The musical decline of Bruce Springsteen has been obvious for decades. The sanctimony, the grandiosity, the utterly formulaic monumentality; the witlessness; the tiresome recycling of those anthemic figures, each time more preposterously distended; the disappearance of intimacy and the rejection of softness. And the sexlessness: Remnick adores Springsteen for his “flagrant exertion,” which he finds deeply sensual, comparing him to James Brown, but Brown’s shocking intensity, his gaudy stamina, his sea of sweat, was about, well, fucking, whereas Springsteen “wants his audience to leave the arena, as he commands them, ‘with your hands hurting, your feet hurting, your back hurting, your voice sore, and your sexual organs stimulated!’”, which is how you talk dirty at Whole Foods. Remnick lauds him also for his “exuberance,” which is indeed preternatural. I was twice at The Bottom Line in August 1975 and I have never been in a happier room. But there is nothing daft or insouciant, nothing crazy free, about Springsteen’s exuberance anymore. The joy is programmatic; it is mere uplift, another expression of social responsibility, a further statement of an idealism that borders on illusion. The rising? Not quite yet. We take care of our own? No, we do not. Nothing has damaged Springsteen’s once-magnificent music more than his decision to become a spokesman for America. He is Howard Zinn with a guitar. The wounded workers in his songs do not have the authenticity of acquaintance; they are pious hackneyed tropes, stereotypical class martyrs from Guthrie and Steinbeck. Springsteen’s sympathy is genuine, but his people are not. His 9/11 and recession songs are bloated editorials: “where’s the promise from sea to shining sea?” His anger that “the banker man grows fat” is too holy: “if I had a gun, I’d find the bastards and shoot ‘em on sight” is not a “liberal insistence.” I prefer Dodd-Frank. The drawl in his voice is a production value, the grit a mannerism. A few minutes with one of Johnny Cash’s last records and it is impossible to take Springsteen’s vernacular seriously.
Leon Wieseltier, “Washington Diarist: A Saint in the City”, The New Republic, 2012-08-01
August 7, 2012
QotD: The musical decline of Bruce Springsteen
August 6, 2012
QotD: The modern British pub
With some shining exceptions, of which my own local is one, the pub is fast becoming uninhabitable. Fifteen or twenty years ago, the brewing companies began to wake up to the fact that their pubs badly needed a face-lift, and started spending millions of pounds to bring them up to date. Some of the results of their refurbishings have been admirable: more and more comfortable seating, improved hygiene, chilled beers, snack lunches that in general have reached such a standard that, when in quest of a midday meal in unfamiliar territory, you will usually find quicker service and much better value for money in the pub than in the near-by trattoria.
But that is about as far as it goes. The interior of today’s pub has got to look like a television commercial, with all the glossy horror that implies. Repulsive “themes” are introduced: the British-battles pub, ocean-liner pub, Gay Nineties pub. The draught beer is no longer true draught, but keg, that hybrid substance that comes out of what is in effect a giant metal bottle, engineered so as to be the same everywhere, no matter how lazy or incompetent the licensee, and, in the cases of at least two well-known, lavishly advertised brews, pretty nasty everywhere. But all this could be put up with cheerfully enough if it were not for the bloody music — or that kind of uproar having certain connections with a primitive style of music and known as pop. It is not really the pop as such that I object to, even though pop is very much the sort of thing that I, in common with most of the thirty- or thirty-five-plus age-group, would have expected to go to the pub to get away from. For partly different reasons, I should also object to having Beethoven’s Choral Symphony blaring away while I tried to enjoy a quiet pint with friends. If you dislike what is being played, you use up energy and patience in the attempt to ignore it; if you like it, you will want to listen to it and not to talk or be talked to, not to do what you came to the pub largely to do.
Kingsley Amis, Everyday Drinking: The Distilled Kingsley Amis, 2008.
