Image of the month: Stop

ZZTOP364 (3252)

First-time listening for July, 2007

17395. (Aztec Cam­era) Stray
17396. (Johannes Brahms) Piano Trio #1 in B, Op.8
17397. (Johannes Brahms) Piano Trio #2 in C, Op.87
17398. (Johannes Brahms) Piano Trio #3 in C Minor, Op.101
17399. (Johannes Brahms) Piano Trio #4 in A, Op. Posth.
(Homayun Sakhi) The Art of the Afghan Rubâb:
. . . . 17400. (Homayun Sakhi) Raga Mad­hu­van­ti
. . . . 17401. (Homayun Sakhi) Raga Yaman
. . . . 17402. (Homayun Sakhi) Kataghani
17403. (Karol Szy­manows­ki) Vio­lin Con­cer­to #1, Op.35
Read more »

READING – JULY 2007

15105. (Joseph-Charles Taché) Des provinces de l’Amérique du Nord et d’une union fédérale
(Stephen Lea­cock) Non­sense Nov­els:
. . . . 15106. (Ross Behar­riell) Intro­duc­tion [pref­ace]
. . . . 15107. (Stephen Lea­cock) Author’s Pref­ace [pref­ace]
. . . . 15108. [2] (Stephen Lea­cock) Mad­dened by Mystery:or the Defec­tive Detec­tive [sto­ry] Read more »

FIRST MEDITATION ON DEMOCRACY (written Wednesday, July 25, 2007)

All philoso­phies stand on choic­es that can­not be jus­ti­fied by proof. Any ama­teur Socrates can demon­strate that I can’t prove that two and two are four, or that free­dom is desir­able, or even that I exist. Ulti­mate­ly, ideas, no mat­ter how pas­sion­ate­ly held, rest on assump­tions that can­not be known with absolute cer­tain­ty. It does not fol­low from this that we should avoid act­ing on sig­nif­i­cant assump­tions, or that we should aban­don the analy­sis of ideas. If I’m stand­ing in the mid­dle of the street, and see a twelve-ton truck hurtling in my direc­tion, I don’t stand there, par­a­lyzed by epis­te­mo­log­i­cal uncer­tain­ty. I jump out of its way. Lat­er, seat­ed on a com­fort­able couch, with a cold beer in my hand, I might indulge in the lux­u­ry of reflect­ing that the truck may have been an illu­sion, or that I can­not prove with cer­tain­ty that being hit by a truck is worse than not being hit by a truck. All of us must choose our basic assump­tions, either in a con­scious process, guid­ed by rea­son, or uncon­scious­ly. Read more »

Sandy Scofield

One of the finest singers in West­ern Cana­da, Sandy Scofield glides effort­lessly from her Métis and Cree musi­cal roots into a high-lev­el syn­the­sis of jazz, blues, rock and pop. Long known in abo­rig­i­nal music cir­cles, she deserves to break out into the glob­al music scene. Her music is orig­i­nal, refined, and intel­li­gent. I pos­sess three of her four albums, Dirty Riv­er (1994), Riel’s Road(2000), and Ket­wam (2002). I have yet to hear all of this year’s release, Nikawiy Askiy, but I’ve heard three songs from it, and they clear­ly indi­cate that her musi­cal evo­lu­tion is con­tin­u­ing with­out hin­drance. Riel’s Roadis prob­a­bly the best intro­duc­tion to her work, open­ing with the stun­ning “Beat the Drum (Gath­er­ing Song)”, and going on to explore emo­tion­ally the after­math and con­se­quences of the most dra­matic events in post-Con­fed­er­a­tion Canada’s his­tory, the Métis upris­ing and death of Louis Riel. How­ever, most of the songs on this album have a folk-jazz feel­ing. On Ket­wam, which focus­es on much more tra­di­tional abo­rig­i­nal-métis mate­r­ial, she col­lab­o­rates with the vocal trio Nit­si­wakun, of which she is one mem­ber (the oth­er two are Lisa Saza­ma and Shak­ti Hayes), with fid­dle Daniel Lapp, and with vocal­ist Win­ston Wut­tunee. The Cree-lan­guage songs are the most pow­er­ful. The album is tru­ly col­lab­o­ra­tive. Some are the finest moments belong to Hayes on “Nit­si­mos” and to “Wut­tunee” on “Tap­weh” (a tra­di­tional round dance that would fit in at any west­ern powow).

(Cordwainer Smith) You Will Never Be the Same

07-07-23 READ (Cordwainer Smith) You Will Never Be the SameAs the num­bers in brack­ets indi­cates, I’ve read all the sto­ries in this book sev­eral times. I read Cord­wainer Smith when­ever I want to be remind­ed of what Sci­ence Fic­tion once was: a field in which intel­lect, imag­i­na­tion, and artis­tic integri­ty com­bined to tran­scend the lim­i­ta­tions of con­tem­po­rary cul­ture. Nobody was bet­ter equipped to think uncon­ven­tion­ally than was “Cord­wainer Smith”, who was real­ly Paul Myron Antho­ny Linebarg­er. Amer­i­can born, but raised in Chi­na (where he was known as 林白楽 [Lin Bai-lo] ), France and Ger­many, Linebarg­er was at var­i­ous times a spy, expert in psy­cho­log­i­cal war­fare, aca­d­e­mic, and advis­er to the White House on Asian affairs (though refus­ing to be involved in the Viet­nam War). He was, odd as it seems, Sun Yat-sen’s god­son, and nego­ti­ated inter­na­tional treaties when he was teenag­er. Yet his iden­tity remained a secret to the sci­ence fic­tion com­mu­nity when his sto­ries appeared in the magazines.

