Wednesday, July 30, 2008

"Monsters, monsters from the id!"

While rummaging through movie classics recently, I ran across one of the greatest of science fiction films ever, Forbidden Planet. Released in 1956, it starred Leslie Nielsen as spaceship commander Adams, Walter Pidgeon as the mysterious Dr. Morbius*, and Anne Francis as his lovely, innocently wise daughter, Alta. Loosely based on Shakespeare's Tempest, no movie did more, in one stroke, to make science fiction a respectable genre.

Today, Forbidden Planet seems somewhat awkward. The original trailer didn't quite know what to do: proclaim it just another B.E.M. ("bug-eyed monster") movie, or pitch it "highbrow"? But its innovations make up a long list copied in obvious ways by almost all later movie and television science fiction. Looking for the origin of the Star Trek transporters and warp drive, or the suspended animation of Lost in Space and 2001? Looking for the origin of the whole Star Trek paradigm -- an Earth ship encountering humans stranded on an alien world, humans needing but not wanting rescue; or the familiar trio of captain, executive officer, and doctor? Looking for the origins of a sophisticated visual science fiction with literary roots? The origin of Star Wars' charming, superhuman robots? The sinister potential of advanced technology? Far-out electronic "space" music for a score? Here it is.

MGM knew what it was doing and spared no expense or care for detail. The production values were astonishing for the time. The robot later known as Robby was introduced by Forbidden Planet and would later make multiple movie and television appearances. Here he is an aloof but ever-helpful machine that (who?) can, from a small sample, make apparently endless supplies of anything desired. Reminiscent of his avatar Caliban, he is the remains of a race of superintelligent beings called the Krell, whose technology Morbius reconstructs and uses to enhance his own mind to superhuman levels. Glimpses of the Krell's technical achievements are thrown out to whet the audience's appetite. The only mystery is the why the Krell vanished.

The movie's most brilliant stroke is that the Krell and their likeness are never shown, only hinted at. Also never shown directly is the monster that kills several starship crew members and which is only glimpsed in one scene produced by some Disney personnel "lent" to MGM. A technique borrowed from horror flicks -- never showing the danger directly -- moves Forbidden Planet far beyond the staple sci-fi movies of the Fifties. The cinematography in Technicolor and the score entirely produced by electronics, not traditional instruments, reinforces these qualities.

The full force of the story doesn't kick you in the head until the last scene. Watching the detonation of the planet from far away, Anne Francis and Leslie Nielsen are left to contemplate the failure of a high civilization, the awesome Krell, whose technical mastery put them under the illusion that they had escaped their own animality.

POSTSCRIPT: The electronically-scored soundtrack is available on a separate CD, which was first released in 1986 for the film's thirtieth anniversary. A special two-disc DVD set was issued for the movie's fiftieth anniversary in 2006.

The score's creators, husband-and-wife team Louis and Bebe Barron, were not sure they were doing sound effects, or music -- until John Cage convinced them that it was music.
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* An interesting merger of "morbid" and "Möbius," as in the non-orientable Möbius strip.

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Saturday, July 26, 2008

Is modern art that bad?

Are the Philistines on the march over at the Guardian? Joe Queenan just published there a splenetic outburst against modern art. He doesn't seem to like much after about 1900. Terry Teachout does his own examination of Queenan's hostility at the Wall Street Journal. Complaints about modern art -- I don't mean just negative reactions to anything new, but sustained, visceral dislike for the modern -- are as old as modern art itself.

There is a problem with artistic modernism, especially music. But the problem is more recent than Queenan thinks and dates from the 1950s, not the 1900s. It is true that the "break" that defines modernism happened some time in the decade or so before 1914, and much of modern art's problem with the general public dates from those years. But the literature and visual art of that period have long since been been assimilated by both critics and the general public, and the same is true of most of its music. The later art of the 20th century has just been a working out of that moment: the breakdown of inherited realist, classical, and romantic esthetics.

Since 1945, the fates of the arts have diverged. Literature has proven the most conservative, largely abandoning the modernistic experiments of, say, Proust, Joyce, and Nabakov. There is widespread admiration for their achievements, but few serious imitators. Literature's close relation to time-bound narrative, reinforced by the ubiquity of movies and television, made that fate difficult to avoid. The visual arts suffered a different fate: widespread appreciation of and big money for signature breakthrough works. Still, there were fewer and fewer serious imitators and practitioners in the last century's concluding decades.

