Quotulatiousness

January 1, 2019

Whither European fine art?

Filed under: Europe, History, Media, Politics — Tags: , , — Nicholas @ 05:00

It’s apparently not just problematic because the vast majority of it was produced by dead white males, but it’s also now considered to be a totem of white supremacist beliefs:

“The Raft of the Medusa” (French: Le Radeau de la Méduse) by Théodore Géricault 1818-19, an oil-on-canvas painting measuring 491 cm × 716 cm (16 ft 1 in × 23 ft 6 in)
Louvre, image via Wikimedia Commons.

A Philadelphia-based art historian and curator believes exhibitions of European art in American museums should be “reconsidered” in light of “a surge in white supremacist violence” across the country.

Alexander Kaufmann says that “[b]ecause the centering of Europe is baked into the architecture” of museums, and “usually inhabit the largest and most central galleries,” people might not notice a connection to white supremacy.

“But white supremacists do,” he adds ominously.

“Europe’s cultural prestige is their evidence for the racial superiority of white America,” Kaufmann writes in Hyperallergic. White supremacists and white nationalists gather at museums because that’s “where Europe’s cultural patrimony is most visibly singled out as exceptional.”

White supremacy notwithstanding, American museums’ original missions — “provid[ing] instruction for the industrial classes” and helping the country achieve the goal of becoming the “noblest development of humanity” — have long required a response, Kaufmann argues, and the activism of groups like the Black Emergency Cultural Coalition and the Guerrilla Girls can provide just that.

“After the violence in Charlottesville, Charleston, and Pittsburgh,” Kaufmann says, “our encyclopedic museums must take steps within their galleries of European Art to combat white supremacist ideology.” (But are women who run around in gorilla masks “to expose gender and ethnic bias [and] corruption in politics, art, film, and pop culture” really part of a serious solution?)

Blog traffic in 2018

Filed under: Administrivia, Media — Tags: , , — Nicholas @ 03:00

As I try to remember to do every New Year, here’s a snapshot of the blog statistics gathered for me by the CyStats WordPress plug-in from 1 January to mid-morning 31 December (click to embiggenate):

As you can tell if you compare this to last year, CyStats have updated their UI so that relevant bits aren’t quite as easy to screencap.

Overall, the numbers are down a bit from 2017, but I still feel it’s worthwhile to carry on…

December 28, 2018

“Local 473 of the Amalgamated Union of Lone Wolves” strikes again

Filed under: Africa, Europe, Media — Tags: , , , , — Nicholas @ 03:00

Mark Steyn on the latest use of the ridiculous “lone wolves” excuse for terrorism:

A week before Christmas two young ladies from Scandinavia vacationing in Morocco – Louisa Vesterager Jespersen, 24, from Denmark, and Maren Ueland, 28, from Norway – were brutally stabbed and decapitated and then had the final moments of their lives uploaded as triumphal snuff videos to Facebook, Twitter, 4Chan and Reddit, the Four Horsemen of the Social-Media Apocalypse.

Fortunately, if you were thinking of getting a little nervous about your next holiday in the Maghreb, this bloody double-murder was the work of merely another “lone wolf”:

    In a press conference in Rabat yesterday, police and domestic intelligence spokesman Boubker Sabik labelled the suspects “lone wolves”…

Wait a minute: “lone wolves” plural? You mean, the wolf wasn’t lone? No, indeed:

    What ‘lone wolf’ gang did before Scandinavian tourist beheadings

There’s a whole gang of lone wolves?

    A motley crew of “lone wolves”, including two street vendors, a plumber and a carpenter, hunted backpackers to kill in the Moroccan mountains.

At last count, nineteen “lone wolves” have been arrested for the double-murder. That’s a rugby team plus bridge four of lone wolves. They’re the least lonesome lone wolves in town.

And are they really that “motley”? (See photo above for representative three-nineteenths of the lone wolf pack.)

For almost a decade, I have made mocking reference to Local 473 of the Amalgamated Union of Lone Wolves. But there’s no point to jokes, is there? Because, as absurd as they are, you wait a year or two and everybody’s doing them entirely straight-faced. The phrase “lone wolf” was created by the Pansy Media to ward off the suggestion that all these lone wolves might have something in common. Just as “all politics is local”, all jihad is lone. And, if you use the phrase often enough, it has such a pleasing anesthetizing effect you don’t even notice that you’re sitting there typing, perfectly seriously, about a gang of nineteen lone wolves.

Same number as the 9/11 hijackers, by coincidence. But we hadn’t yet taken refuge in such halfwit evasions.

