(Judge 2006) Idiocracy

07-03-10 VIEW Idiocracy pic 1Mike Judge’s Idioc­ra­cyseemed rea­son­ably fun­ny to me, though this may have been influ­enced by the herb par­tak­en while see­ing it. It’s more or less a sci­ence fic­tion satire in the man­ner of an old L. Sprague deCamp sto­ry. A man awak­ens from cryo­genic stor­age to find that the U.S. has bred itself into idio­cy. Though him­self select­ed for the cryo­genic exper­i­ment because of his aston­ish­ing aver­a­ge­ness, in this brave new world he is the smartest man in the coun­try. He saves the nation from famine by deter­min­ing that crops should not be irri­gat­ed with Gatorade. Most of the com­e­dy is in sight gags embed­ded in the set design. Any­way, rent this for some ston­er par­ty and stock up on taco chips to go with it.

07-03-10 VIEW Idiocracy pic 2

Josef Bohuslav Foerster

07-03-09 LISTN Josef Bohuslav FoersterFoer­ster (1859–1951), a con­tem­po­rary of Janáček, does not share his fame out­side of the Czech Repub­lic. His long life encom­passed every­thing from the pomp and waltzes of Franz Josef’s Rak­ousko-Uher­sko Empire to the begin­nings of the Com­mu­nist regime. He was a close friend of Mahler and of Tchaikovsky. His oeu­vre includes five sym­phonies and five operas, as well as litur­gi­cal and cham­ber music. You can hear some sam­ples of his work in a brief arti­cle on the Radio Prague web­site. Like his friend Mahler, Foerster’s life was haunt­ed by the deaths of friends, fam­ily, and a child. He sought solace in his Catholic faith, and was instru­men­tal in reviv­ing the old Slavon­ic mass.

All I have to rep­re­sent him, in my col­lec­tion, is his Fourth Sym­phony in C minor, Op.54, sub­ti­tled “East­er”. It cer­tainly shows a mas­tery of the orches­tra. His influ­ences are obvi­ous, and in a curi­ously chrono­log­i­cal sequence. The first move­ment sounds like Schu­bert, the two mid­dle ones are very Dvořák, and the last one dis­tinctly Mahleresque. But the sym­phony is no mere pas­tiche or imi­ta­tion. The rich poly­phonic tex­ture is etched out with a small orches­tra, each instru­ment giv­en a clear and dis­tinct role. It is deeply emo­tional music, drift­ing effort­lessly between lyri­cal nos­tal­gia and tragedy. All these qual­i­ties are hall­marks of Czech music, and it is remark­able to me that he remains obscure in the Eng­lish-speak­ing world.

Adden­dum, added June 14, 2007: While in Prague, I picked up a vinyl of two piano trios by Foer­ster, one in F Minor, Op.8, and one in B, Op.38. They are fine pieces, and con­firm my impres­sion that he deserves more seri­ous lis­ten­ing out­side of his home­land. Both of the trios have very del­i­cate feel­ings, and fine melodies, though the lat­er one is notice­ably more melan­choly. Has any com­pose ever got­ten more cheer­ful with age? Per­haps Ralph Vaugh­an Williams.

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First-time listening for February, 2007

17026. (Yothu Yin­di) Free­dom
17027. (John Adams) Vio­lin Con­cer­to
17028. (John Adams) Shak­er Loops
17029. (Hot Hot Heat) Ele­va­tor
17030. (Johannes Brahms) Hun­gar­i­an Dance #1 in G Minor for Piano Four-hands
17031. (Johannes Brahms) Hun­gar­i­an Dance #2 in D Minor for Piano Four-hands Read more »

READING – FEBRUARY 2007

14940. (Thomas Jef­fer­son) Orig­i­nal Draft of the Dec­la­ra­tion of Inde­pen­dence [arti­cle]
14941. [4] (Thomas Jef­fer­son, et. al.) The Dec­la­ra­tion of Inde­pen­dence [arti­cle]
14942. (Orson Scott Card) Empire
14943. (Antho­ny Sha­did) With Iran Ascen­dant, U. S. is Seen At Fault ― Arab Allies in Region
. . . . . Feel­ing Pres­sure [arti­cle]
14944. (Gar­ry Wills) At Ease, Mr. Pres­i­dent [arti­cle]
(William Tenn) The Sev­en Sex­es:
. . . . 14945. (William Tenn) Author’s Note [pref­ace]
. . . . 14946. (William Tenn) Child’s Play [sto­ry]
. . . . 14947. (William Tenn) The Malt­ed Milk Mon­ster [sto­ry]
. . . . 14948. [2](William Tenn) Errand Boy [sto­ry]
. . . . 14949. (William Tenn) The House Duti­ful [sto­ry]
. . . . 14950. (William Tenn) Mis­tress Sary [sto­ry]
. . . . 14951. (William Tenn) Sanc­tu­ary [sto­ry]
. . . . 14952. (William Tenn) Venus and the Sev­en Sex­es [sto­ry]
. . . . 14953. (William Tenn) Bernie the Faust [sto­ry]
14954. (William Irwin Thomp­son) Pas­sages About Earth [sto­ry]
14955. (Tony Tay­lor) See­ing the Writ­ing on the Wall Graf­fi­ti in His­to­ry — from Pom­peii to Belfast