Something entirely different happened to music. While undergoing wrenching changes from the end of the nineteenth century -- the rise of commercialized popular music, the influence of non-Western musical cultures, the exhaustion of the classical-romantic paradigm -- Western "art" music was still vigorous down to the Second World War. The distinction between "popular" and "high" music had not yet become a chasm. Contrary to Queenan and other critics,* the twentieth-century repertory is second only to the nineteenth century's in being studied, played, and listened to.**

The true failure of modern art happened after 1945. The sheer destructiveness of the Second World War had multiple, devastating impacts on European centers of art, reinforcing the existing disruptions of war, revolution, and exile. Classical music, especially the core Romantic and Austro-German traditions, has taken its time recovering from the way it was misused by the collectivist movements and totalitarian states of the first half of the twentieth century. The straddling of popular and classical musical cultures, by the 1950s, seemed fatally compromised by either accusations of "selling out" or knuckling under to the agit-prop demands of "socialist realism." On the other hand, the unprecedented explosion of techniques and resources for popular music, starting in the late 50s, pulled audiences elsewhere. Then television miniaturized everyone's mind.

And something else went wrong in the decades after 1945: the academicization of once-radical artistic tendencies, especially Expressionism, a movement that started in Germanic countries as a reaction to the popular cheapening of Romanticism. Expressionism was a brief but potent episode of "hyper-romanticism," in the sense of validating the artist's expression of (usually negative) inner feelings, regardless of external form or audience comprehension. It's impossible to systematize such a tendency. The originating works of this movement have still not lost, and probably will never lose, their power to shock. Yet, starting in the 1920s with Schoenberg's twelve-tone technique, attempts have been made to reduce it to formula. Formulas enabled lesser talents to create lifeless imitations of something that can't be mimicked. Appreciation and artistic creation became mired in a familiar Germanic-academic tendency to load esthetic values down with a lot of heavy theorizing.† After 1945, the spread of higher education put this questionable and half-digested theorizing on everyone's dinner table, as it were.††

Esthetics begins and ends with the senses, not Theory.‡ The origins of modern Western art lie in the happy symbiosis of the inward feeling of the northern peoples (Germans, Celts, Slavs, and others) with classical notions of proportion, form, and timing preserved by the Italians and French. Modernism began to sprout in the late nineteenth century when that symbiosis broke down, and the Germanic and the non-Germanic went their separate ways.
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* Like Henry Pleasants, whose Agony of Modern Music (1955) is entertaining, right in many details, and wrong in the big picture.

** I use "nineteenth century" loosely, running from late classical (late Haydn, mature Mozart and Beethoven) through late romantic, bordering on modern (Mahler and Strauss). The "high" modern period ran from the 1890s until the 1950s, from Debussy through, say, Bartók and Bernstein.

† A complaint made earlier and more effectively by Tom Wolfe in his Painted Word and From Bauhaus to Our House. The Germans themselves have a nifty term, Augenmusik -- "music for the eyes" and not for the ears.

†† Perceptive readers will sense the tortured ghost of Allan Bloom and his prolix, controversial Closing of the American Mind haunting this posting. The trouble with Bloom's book is that he took twice as many words as needed to make his (largely valid) point.

‡ "... this blathering jargon, which so warms the hearts of philosophy professors ..." (Schoenberg himself).

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Thursday, May 08, 2008

Musical birthday boys

Yesterday was the 175th birthday of Johannes Brahms, one of the greatest Western composers, and one of my personal favorites.

It's hard to pick out a single work that represents him best, but A German Requiem, op. 45 (1868) is a good place to start. Not a conventional church-goer, Brahms completed this Requiem after the death of his mother and used vernacular biblical texts of his own choosing, rather than the traditional Latin text of the Catholic mass. In his case, the vernacular happened to be German. The Requiem was a musical watershed for Brahms, as it sealed his reputation as an equal of the greatest composers of the past. Among his non-vocal works, I can't think of greater examples than his Violin Concerto, op. 77, and the powerful F minor Piano Quintet, op. 34. More familiar are his ever-popular waltzes and Hungarian dances.