July 19, 2012
The messy internal state of North Korea
Strategy Page on internal affairs of North Korea in the early stage of Kim Jong Un’s leadership:
China remains the foreign power with the most influence over North Korea, but that isn’t saying much. When given unwelcome advice from China, which represents nearly 80 percent of foreign trade and the only source of free food and fuel aid, North Korea still tends to adopt a suicidal attitude. For the northern leadership, it’s “death before dishonor” and that means Chinese demands, even backed by threats of aid cuts, are ignored. For this reason, China is believed involved in the current reorganization of the senior North Korean leadership. China has long developed friends and relationships among the North Korean elite. As corruption became more of a factor in the last decade, China knew how to cope. China is awash in corruption, and Chinese leaders have learned how to use it (even as they struggle to lose it). In effect, China’s decade-long effort to overwhelm the “old school” faction in North Korea appears to have succeeded. But the “old school” crowd are still numerous, scared and armed. This could get messy. This does not bother China, which has plenty of experience with messy.
In the last month or so North Korea’s new leader (Kim Jong Un) has removed hundreds of military and government officials and promptly installed younger replacements. Un has made it clear, in public announcements, that it’s time for a new generation. Many of the dismissed older officials were seemingly loyal to and supportive of Un, so this appears to be more a desire to shake up the leadership, than to purge opponents. Kim Jong Un isn’t doing this by himself, as he has a small group of advisors he relies on a lot. This includes his uncle, Jang Sung Taek, who is married to Kim Jong Ils sister. Jang has long been a powerful government official, and is believed to be quite wealthy. That’s because Jang has a lot to say about how North Korea earns (by legal, or illegal means) foreign currency. In a country so extremely poor, the man who controls the most money has a lot of power. Jang, for example earlier this year ordered house searches of families believed to be hoarding foreign currency (Chinese or American), rather than, as the law demands, putting it in the bank. People do not want to put their foreign currency in the bank because the government pays you less for it (in North Korean currency) than the black market money changers (who give fair market value). Jang understands how the North Korean economy really works, and is trying to increase government control over the “new economy.” Yang and his wife have a lot more knowledge of, and experience with, the North Korea government and economy than their nephew Kim Jong Un and, for the moment, they have his ear, and trust.
[. . .]
The food situation in the north is getting worse, with food prices (in the growing number of free markets) at record levels. Government distributions of food are declining. Worse, the government is printing more money, increasing inflation (because there’s now more money chasing the same amount of food.)
North Korean censors finally caught on to the fact that young North Koreans had been taking South Korean or Western popular songs, adding new lyrics that have a double (anti-government) meaning in the north, and spreading them widely. North Korea doesn’t have much Internet access, but there are memory sticks, CDs and floppy disks. Stuff gets around, and now the police have been ordered to crack down on a list of over 500 subversive songs. The cops love this sort of thing, as it creates plenty of new bribery opportunities. That’s because many of those involved in this music conspiracy are children of ruling families, and can afford a fine (rather than anger their parents by getting arrested.)
Update: In the Guardian, Paul Watson says we’re all sheep and ignoring the horrific crimes of South Korea and vilifying the peace-loving, friendly, warm-hearted North Koreans:
Reunification and conciliation are usually portrayed as South Korean concepts, while North Korea is seen as a closed state, hostile to such talk on “idealistic grounds” – a view perpetuated by media outlets’ lack of interest in all recent North Korean initiatives. In fact it is almost impossible to find any piece of positive European journalism relating to the Democratic People’s Republic of Korea (DPRK). The days of cold war pantomime journalism and great ideological battles might be over, but North Korea remains an area in which journalists have free licence for sensationalism and partiality.
The lack of western sources in North Korea has allowed the media to conjure up fantastic stories that enthrall readers but aren’t grounded in hard fact. No attempt is made to see both sides of the Korean conflict: it is much easier and more palatable to a western audience to pigeonhole the DPRK as a dangerous maverick state ruled by a capricious dictator and South Korea as its long-suffering, patient neighbour.
These roles are dusted off whenever there are flare-ups, such as the Yeonpyeong Island incident of 2010 when North Korea was condemned for firing shots at South Korean military and civilians in an “unprovoked attack”. It was not widely reported that South Korea had been test firing artillery in a patch of ocean that North Korea claims ownership of or that North Korea’s repeated demands for an explanation were ignored. While military intervention may not have been wise, it was far from the random act of hostility it was made out to be.