Needless to say, the decapitation video went “viral”. Among those who were “spammed” with pictures of the severed heads were the mums of the girls, whose first Christmas without their beloved daughters was further enlivened by social-media enthusiasts posting snaps of the decapitated women to their mothers’ Facebook pages. But Big Social Brother knows its priorities: It was too busy banning Robert Spencer, whose Jihad Watch website is one of the few remaining outlets that doesn’t take refuge in platitudinous drivel about “lone wolves”.

December 25, 2018

Repost – “Fairytale of New York”

Filed under: Media, USA — Tags: , , , — Nicholas @ 02:00

Time:

“Fairytale of New York,” The Pogues featuring Kirsty MacColl

This song came into being after Elvis Costello bet The Pogues’ lead singer Shane MacGowan that he couldn’t write a decent Christmas duet. The outcome: a call-and-response between a bickering couple that’s just as sweet as it is salty.

December 23, 2018

Repost – Kate Bush – Christmas Special 1979 (Private Remaster)

Filed under: Britain, Media — Tags: , , , — Nicholas @ 02:00

Published on 5 Oct 2013

I know there’s a good few copies of this out on YouTube, but here it is, again! The other copies were either split up into individual tracks, the best complete one (from BBC Four’s rebroadcast in 2009) had the wrong aspect ratio, which annoyed the hell out of me! So, here this is…

Video and audio have been tidied up very slightly, not much was needed!

Kate Bush – Christmas Special
Tracklist:
(Intro) 00:00
Violin 00:29
(Gymnopédie No.1 – composed by Erik Satie) 03:44
Symphony In Blue 04:44
Them Heavy People 08:20
(Intro for Peter Gabriel) 12:52
Here Comes The Flood (Peter Gabriel) 13:22
Ran Tan Waltz 17:02
December Will Be Magic Again 19:43
The Wedding List 23:35
Another Day (with Peter Gabriel) 28:05
Egypt 31:41
The Man With The Child In His Eyes 36:21
Don’t Push Your Foot On The Heartbreak 39:24

“I was recently asked about this BBC TV special and I thought I’d share my comments here. Kate: Kate Bush Christmas Special is a stage performance by Kate Bush with her special guest Peter Gabriel. Though most of the songs are not holiday ones, they come from Bush’s first three albums (Never for Ever her third album would be released in 1980 after this 1979 TV special was taped). The performances include costumes, choreographed dances and a wind machine, creating an eclectic music TV special to say the least.

This is one of the programs that makes my research quite difficult — because it calls itself a Christmas Special yet it contains only one performance of a Christmas song “December Will Be Magic Again” (a song that wouldn’t be released as a single by Bush until the following year, in 1980). TV programming that calls itself a Christmas Special and yet contains little to no Christmas entertainment is actually quite common — especially on the BBC.

Between the end of November and the end of December each year, there is quite a bit of special programming on television. Remember Elvis’ 1968 Comeback Special — it aired in December that year and includes only one holiday song, a performance of “Blue Christmas.” Is it considered a Christmas special? No, not really. And so, despite its title, the lack of holiday programming in Kate Bush’s 1979 TV special means it shouldn’t be considered a Christmas special either. But the Kate Bush Christmas Special is certainly worth watching!”

H/T to Ghost of a Flea for the link.

December 21, 2018

Repost – The Monkees – “Riu Chiu” HD (Official Music Video)

Filed under: Media, USA — Tags: , , , — Nicholas @ 02:00

Uploaded on 15 Dec 2015

The Monkees perform “Riu Chiu” from Episode 47, “The Monkees’ Christmas Show”.

H/T to Kathy Shaidle for the link.

QotD: “Baby, it’s cold outside”

Filed under: History, Humour, Media, Middle East, Quotations, Religion, USA — Tags: , , , , — Nicholas @ 01:00

Speaking of immorality, MGM’s censors cut the wrong song. A few decades back, a young middle-class Egyptian spending some time in the US had the misfortune to be invited to a dance one weekend and was horrified at what he witnessed:

    The room convulsed with the feverish music from the gramophone. Dancing naked legs filled the hall, arms draped around the waists, chests met chests, lips met lips …

Where was this den of debauchery? Studio 54 in the 1970s? Haight-Ashbury in the summer of love? No, the throbbing pulsating sewer of sin was Greeley, Colorado, in 1949. As it happens, Greeley, Colorado, in 1949 was a dry town. The dance was a church social. And the feverish music was “Baby, It’s Cold Outside,” as introduced by Esther Williams in Neptune’s Daughter. Revolted by the experience, Sayyid Qutb decided that America (and modernity in general) was an abomination, returned to Egypt, became the leading intellectual muscle in the Muslim Brotherhood, and set off a chain that led from Qutb to Zawahiri to bin Laden to the Hindu Kush to the Balkans to 9/11 to the brief Muslim Brotherhood takeover of Egypt to the Islamic State marching across Syria and Iraq. Indeed, Qutb’s view of the West is the merest extension of “Baby, It’s Cold Outside” — America as the ultimate seducer, the Great Satan.