Brahms grew up in the German port city of Hamburg. The house was destroyed during the war, but a wonderful little museum run by the Johannes Brahms Society (Johannes-Brahms-Gesellschaft) now preserves his hometown memory. I visited there in 2002.

This year is also the centennial of the birth of the French modernist Olivier Messiaen. His intensely Catholic-mystical work only came to prominence after the war, during the heyday of the avant-garde, and so took time to find an audience. But Messiaen composed in a tonal, if eccentric, language some of the last century's most remarkable musical works. He served as the organist of Paris' Sainte-Trinité church for over 60 years, until his death in 1992. His later works, like the Turangalîla Symphony (1947), have only recently become more widely played.

But those came after Messiaen's most famous composition, written in a German prisoner-of-war camp in 1940, the Quartet for the End of Time. It is this weirdly beautiful piece, in eight movements, inspired by the singing of birds and the Christian Apocalypse, that introduces almost all music lovers to Messiaen. He wrote it for the instruments and performers he could scrounge together: piano, clarinet, violin, and cello. And fortunately, the prison commander was sympathetic: the work was premiered on a freezing January evening in 1941, as best they could manage. Surely, January 1941 in a German prisoner of war camp must have seemed like the end of time. But the title also refers to the innovative way Messiaen treats rhythm, much of the work lacking time signature or rhythmic repetition. The last movement seems to make time itself stand still.*

POSTSCRIPT: The Tashi Quartet, formed originally in 1973 to perform the Messiaen quartet, has reassembled to do it again, for the first time in 30 years, going on tour for the rest of the year.

POST-POSTSCRIPT: Music journalist and blogger Alex Ross has this 2004 article from the New Yorker about the quartet. Ross is author of the indispensable new history of modern music, The Rest is Noise: Listening to the Twentieth Century.
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* The full story of one of the last century's most famous musical works is recounted in Rebecca Rischin's For the End of Time, her wonderful "biography" of the Messiaen quartet and the people associated with it.

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Saturday, April 19, 2008

Little darling ...

... it's been long, cold, lonely winter. It has been, the longest, snowiest, and coldest overall and worldwide, in quite a while. And there's still that big Antarctica freeze-down going on Way Down Under.

The UN World Meteorological Organization has belatedly recognized what many meteorologists and ordinary people have been noticing for the last decade: apparently, the globe hasn't warmed since 1998. The trend has been a little more complex, I think: probably cooling slowly from the mid-90s to around 2003, then sharper cooling since then - all interrupted by a couple hotter, drier years 2000 and 2001, suspiciously around solar magnetic maximum. (The same happened in 1988-89, at the previous maximum.) Readers of this blog will not be surprised, either about the longer cooling trend or the short warming spells around solar magnetic maxima. The post-1998 seems to be connected to a re-sync-ing of the Earth's internal climate cycles, signaled most forcefully by changes in El Niño/Southern Pacific Oscillation (ENSO). Something similar going the other direction happened in 1977, apparently leading to a nearly two-decade warming spell.

I'll leave aside that little technicality about spatial averages of local thermodynamic variables like temperature being meaningless. A statistical proxy index doesn't have to be the temperature of anything (and it isn't) to still indicate a trend. What the trend means, is far less obvious than many people (including the IPCC) think.

Naturally, this frustrates my plan to write my mature masterwork, an Italian opera called Si Ricalda Il Globo. It's supposed to feature, as protagonist, the frustrated crown prince Alberto, so rudely pushed aside by the nouveau riche and less polished Arbusti clan from Texas. His scientific antagonist is Il Dottore Termale, played by a certain Christoforo, who enters with his dramatic baritone aria, "Non si fà la media delle temperature." Alberto also sings baritone, but more screechy. They're rumored to be twins separated at birth.

I guess I'll have to wait til the next warming spell.

POSTSCRIPT: Is Ted Turner senile? I guess only Jane Fonda knows for sure. Recently on the Charlie Rose show, he raved on about yestercentury's "crisis" of overpopulation and how we're all going to be eating other in a fit of cannibalism as it gets warmer and warmer. Nothing like crabby left-wing billionaires bloviating about a world they don't understand.

If it is cannibalism, let's eat the Left first and agree now to play my opera as background.