July 14, 2012
Discovering old favourites
I was delighted to discover last night that my favourite Quebec folk group has finally appeared in digital form on iTunes. I first heard the music of Barde in about 1978 and was immediately captivated by it. It’s a blend of Celtic music with a Quebec twist. Here’s their entry in the Canadian Pop Encyclopedia:
Richard Chapman (vocals, mandolin, banjo, dulcimer, guitar)
Toby Cinnsealac (aka Kinsella) (tin flute, tin whistle, recorders, clarinet, tambourine)
Pierre Guerin (vocals, acoustic guitar, accordion, concertina, flute, recorder)
Chris (aka Crilly) MacRaghallaigh (vocals, violin, keyboards, bodhran, tambourine)
Elliot Selick (violin, tin flute, tin whistle, banjo)
Ed Moore (bodhran, tambourine, concertina, tin flute, tin whistle, glockenspiel)
Jacques Joubert (violin; 1983)
Richard Paquette (keyboards; 1983)
Jocelyn Therrien (bass; 1983)This sextet from Montreal was formed in 1973 and found their brand of Acadian & Celtic reels and jigs popular around the Maritimes, Quebec and overseas in Europe. The group was known for its utilization of a twin Celtic fiddle sound courtesy of Crilly and Selick.
They signed to Polygram then to Direction Records, then to Flying Fish, and finally to Porte Parole. Their eponymous debut, Barde, was released in 1977. By their the second album, Images, in 1978 Chris Crilly had introduced keyboards in the form of synths and pianos. By 1983’s Voyage Selick had also left and the remaining members changed musical direction by incorporating keyboards bass and violin courtesy of studio musicians Jacques Joubert, Richard Paquette, and Jocelyn Therrien.
Pierre Guerin led a revamped Barde at the 10th Annual Winnipeg Folk Festival. The band finally disbanded for good shortly thereafter with Guerin marrying and settling in the St. Boniface region of Winnipeg. He became a disc jockey before becoming Artistic Director of The Winnipeg Folk Festival.
June 24, 2012
QotD: The kids really are alright
The phrase I use all the time is, “the kids are alright,” from the Who. It’s amazing to me, you know, I’m 54 years old, and it’s amazing to me watching my peers turn into these cartoons. They say, s*** like, “well you know, when we were kids we weren’t this rude, and we wouldn’t say this stuff. I would have never done this.” And it’s absolute f***ing bulls***, and we certainly have records going back thousands of years that adults always hate the younger generation. Adults always find a reason to hate people that are 20-years-old, and I don’t know why it is. Clearly and provably every generation gets better. Every generation gets healthier, smarter, more sophisticated, and that’s always been true. Twenty-year-olds are just better than us. Old people just can’t seem to get it through their heads that things are getting better and that’s wonderful. Not only do young people not have polio, not only are young people less racist, less homophobic, and less violent – not only is all that true, but they also have some really really cool art, and some of that art we don’t understand. The problem is a question of time.
You know, when I was 15, 16, 17-years-old, I spent five hours a day juggling, and I probably spent six hours a day seriously listening to music. And if I were 16 now, I would put that time into playing video games. The thing that old people don’t understand is – you know if you’ve never heard Bob Dylan, and someone listened to him for 15 minutes, you’re not going to get it. You are just not going to understand. You have to put in hours and hours to start to understand the form, and the same thing is true for gaming. You’re not going to just look at a first-person shooter where you are killing zombies and understand the nuances. There is this tremendous amount of arrogance and hubris, where somebody can look at something for five minutes and dismiss it. Whether you talk about gaming or 20th century classical music, you can’t do it in five minutes. You can’t listen to The Rite of Spring once and understand what Stravinsky was all about. It seems like you should at least have the grace to say you don’t know, instead of saying that what other people are doing is wrong. The cliché of the nerdy kid who doesn’t go outside and just plays games is completely untrue. And it’s also true for the nerdy kid who studies comic books and turns into this genius, and it is also true for the nerdy kid who listens to every nerdy thing that Led Zeppelin put out. That kind of obsession in a 16-year-old is not ugly. It’s beautiful. That kind of obsession is going to lead to a sophisticated 30-year-old who has a background in that artform. It just seems so simple, and yet I’m constantly in these big arguments with people on the computer who are talking about, “I would never let my kid do this and this in a video game.” And these are adults who when they were children were dropping acid and going to see the Grateful Dead. I mean, the Grateful Dead is provably s***ty music. It’s impossible – it’s theoretically impossible to make a video game as bad as the Grateful Dead. I throw that out there as a challenge.