I’m a reasonable chap, and I’d be willing to meet the Muslim Brotherhood chaps halfway on a lot of the peripheral stuff like beheadings, stonings, clitoridectomies and whatnot. But you’ll have to pry “Baby, It’s Cold Outside” from my cold dead hands and my dancing naked legs. A world without “Baby, It’s Cold Outside” would be very cold indeed.

Mark Steyn, “Baby, It’s Cold Outside”, Steyn Online, 2014-12-01.

December 20, 2018

Remy: It’s Beginning to Look a Lot Like Christmas (EV Tax Credit Edition)

Filed under: Business, Government, Humour, Media — Tags: , , , , , — Nicholas @ 04:00

ReasonTV
Published on 19 Dec 2018

Government plays Santa Claus with your tax money.

—–
Subscribe to our YouTube channel: http://youtube.com/reasontv
Follow us on Twitter: https://twitter.com/reason
Subscribe to our podcast at Apple Podcasts: https://goo.gl/az3a7a

Reason is the planet’s leading source of news, politics, and culture from a libertarian perspective. Go to reason.com for a point of view you won’t get from legacy media and old left-right opinion magazines.
—–

Have a Tesla on your Christmas wish list? Don’t thank Santa — thank Tom in Ohio.

Parody written and performed by Remy. Video by Austin Bragg. Music tracks, background vocals, and mastering by Ben Karlstrom

LYRICS:

It’s beginning to look a lot like Christmas
Everywhere you go
Folks with six-figure salaries
Are shopping in galleries
With a gift card paid by Tom in Ohio

It’s beginning to look a lot like Christmas
Roadsters all around
And while Tom can’t afford a car
He’ll buy part of one for John
Cuz somehow that’s allowed

Well a black Model X and a tax credit check
Is the wish of Connor and Ken
And a dark Model 3 that is partially free
Is the hope of Bobby and Ben
While Tommy takes the bus and eats Vienna sausages

It’s beginning to look a lot like Christmas
Hear those sleigh bells ring
But what else could you expect
With a tax code so complex?
Ensuring just these things?

Yes a car with aplomb that’s, in part, paid by Tom
Is the wish of Victor and Von
A sedan that can drive and takes years to arrive
Is the hope of Lenny and Lon
While Tommy pinches pennies never flushing number one

It’s beginning to look a lot like Christmas
Soon the credits end
But the funniest sight to see’s
When typical for DC
They’re renewed again
Everything’s renewed again

Dropkick Murphys – “The Season’s Upon Us” (Video)

Filed under: Humour, Media — Tags: , , , — Nicholas @ 02:00

Dropkick Murphys
Published on 3 Dec 2012

Music video for “The Season’s Upon Us” from the upcoming album SIGNED and SEALED in BLOOD (out Jan 8).

Directed by Garrett Warren.

http://dropkickmurphys.com

December 19, 2018

Repost – “An ‘American tradition’ is anything that happened to a baby boomer twice”

Filed under: Humour, Media — Tags: , , , , — Nicholas @ 03:00

Hard to refute the latest xkcd take on Christmas music:

December 18, 2018

Repost – Induced aversion to a particular Christmas song

Filed under: Business, Cancon, Media, Personal — Tags: , , , — Nicholas @ 03:00

Earlier this year, I had occasion to run a Google search for “Mr Gameway’s Ark” (it’s still almost unknown: the Googles, they do nothing). However, I did find a very early post on the old site that I thought deserved to be pulled out of the dusty archives, because it explains why I can — to this day — barely stand to listen to “Little Drummer Boy”:

Seasonal Melodies

James Lileks has a concern about Christmas music:

This isn’t to say all the classics are great, no matter who sings them. I can do without “The Little Drummer Boy,” for example.