POST-POSTSCRIPT: But no cannibalism on Passover - chag sameach!

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Tuesday, January 15, 2008

The end of Europe? I

But it would seem that if despotism were to be established amongst the democratic nations of our days ... it would be more extensive and more mild; it would degrade men without tormenting them .... [T]his same principle of equality which facilitates despotism, tempers its rigor .... I think then that the species of oppression by which democratic nations are menaced is unlike anything which ever before existed in the world: our contemporaries will find no prototype of which will accurately convey ... the idea I have formed of it, but in vain; the old words "despotism" and "tyranny" are inappropriate: the thing itself is new; and since I cannot name it, I must attempt to define it ....

.... Above this race of men [would stand] an immense and tutelary power, which takes upon itself alone to secure their gratifications, and to watch over their fate. That power is absolute, minute, regular, provident, and mild. It would be like the authority of a parent, if, like that authority, its object was to prepare men for manhood; but it seeks on the contrary to keep them in perpetual childhood: it is well content that the people should rejoice, provided they think of nothing but rejoicing. For their happiness such a government willingly labors, but it chooses to be the sole agent and the only arbiter of that happiness: it provides for their security, foresees and supplies their necessities, facilitates their pleasures, manages their principal concerns, directs their industry, regulates the descent of property, and subdivides their inheritances - what remains, but to spare them all the care of thinking and all the trouble of living? Thus it every day renders the exercise of the free agency of man less useful and less frequent; it circumscribes the will within a narrower range, and gradually robs a man of all the uses of himself. The principle of equality has prepared men for these things: it has predisposed men to endure them, and oftentimes to look on them as benefits.
... [T]he supreme power then ... covers the surface of society with a net-work of small complicated rules, minute and uniform, through which the most original minds and the most energetic characters cannot penetrate, to rise above the crowd. The will of man is not shattered, but softened, bent, and guided: men are seldom forced by it to act, but they are constantly restrained from acting: such a power does not destroy, but it prevents existence; it does not tyrannize, but it compresses, enervates, extinguishes, and stupefies a people, till each nation is reduced to be nothing better than a flock of timid and industrious animals, of which the government is the shepherd.

I have always thought that servitude of the regular, quiet, and gentle kind ... might be combined more easily than is commonly believed with some of the outward forms of freedom; and that it might even establish itself under the wing of the sovereignty of the people. Our contemporaries are constantly excited by two conflicting passions; they want to be led, and they wish to remain free: ... they strive to satisfy them both at once. They devise a sole, tutelary, and all-powerful form of government, but elected by the people. They combine the principle of centralization and that of popular sovereignty; this gives them a respite; they console themselves for being in tutelage by the reflection that they have chosen their own guardians. Every man allows himself to be put in leading-strings [harness], because he sees that it is not a person or a class of persons, but the people at large that holds the end of his chain. By this system the people shake off their state of dependence just long enough to select their master, and then relapse into it again .... [T]hey think they have done enough for the protection of individual freedom when they have surrendered it to the power of the nation at large. This does not satisfy me: the nature of him I am to obey signifies less to me than the fact of extorted obedience.


- Tocqueville, Democracy in America (1838)

More than a year ago and several times since then (see here and here), Kavanna took a look at the situation in Europe and came to rather negative conclusions. But there's only so much a few blog postings can convey about this profound and many-sided topic. More comprehensive are the armful of excellent books on Europe that have appeared in the last few years: Bruce Bawer's While Europe Slept (2006), Mark Steyn's America Alone: The End of the World As We Know It (2006), and Walter Laqueur's The End of Europe: Epitaph for the Old Continent (2007). Laquer's book is a shocker, a sign that the trend is serious and no mere epiphenomenon. The author of the earlier Europe in Our Time: A History (1992) - a laudatory account of Europe's post-1945 reconstruction - Laqueur's view of Europe has obviously changed in recent years.

While all these books are important, Claire Berlinski has the distinction of kicking off serious discussion in the US with a stream of articles and her book, Menace in Europe: Why the Continent's Crisis is America's Too. Berlinski writes regularly for the Washington Post, National Review, etc., and now lives in Istanbul. She's even written a couple of well-received novels. Menace in Europe was published in late 2005. Nothing has happened since to lessen its validity and much that re-validates it.