Penn Jillette, “Penn Jillette Is Tired Of The Video Game Bulls***”, Game Informer, 2009-11-20
June 2, 2012
The Eurovision Song Contest and the European Union
Mark Steyn on the similarities between the top TV event in Europe and the EU itself:
One recalls the 1990 Eurovision finals in Zagreb: “Yugoslavia is very much like an orchestra,” cooed the hostess, Helga Vlahović. “The string section and the wood section all sit together.” Shortly thereafter, the wood section began ethnically cleansing the dressing rooms, while the string section rampaged through the brass section pillaging their instruments and severing their genitals. Indeed, the charming Miss Vlahović herself was forced into a sudden career shift and spent the next few years as Croatian TV’s head of “war information” programming.
Fortunately, no one remembers Yugoslavia. So today Europe itself is very much like an orchestra. The Greek fiddlers and the Italian wind players all sit together, playing cards in the dressing room, waiting for the German guy to show up with their checks. Just before last week’s Eurovision finale in Azerbaijan, The Daily Mail in London reported that the Spanish entrant, Pastora Soler, had been told to throw the competition “because the cash-strapped country can’t afford to host the lavish event next year,” as the winning nation is obliged to do. In a land where the youth unemployment rate is over 50 percent, and two-thirds of the country’s airports are under threat of closure and whose neighbors (Britain) are drawing up plans for military intervention to evacuate their nationals in the event of total civic collapse, the pressing need to avoid winning the Eurovision Song Contest is still a poignant symbol of how total is Spain’s implosion. Ask not for whom “Ding-Ding-A-Dong” dings, it dings for thee.
May 8, 2012
Celebrating the birthday of F. A. Hayek
And the sequel, which some think is even better than the original, Fight of the Century:
April 20, 2012
Reason.tv: Too Much Copyright
“This disconnect between the public’s view of copyright and fair use and what should and should not be prosecuted, versus the ‘copyright maximist’ view of the law, is our generation’s Prohibition,” says Ben Huh, CEO and founder of Cheezburger and a loud voice in the recent backlash to SOPA and PIPA, two congressional bills aimed at curbing internet piracy.
Copyright exists to “promote the useful arts” according to the Constitution. But is it still doing that? And should the government protect so-called “intellectual property” in the same way it protects other forms of property? Reason.tv posed these questions to Ben Huh, as well as a professor and a movie studio representative.
Tom Bell, a law professor specializing in property law, has serious reservations about attempts by groups like the Motion Picture Association of America (MPAA) to equate property and copyright through ad campaigns admonishing viewers with messages like, “You wouldn’t steal a car. Downloading pirated movies is stealing.”
“As soon as we start using [the word] ‘copyright’ for ‘property,’ we start taking less seriously our property rights for things like cars and houses,” says Bell. “When you steal a candy bar or a car, you’ve left somebody without something to eat or something to drive.”
April 14, 2012
April 3, 2012
Creativity as mainly hard work, plus a bit of talent and inspiration
As I’ve said before, I’m not at all a creative person but I’ve always admired those people who are creative. However, Jonah Lehrer suggests that perhaps I’m just lazy:
“Creativity shouldn’t be seen as something otherworldly. It shouldn’t be thought of as a process reserved for artists and inventors and other ‘creative types.’ The human mind, after all, has the creative impulse built into its operating system, hard-wired into its most essential programming code,” writes Jonah Lehrer in his new book Imagine.
In his book, Lehrer examines the inner workings of what we call imagination. He looks at the neuroscience behind sudden insights, how the brain solves different kinds of problems and which personal traits help foster creativity. He also shares how external forces factor into the creative process, how to design a workspace to enhance your chances of having an epiphany, why creativity tends to bubble up in certain places and how we can encourage our collective imaginations.
Above all, though, the message of Lehrer’s book is that creativity is not a super power. Anyone can be creative — it just takes hard work. “We should aspire to excessive genius,” says Lehrer, who took some time from his book tour to sit down with Mashable and answer a few questions about the mysteries of how we imagine.
[. . .]