It’s the “Bolero” of Christmas songs. It just goes on, and on, and on. Bara-pa-pa-pum, already. Plus, I understand it’s a sweet little story — all the kid had was a drum to play for the newborn infant — but for anyone who remembers what it was like when they had a baby, some kid showing up unannounced to stand around and beat on the skins would not exactly complete your mood. Happily, the song has not spawned a sequel like “The Somewhat Larger Cymbal Adolescent.”

This reminds me about my aversion to this particular song. It was so bad that I could not hear even three notes before starting to wince and/or growl.

Back in the early 1980’s, I was working in Toronto’s largest toy and game store, Mr Gameway’s Ark. It was a very odd store, and the owners were (to be polite) highly idiosyncratic types. They had a razor-thin profit margin, so any expenses that could be avoided, reduced, or eliminated were so treated. One thing that they didn’t want to pay for was Muzak (or the local equivalent), so one of the owners brought in his home stereo and another one put together a tape of Christmas music.

Note that singular. “Tape”.

Christmas season started somewhat later in those distant days, so that it was really only in December that we had to decorate the store and cope with the sudden influx of Christmas merchandise. Well, also, they couldn’t pay for the Christmas merchandise until sales started to pick up, so that kinda accounted for the delay in stocking-up the shelves as well …

So, Christmas season was officially open, and we decorated the store with the left-over krep from the owners’ various homes. It was, at best, kinda sad. But — we had Christmas music! And the tape was pretty eclectic: some typical 50’s stuff (White Christmas and the like), some medieval stuff, some Victorian stuff and that damned Drummer Boy song.

We were working ten- to twelve-hour shifts over the holidays (extra staff? you want Extra Staff, Mr. Cratchitt???), and the music played on. And on. And freaking on. Eternally. There was no way to escape it.

To top it all off, we were the exclusive distributor for a brand new game that suddenly was in high demand: Trivial Pursuit. We could not even get the truck unloaded safely without a cordon of employees to keep the random passers-by from snatching boxes of the damned game. When we tried to unpack the boxes on the sales floor, we had customers snatching them out of our hands and running (running!) to the cashier. Stress? It was like combat, except we couldn’t shoot back at the buggers.

Oh, and those were also the days that Ontario had a Sunday closing law, so we were violating all sorts of labour laws on top of the Sunday closing laws, so the Police were regular visitors. Given that some of our staff spent their spare time hiding from the Police, it just added immeasurably to the tension levels on the shop floor.

And all of this to the background soundtrack of Christmas music. One tape of Christmas music. Over and over and over and over and over and over and over again.

It’s been over 20 years 30 years now, and I still feel the hackles rise on the back of my neck with this song … but I’m over the worst of it now: I can actually listen to it without feeling that all-consuming desire to rip out the sound system and dance on the speakers. After two three decades.

December 15, 2018

Season 3 of The Grand Tour to be the final one

Filed under: Britain, Media — Tags: , , , , , — Nicholas @ 05:00

The TV trio of James May, Richard Hammond and Jeremy Clarkson are giving up the show after the third season, due to begin in January, and will instead move on to “Hollywood budget” specials on Amazon Prime:

An emotional Jeremy Clarkson has revealed he will walk away from the studio car shows that helped turn him into a household name following the third series of The Grand Tour.

The outspoken presenter, 58, will give up on the traditional format employed by the hugely popular Amazon show and long-running BBC flagship Top Gear after more than 17 years.

However, fans needn’t be alarmed since Clarkson – joined by co-hosts Richard Hammond and James May – has inked a new deal with Amazon Prime for a fourth series of the show in a brand new format.

[…]

‘It’s a really sad day,’ Clarkson later told The Sun. ‘I will miss the banter with each other and with the audience. But we’ve been doing that show for effectively 17 years — sitting around in studios, watching cars race around the track.’

He added: ‘We all agreed that we’ve been doing it a long time and everything eventually runs its course. Besides, I’m 58 and I’m too fat to be climbing on to the stage.’

Clarkson, Hammond and May will now focus on a series of extravagant, big-budget specials over the next two years that will take them away from their usual studio environment.

I’m far from a petrol-head, but I’ve been a fan of Clarkson/Hammond/May for several years, and I still barely know anything about cars…

Twitter cannot hold her back – Titania McGrath speaks!

Filed under: Media, Politics — Tags: , , , , — Nicholas @ 03:00

Despite the patriarchal oppression of a Twitter permanent suspension, Titania McGrath will be heard:

My name is Titania McGrath. I am a radical intersectionalist poet committed to feminism, social justice, and armed peaceful protest. In April of this year, I decided to become more industrious on social media. I was inspired by other activists who had made use of their online platforms in order to spread their message and explain to people why they are wrong about everything.