Before starting with Berlinski's book, we need to clear away some myths that get in the way of informed discussion of contemporary Europe. There are three major misconceptions. One is that what's happening in Europe doesn't matter to America. This myth has some currency on the center and right of American politics. Two other myths are still widespread among American liberals and leftists. These are the "Europe is more sophisticated than America" myth and that stubborn urban legend, "It's all W.'s fault, and the problem will vanish when he leaves office." None of these myths is true.

What's happening in Europe does matter - Europe is the West's "other half," and if Europe fails, the United States will need a Plan B for many things. And what happens there is paralleled, in certain ways, by what happens here. Nor is it all, or even mainly, W.'s fault. European anti-Americanism has a history stretching back to the 1920s, to the immediate aftermath of part one of Europe's civilizational suicide. It surged in the 1970s and early 80s, died down afterwards, then reappeared in the late 90s, with globalization and Europe's glaring failure in Yugoslavia. While Bush's actions and political style have aggravated the problem, anti-Americanism has also dissipated somewhat compared to a few years ago - but it will not disappear when he leaves office. Fresh events and new personalities will keep the kettle boiling. As for European sophistication, read on and judge for yourself.

Part of the problem is that older Americans have a distorted picture of Europe picked up in the immediate postwar period, when much of Europe's traditional culture was still alive; and that all Americans have misleading experiences as tourists spending time admiring an older European civilization that isn't where and how most Europeans live today.

The most painful chapter of Menace in Europe is the one on Britain. It is, in part, an excursus on Britain's Muslims, largely of south Asian origin, and the heritage of British imperialism. But it also, by comparison, makes telling observations on Britain's non-Muslim former imperial subjects and why, upon immigration to Britain, they have so few of the problems that Muslims do.

The causes are partly socioeconomic: many, although not all, of Britain's Muslims come from villages; the other immigrant groups are overwhelmingly educated, urban, and middle class. The causes are also partly connected to the history of the Indian subcontinent, spanning the whole of British-ruled India before 1947 (encompassing modern India, Pakistan, and Bangladesh). Britain's empire in India was at first strictly economic-exploitative, run by the private East India Company, the same whose tea was dumped in Boston Harbor in a well-known incident. Later it became a political entity - an empire within an empire - created at the expense of India's minority Muslim rulers, the Mughals. The British Raj, first unwittingly, later wittingly, became a powerful force on behalf of India's Hindu majority, its non-Muslim minorities, and (after 1920 or so) its women.

This mixed Anglo-Indian heritage is visible today in India, but especially in Britain, where the south Asian Hindus, Christians, Parsees, and Sikhs do well, but the Muslims often do not. The baleful heritage of the Deobandi school of Islam, south Asia's verion of Wahhabi or Salafi Islam, sticks out clearly in this generation of anti-assimilated south Asian British Muslims and their attraction to Islamic militancy.

Berlinksi's most fun chapter is that on the French port city of Marseille. Although it might surprise some of her readers (it shouldn't), her evaluation of France, the French, and France's secular republican ideal is very positive, even as she acknowledges that that ideal has probably outlived itself and met an insuperable barrier in the form of Islam.

Affectionate yet disapproving is her other chapter on France, an extended and satirical take on antiglobalization activist José Bové, exposing the layers of Europe's mystical and apocalyptic movements that stretch back 1500 years, to the origins of modern Europe. Here we are treated to the successive reincarnations of the charismatic romantic mystic, with his striking eccentricities and strong sex appeal. Until the 18th century, they were religious revolutionaries, proclaiming the coming of heaven on earth, the abolition of wealth, rank, and distinction, and (before the Reformation) demonizing the Jews as the people of Satan. The first modern (secular) revolutionary of this type was Rousseau, the founder of leftism and creator of the "noble savage" myth - the origin of all politics of adolescent rage against modern civilization. Modern Europe's angry, mystical political movements are secularized re-creations of these older religious movements, with virtually the same themes.* The chapter is a mixed-mood piece because Berlinski herself feels disturbed by the anonymous nature of globalization and questionable nature of modern factory farming and food production, harmful to animals and sometimes to humans. The spectacular British case of "mad cow disease" just underscores the point.**