Yo-Yo Ma says his ideal state of creativity is “controlled craziness.” How can we learn to harness that?
What Yo-Yo Ma is referring to is the kind of creativity that occurs when we let ourselves go, allowing the mind to invent without worrying about what it’s inventing. Such creative freedom has inspired some of the most famous works of modern culture, from John Coltrane’s saxophone solos to Jackson Pollock’s drip paintings. It’s Miles Davis playing his trumpet in Kind of Blue — most of the album was recorded on the very first take — and Lenny Bruce inventing jokes at Carnegie Hall. It’s also the kind of creativity that little kids constantly rely on, largely because they have no choice. Because parts of the brain associated with impulse control remain underdeveloped, they are unable to censor their imagination, to hold back their expression. This helps explain the truth in that great Picasso quote: “Every child is an artist. The problem is how to remain an artist once we grow up.”
April 2, 2012
New from The Guild: “I’m the One That’s Cool”
Music by Jed Whedon, lyrics by Jed Whedon and Felicia Day.
March 29, 2012
Violin cover of the “Norn Theme” from Guild Wars 2
Here you go .. Epic Guild Wars 2 Theme Cover before the game released! Ringtone will be uploaded soon. (i will post the link).
Alright alright , i know i am guilty. I should have uploaded video last month.Really I just study so hard.. Sorry about it.
Edinburgh may be killing the cultural golden goose
Tiffany Jenkins talks about the origins of the world famous Edinburgh Fringe Festival and the powers-that-be who seem to be determined to strangle it with red tape:
In 1947, eight theatre groups turned up to perform at the newly formed Edinburgh International Festival, an annual event established to celebrate and enrich postwar European cultural life. The theatre groups had not been invited, and were not part of the official programme. So instead they created a spontaneous festival on the side. Growing year on year, with the theatre groups encouraging others to participate, this alternative to the Edinburgh International Festival eventually established itself, in 1959, as the Festival Fringe Society.
Today, Scotland is home to some of the top cultural events in the world. Many take place in Edinburgh during the August months, attracting high-profile authors, artists, comics and theatre companies from all over the globe. At the heart of this cultural firmament is the Edinburgh Festival Fringe, an event now funded and supported by government and local councils. Yet, in a nasty twist, those very same central and local authorities, currently enjoying the prestige of being associated with a world-renowned festival of culture, are seemingly intent on stifling the spontaneous, do-it-yourself impulse that originally gave birth to the Fringe.
[. . .]
From 1 April 2012, it will become necessary to have a ‘Public Entertainment License’ to undertake any kind of public art in Scotland. Previously a licence was only required for events charging admission. Starting next month, even the smallest local events being run for free — say in a café or a bookshop — will require one, which must be applied for six weeks beforehand. This will include exhibitions in temporary places, gigs in record shops, free film screenings, music in pubs. You know, even really dodgy stuff — like poetry readings to 10 men and a dog.
Apart from the form-filling and curtailment of spontaneity — you cannot just ring around a few friends and suggest a performance at the weekend — this will cost money too. In the past, fees for a ‘public entertainment licence’ have ranged from £120 to £7,500, requiring several months’ notice to be given to the council and three weeks public notice. Nothing will happen without long-term planning. Small venues, like cafes, which support artists and performers by hosting free events, won’t be able to cover the costs. And they shouldn’t have to. Art doesn’t need a licence, and nor do we to enjoy it.
What we are seeing is the hyper-regulation of everyday life where anything we choose to do spontaneously and between ourselves is seen as dangerous or threatening. The authorities want to monitor, codify and regulate the most normal, everyday interactions and behaviour.
March 24, 2012
Al Stewart at last year’s Tawse Winery concert
This was a performance at Tawse Winery on June 18, 2011 for the winery’s 10th anniversary. Unfortunately, I couldn’t attend, as I was at the opposite end of Lake Ontario that day.
H/T to Dave Nachmanoff, who is performing with Al in this clip.
March 16, 2012
Copyright MathTM
Now remember kids: always buy your movies and other entertainment items legally. You’ll get this kind of experience:
And here’s the reason you pay for a legal copy, rather than being one of those evil pirates:
Update, 21 March: The actual numbers — “by an actual Copyright Mathematician” — behind the Copyright MathTM video.