This week the powers-that-be at Twitter hit my account with a “permanent suspension” (a semantic contradiction, but then I suppose bigots aren’t known for their grammatical prowess). This was the latest in a series of suspensions, all of which were imposed because I had been too woke. The final straw appeared to be a tweet in which I informed my followers that I would be attending a pro-Brexit march so that I could punch a few UKIP supporters in the name of tolerance.

Don’t get me wrong. I have always supported censorship. Major social media platforms have a responsibility to ensure that we are expressing the correct sort of free speech. Twitter’s decision to suspend Alex Jones, host of American website InfoWars, set the right kind of precedent. I fully supported this action because Jones is known for disseminating fake news and wild conspiracy theories. But the fact that I was also banned makes me think that Twitter were being secretly controlled by InfoWars from the very start.

Indeed, Twitter’s modus operandi appears to involve routinely silencing those who defend social justice and enabling those who spread hate. In my short time on the platform, I have regularly come across hate speech from the sort of unreconstructed bigots who believe that there are only two genders, or that Islam is not a race. It’s got to the point where if someone doesn’t have “anti-fascist” in their bio, it’s safest to assume that they’re a fascist.

The permanent suspension only lasted for a day, but the experience was traumatic and lasting. I now understand how Nelson Mandela felt. If anything, my ordeal was even more damaging. Mandela may have had to endure 27 years of incarceration, but at least his male privilege protected him from ever having to put up with mansplaining, or being subject to wolf-whistling by grubby proles on a building site.

They may have silenced the great Godfrey Elfwick, but thank goodness Titania McGrath can continue to point out the absurdities and inconsistencies of the wider world.

QotD: New Country music

Filed under: Media, Quotations — Tags: , — Nicholas @ 01:00

The Eagles, more than any actual country acts, are responsible for the current denatured state of “Country” music. “In the nineties,” says Considine, “a whole generation of Stetson-topped singers and pickers insisted that the Eagles were as much an inspiration as Hank Williams (if not more).” That jibes with my experience: It takes me ten minutes to figure out whether I’m listening to a country station or some reanimated corpse of KlassiK RocK.

Tim Cavanaugh, “Why Don’t You Come to Your Senses?”, Reason Hit and Run, 2005-03-30.

December 14, 2018

“Bohemian Rhapsody”

Filed under: Britain, Media — Tags: , , , — Nicholas @ 03:00

Colby Cosh on the media phenomenon of “Bohemian Rhapsody” … which, in his opinion, isn’t all that good as a song:

… Queen wasn’t really a four-piece; it was a pansexual mutant alien athlete-hero plus three ugly, highly talented Englishmen. And “Bohemian Rhapsody” almost isn’t a song so much as a captured moment. Considered as a song, there isn’t much to it except as a showcase for virtuosity: it’s not among Queen’s 20 best. And ordinary people can’t take a crack at “Bohemian Rhapsody” expecting to do it nicely and competently, in the way they might do “Blackbird” or “Wonderwall.” To be used for performance by the general public, “Bohemian Rhapsody” basically requires a roomful of drunks united in the ironic, non-judgmental spirit of karaoke.

Perhaps there is not much more to be said of “Bohemian Rhapsody” by way of explanation. Queen enjoyed trying on American hats from time to time (ah, if only Elvis had stayed around to receive the gift of “Crazy Little Thing Called Love”). But an American group could never have made anything that was weird in this particular way — wallowing in the pathos of a French gangster movie, then diving into a cryptic Dantean nightmare, piling up gestures and word-sounds into a unabashedly hokey panorama. There is no content at all to the thing, per se, except what the band members put into it as performers. In no way, I promise, will knowledge of Scaramouche’s place in the commedia dell’arte or the life of Galileo Galilei unlock some hidden layer of understanding.

“Bohemian Rhapsody” is an exquisitely made thing whose intricacy and beauty everybody can appreciate on more or less the same level. That is the special formula for mass popularity in all of the arts. They will tell you the Mona Lisa has a zillion layers of biographical or political meaning, but the painting really is what it is for everybody, and in roughly the same way. Every ordinary grownup can participate in the intimacy and the mystery of it, and it is not really a superior experience, as many great paintings might be, for somebody with a bundle of university degrees. As often happens I am reminded of Andy Warhol’s praise for Coca-Cola. “A Coke is a Coke and no amount of money can get you a better Coke than the one the bum on the corner is drinking. All the Cokes are the same and all the Cokes are good.”

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