The mosht dishtuurbing chapter is that covering Germany and its famous heavy metal band, Rammstein. (They're all over the Web - see here.) Berlinski uses Rammstein as a foil to explore the return of nihilistic late Romanticism - Expressionism - as a feature of German kultur. This is a crucial theme in modern German history, Germans as the people of nihilism and the people of Faust. Important German thinkers (Goethe, Nietzsche, Thomas Mann) were themselves acutely aware of this aspect of "national personality." You can't imagine Rammstein's songs sung by anyone, say, French or Italian. British and American heavy metal bands are about personal rebellion and angst. But in Germany, where music exposes the national soul, juvenile angst is automatically political, with an unmistakable esthetic familiar from the 1930s and 40s.

While French, British, and American Romantic tendencies have usually taken the form of personal rebellion, and its political form consists of delusional searching for the noble savage somewhere else - among workers, brown and black people, or among animals - in Germany, Romanticism was xenophobic from the start: the German Romantics decided that they didn't need to look elsewhere for noble savages. Rather, they felt that the Germans themselves were the noble savages, possessing deep Germanic "culture" in opposition to the superficial and materialistic Anglo-Franco-American "civilization" or the "mere barbarism" of the Slavs. This view, increasingly important in the 19th century, became, after 1918, the sickness of much of German-speaking Europe. In exploring this history, Berlinski's personal venom is evident here, understandable given her family's history in Germany. This disapproving chapter is not at all affectionate.

Germany sadly remains a crime scene still cordoned off after all these years, with people continuing to stand around and wondering what the hell happened. Germany's civilized and semi-civilized neighbors have all peered into the gloom of the dark Teutonic forest. They squint and scratch their heads.

Berlinski's final chapter, "To Hell with Europe," seems flippant at first sight. But she doesn't mean, to hell with France, or Britain, or Germany, etc. Her point is the "persistence of national personality." When she writes "to hell with Europe," she means just that: to hell with the false unity of the EU, the pretense that Europe's real nations have been made to go away, and that Frenchmen, Britons, Germans, etc., are now all just Europeans.

The modern West has its origins in the Dark Ages that immediately followed the collapse of the western Roman empire, which was replaced with a variety of what historians once called "petty kingdoms, dukedoms, and principalities." Europe in some ways has never left that state. The barbarian peoples - the Celts, the Germans, and later, the Slavs and others - rebuilt civilization from what was left in the Roman wreckage, including the Church. Modern Europe has rejected these sources of its civilization, leaving an immense spiritual, cultural, and political void. Into the void step what Berlinski calls "black-market religion" (Bové) and "black-market nationalist hate/nihilism" (Rammstein). No pan-European unification project since the end of the Roman Empire has succeeded - not the Catholic Church, the Holy Roman Empire, the Hapsburgs, the Bourbons, Napoleon, Hitler, or the Communists - in spite of the attractive appeal of new religions and utopias. In reminding her readers of these facts, Berlinski is passing on an essential perception of modern Europe's history, its arc from origins to finish.

Berlinski recommends some sensible changes as a necessary start to saving Europe - none of them is original, as she acknowledges: reforming its deadly economic mix of overregulation and unsustainable entitlements; dealing with Islamic extremists - both as individuals and institutions - in a more consistent and punitive way; applying Western legal and social standards equally to Muslim men and women without apology. (This is one of a number of her points of admiration for the French, whose policy towards Islamic radicalism is one of zero tolerance.) Major changes will happen soon: Europe's social democratic systems will either be reformed or collapse; its demography will change dramatically in the next generation; the political unification project will fail. Some of these changes are already starting. Other possibilities are more speculative.

Menace in Europe has a fragmentary form, which might at first make it seem like a jumble. But its thematic and stylistic unity is powerful; Berlinski grabs her readers and shakes them, saying "See?" and "See?" She has a Web site of her own, and you can listen to a podcast interview with her here.
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* I mean identical in some cases. For example, the program of the anonymous German Revolutionary of the Upper Rhine, circulating in manuscript just before the Reformation, called for the expulsion or extermination of the Rhine Valley Jews, the end of Germany's economic relations with the outside world, the independence of a unified Germany from the Papacy, and the creation of a new religion mixing Christianity and a restored pantheon of old German gods. Reading it, you get confused: is it from 1500 - or 1933?