The sto­ries he wrote were far in advance of their time. In 1945, these words appeared at the begin­ning of “Scan­ners Live In Vain”:Mar­tel was angry. He did not even adjust his blood away from anger. Read more »

Friday, July 13, 2007 — Cheering News

Three very pleas­ant items in tonight’s news.

Crim­i­nal financier Con­rad Black, who is also a mem­ber of the British House of Lords, has been found guilty on four counts (rack­e­teer­ing, obstruc­tion of jus­tice, mon­ey laun­der­ing, and fraud) in a Chica­go court, and may face prison time. While he is prob­a­bly not a big name in the Unit­ed States, and the tri­al drew only mod­er­ate cov­er­age from Amer­i­can media, it was fol­lowed with great inter­est in Cana­da, where he has been despised by most decent peo­ple for decades. Read more »

15132. (Marshall Kirk & Hunter Madsen) After the Ball: How America Will Conquer Its Fear and Hatred of Gays in the ’90s

This fas­ci­nat­ing book dates from 1989, when the Gay Rights move­ment was in con­fu­sion and trans­for­ma­tion. The authors, who came from a back­ground of neu­ropsy­chol­ogy and math­e­mat­ics (Kirk), pub­lic rela­tions and adver­tis­ing (Mad­sen), where among the minor­ity of gay intel­lec­tu­als who felt that the stag­na­tion that their cause had suf­fered dur­ing the resur­gence of reli­gious fun­da­men­tal­ism in the U.S. owed more to flaws and fail­ures in the gay com­mu­nity than to the strength of its ene­mies. They felt that there was a clear­ly trod­den path by which despised minori­ties had his­tor­i­cally won a place in Amer­i­can soci­ety, and that their gen­er­a­tion of gay activists had failed to fol­low that path, and become their own worst ene­mies. In ret­ro­spect, much of their argu­ment now seems com­mon sense. Con­sid­er­able progress has been made in this area (though much more in Cana­da than in the Unit­ed States), and it has been made large­ly by the growth of a new mind­set among gays. Kirk and Mad­sen pre­saged this new mind­set. Read more »

15131. (Jules Verne) Le château des Carpathes

07-07-12 READ 15131. (Jules Verne) Le château des Carpathes pic 1This is a minor work by Jules Verne, but it enter­tained me great­ly because it’s set in Tran­syl­va­nia, where I have just been hik­ing and tour­ing. In fact, the main action takes place pre­cisely in the place I was explor­ing on foot with my friend Isaac White ― the moun­tains of Hune­doara. Here he places a mys­te­ri­ous cas­tle, and a mad sci­en­tist who has invent­ed tele­vi­sion. The book was writ­ten in 1893, and counts as one of the first fic­tional spec­u­la­tions on this idea that did not involve the super­nat­ural. How­ever, the sto­ry is pedes­trian by Verne’s stan­dards, and con­sists most­ly of dis­ser­ta­tions on the flo­ra, fau­na, geol­ogy, and his­tory of the region, in the style that Verne fell back on when he wrote on autopilot.

07-07-12 READ 15131. (Jules Verne) Le château des Carpathes pic 207-07-12 READ 15131. (Jules Verne) Le château des Carpathes pic 307-07-12 READ 15131. (Jules Verne) Le château des Carpathes pic 4

illus­tra­tions by
Léon Benett

Holy Fuck

One review­er describes Holy Fuck as “strange­ly melod­ic and pulse pound­ing free-form fusion of the heavy chug and groove rock of Trans Am and the quirk­i­ness of Beck rolled into one mes­mer­iz­ing view­ing and lis­ten­ing expe­ri­ence.” Well, I don’t know if you can form any plau­si­ble impres­sion from that descrip­tion, but it’s fair­ly accu­rate. A more com­pre­hen­si­ble way of describ­ing this Toron­to band is to say that they try to dupli­cate, live, using phys­i­cal instru­men­ta­tion, with­out pre-tap­ing or splic­ing, the sounds that you would think could only be done by com­puter. I think they achieve this admirably, judg­ing from the record­ing I have of their epony­mous debut all­bum. Here, band mem­bers Bri­an Borcherdt, Gra­ham Walsh, Mike Bigelow, Loel Camp­bell, Kevin Lynn, Glenn Milchem, Rob­bie Kuster, Matt Schulz are joined by Lau­rence Cur­rie and Dave Newfeld (of Bro­ken Social Scene). Some­thing like this should be seen live. I haven’t had the chance to, yet, but a hint of it can be seen in the videos avail­able on their Myspace site.