases, the band's sound was upbeat and even a little naïve. Here, it's still quite upbeat, but there's almost an air of cynicism and melancholy to it; and hell, it works for them. Modern Vampires of the City is very easily their best, cultured effort yet. "Diane Young" is the weakest link in the album, but does do well to round it out. The best tracks, for me, are "Step", "Hannah Hunt", and "Ya Hey"; although they're all delightfully wicked.

Runner Ups:

Washed Out - Paracosm

Neko Case - The Worse Things Get, The Harder I Fight, The Harder I Fight, The More I Love You

Hann Cassady - Love Bites

My Bloody Valentine - m b v