Then there's Joachim from the Italian town of Flora: his speculative tripartite theory of history, published in manuscript around 1300, postulated a three-stage historical evolution leading to an Age of Pure Spirit, where everyone would be living equally in a barracks or a monastery. The tripartite stuff sounds a little like Hegel and a lot like Marx; the equality of the barracks and the monastery, like the pre-Marxian socialists whom Marx himself ridiculed as "utopian."

In laying bare the religious and utopian origins of the modern West's extremist political movements, Berlinski and the rest of us are profoundly indebted to the works of Norman Cohn, especially his classic In Pursuit of the Millenium (1957). Cohn's work explodes the claim that these modern movements made about themselves, that they were "scientific," "progressive," or "enlightened." There's nothing scientific or enlightened about Marxism or race theories; these movements repackaged tribal, mystical, and apocalyptic ideas in a superficially modern garb of pseudoscience. Environmentalism bears strong traces of the same.

** Consider too America's industrialized food production, with its heavy use of subsidized corn, bestowing upon us the dubious blessings of corn syrup, corn feed, and ethanol.

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Friday, November 23, 2007

Geek love

Once upon a time, music was packaged and sold to people on flat, flexible discs made of hard vinyl. The music was encoded (this was way before anything digital) by being converted to grooves etched on the vinyl surface. People played the music back on what were called "record players," which required hard needles made of diamond to run through the grooves and convert their bumps and wiggles back to music. You didn't download the music or order it on Amazon; you had to go to something called a "record store," where crates and crates of these vinyl discs were carefully stored in cardboard and plastic.

Along the way, some pretty strange vinyl "records" were made. Frank's Vinyl Museum collects them, at least virtually, for your amusement or, depending on your age, nostalgia.

Speaking of nostalgia, some of you might be old enough to remember another pre-digital device, the Etch-a-Sketch. It all lives again on the Web, as MyDrawings.com.

And, the Thanksgiving, was good, no? I mean, for you, not the turkey.

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Wednesday, October 17, 2007

A look back at Hopper

A short tribute to American artist Edward Hopper appeared in this space a couple months ago, following the opening of the retrospective exhibit of his work at Boston's Museum of Fine Arts. The retrospective is now on the road, showing currently at the National Gallery of Art in Washington, then moving to Chicago's Art Institute in January. Art and culture critic Martha Bayles of Boston College has written her own tribute to Hopper as a review of the exhibit.

The theme in her tribute is "painter of light," and that Hopper certainly is. Bayles' perceptive realization is that Hopper was a painter of light - the real thing and very difficult to capture on the canvas - and of not lighting. No one who has seen his paintings in the original can disagree. The origin of Hopper's early mastery of light is his native New England summers and autumns. This light is brilliant for a few months, but becomes unique in its mixture of shallow angle and distinctive landscape in fall and early winter.

The most common perception of Hopper's paintings is their strikingly absence of people in some cases, and their apparent alienation and lack of connectedness in others. All of them seem to be listening to something, but not to each other or to us. They also communicate a very American sense of transience and alienation. A sense of openness and possibility, but with people never seeming to quite fit in, is American as apple pie, although Americans often have a hard time recognizing it - Europeans and others usually sense it more quickly. It's a similar quality that Dvořák captured in the slow movement of his Ninth Symphony (From the New World). Amid the famous spiritual and Indian chant melodies, the movement unwinds into a musical "night on the plains," with its bright stars, distant lights and trains - and no one for miles.

If you're in Washington or Chicago during the Hopper retrospective, don't miss it.

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Monday, September 24, 2007

Classical music podcasts

The Web continues to revolutionize the way information and culture are delivered. What used to be prohibitively expensive can now be done quickly and easily. If the lawyers and established recording and broadcasting industries would get out the way, even more amazing things would happen.

The Isabella Stewart Gardner Museum in Boston has a wonderful live classical concert series, which they're starting to make available by podcast. Find out more here.

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Saturday, September 15, 2007

Jammin' in Jerusalem

One sign of how safe Israel is now (unless you're crazy enough to drive on Israeli highways) is the steady stream of popular music performers visiting. The latest are the Black Eyed Peas. They rocked Jerusalem. And they're right about Israeli girls. When you add small arms to the picture ... hmm ... when I was 24, an Israeli female solider + M-16 just did something to my brain I sort of remember, but no longer completely understand. Probably I didn't understand it then :)

Rockers have been returning to Israel since late 2003, when Madonna - sorry, Esther, now that she's frum - came for her Kabbalah-Palooza. She's returning soon and will be staying Safed (Tzfat). Whatever you think of Madonna's music, her once-trashy personal life (she's settled down now and virtually respectable), or the strange mystical group (is it just a money-making scheme?) she's now into, she has done good things for Israeli tourism.

The last big-name act to perform in Israel was Nine Inch Nails. Read about them here in the Jerusalem Post.

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Saturday, April 28, 2007

Saved by satellite radio?

Not so fast.

Those of us searching for better radio and a replacement for the degenerating broadcast radio industry have long been intrigued by satellite radio. You subscribe, and there are no ads - not even "sponsors" the way NPR has. Transmitted on much higher frequencies (shorter wavelengths) than broadcast AM and FM, satellite radio has bandwidth to burn and therefore huge potential for variety and satisfying every niche taste. The move towards a single technical standard, with inexpensive receivers installed in new cars, could make satellite, not broadcast, radio the new norm.

But alas, satellite radio has its enemies, in the form of the National Association of Broadcasters, a classic special interest group acting on behalf of existing broadcasters to attempt to squash improved radio via competition. And satellite radio has been hobbled by some of its own self-inflicted wounds. Radley Balko of Reason magazine reports.

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Tuesday, April 10, 2007

Classical music radio R.I.P.

Is there any industry in America more confused than broadcast radio? Here's what the Washington Post's Howard Kurtz has to say:

All these folks (including me) are paying for satellite [radio] because they're tired of cookie-cutter radio formats stuffed to the gills with commercials. They're also fed up with focus-grouped music stations that play the same 60 songs until you start hearing the chords in your sleep.

And local radio stations covering news? There are a few across the country. For the rest, forget about it.

Really, can you think of an industry (okay, maybe American automakers) that has frittered away such huge advantages and sent its customers scrambling for alternatives?
Guess not. One of the really distressing aspects of this overall decline of broadcast radio is the decline of classical music radio. One station after another of this venerable industry is being sold to create yet another unneeded sports or top-40 station. Each of these stations will be chasing the same stagnating pool of advertising revenue and drive away more listeners.

The most recent casualty is Washington's WGMS, once a flagship of classical radio. It switched for good from classical broadcasting in January. (Fortunately, public radio WETA took over WGMS' call letters and repeater and switched back to classical from its former news-talk format. And Baltimore still has the great WCJB.)

WGMS follows hard on another recent causalty (wounded, not dead - yet), Boston's WCRB, which recently switched to a different frequency, lower power, and programming even more dumbed down than the recent trend in classical radio, which was bad enough. When the big classical radio audience changes happened in the 70s and 80s, the trend was to eliminate opera and obscure works. Short works were in demand for drivers in the morning and afternoon rush hours. But in the 90s, the trend got much worse - longer, more difficult, or lesser-known works of all types were eliminated at all hours, and the playlist reduced - like the pop playlists - to the same 40 or 50 works, repeated incessantly, along with ever growing time devoted to ads. Whole works are now being cannibalized for movements - anything that can be played in under 10 minutes.

The obvious explanation, changes in audience, is off the mark. The same trend is visible at non-commercial public radio stations, which have been dropping their jazz and classical programming in favor of more and more news and talk, even when listeners don't want it. The problem is the people running the industry: in the commercial sector, they will not budge from the totally safe formula; in the public sector, they won't give up the pretense of 'round-the-clock "serious" journalism. You can't fill 24 hours in the day with "serious" journalism - there isn't enough to go around. But you can fill it up with music - not just the standard composers and works, but lots of beautiful lesser knowns as well.

The result will be what Kurtz predicts: listeners will jump ship to satellite or Internet broadcasts as soon as they can. There's no evidence that listeners want more news, more ads, or the same playlists repeated ad infinitum. FM was once a haven for better-quality broadcasting, but the same forces that destroyed AM are now destroying FM too.

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