14957. (Mervin Peake) Titus Alone
Read more »

el hadj N’diaye — XEL

07-02-23 LISTN el hadj N’diaye - XELEven with­in the fab­u­lous cor­nu­copia of West African music, el hadj N’diaye’s Xel(2001) is a excep­tional trea­sure. N’diaye takes a jour­ney beyond the famil­iar mbal­axbeat of Senegal’s pop­u­lar music to explore more var­ied ter­ri­tory. Some of the rhythms and gui­tar work could have come out of a Clap­ton album. But they are blend­ed per­fectly with African drums and balo­fon. The balo­fon solo on the song “Casa di mansa” is par­tic­u­larly beau­ti­ful. This is a trag­ic song about the ill-fat­ed seces­sion­ist move­ment in south­ern Sene­gal, sung in French and Eng­lish. Most of the songs on the album are sung in Wolof, Senegal’s pri­mary lan­guage. But the emo­tions in them are so pow­er­ful that you have the odd feel­ing that you under­stand every word. “Yoon wil”, “Xale bi” and “Yu sew yii” moved me in par­tic­u­lar. This entire album com­bines a refine­ment and pre­ci­sion of per­for­mance with intense emo­tions: bit­ter­ness, sad­ness, yearn­ing, remorse. I will play this album over and over again, and I’ll do my best to find more of N’diaye’s work.

14957. (Mervyn Peake) Titus Alone

I got tremen­dous plea­sure fin­ish­ing Mervin Peake’s enig­matic fan­tasy series. I was warned that the last vol­ume would be a dis­ap­point­ment, but when I got around to it, I did not think it so. It’s true that it has a sig­nif­i­cantly dif­fer­ent “feel” from the first two, and shifts focus to oth­er mat­ters. Peake was near death, and quite ill, when he wrote it, so it con­tains some laps­es in style and inter­nal incon­sis­ten­cies. But it does not mer­it the scorn it faced on pub­li­ca­tion, or the dis­missal it gets from fans of Gor­meng­hast. Titus, who is more or less a place-mark­er in the imag­is­tic maze of the first vol­umes, acquires much more of an inter­nal voice Titus Alone. The issues and imagery of this vol­ume curi­ously antic­i­pate the cyber­punk and steam­punk styles of a half cen­tury later.

Wax [K‑Pop]

07-02-11 LISTN Wax [K-pop]For quite some time, Cool and Wax dom­i­nated Kore­an pop music. Wax is the stage name for a tal­ented female vocal­ist with a very expres­sive, and some­times beau­ti­ful voice. Her arrange­ments range from cheesy syn­the­sizer pop to fair­ly raunchy rhythm and blues. In some cas­es, gen­res are bizarrely mixed, such as when a cho­rus of grunt­ing male met­al voic­es inex­plic­a­bly fill in the spaces between vers­es of a Brit­ney Spears-ish love song. This may all sound pret­ty trashy to a North Amer­i­can lis­tener, but there’s no law against musi­cal syn­chretism, and in any case, East Asian pop plays by its own rules. I’m told that a lot of her suc­cess comes from the per­spi­cac­ity of her song­writ­ers, Choi Joon Young and Kim Gee Hoonong. It can’t all be in the lyrics: Wax’s pop­u­lar­ity extends far beyond the K‑pop scene, to the much broad­er East Asian pop scene cov­er­ing Chi­na, HK, Tai­wan, Viet­nam, Sin­ga­pore and Japan. My expo­sure is through the dou­ble com­pi­la­tion album Best Day &Best Nightand the third album from 2002, Wax 3.

14940. [2] (Thomas Jefferson) Original Draft of the Declaration of Independence [article] 14941. [7] (Thomas Jefferson, et. al.) The Declaration of Independence [article]

I have not yet seen Gary Wills’ renowned study of the Dec­la­ra­tion. But I did read Carl Becker’s work on the same sub­ject when I was a kid. I have made a small rep­u­ta­tion by try­ing to show the glob­al ori­gins of the demo­c­ra­tic idea, as opposed to the con­nect-the-dots Greece-Rome-Britain-Amer­i­ca sequence that is still a major com­po­nent of the cur­rently con­fused unde­rstand­ing of democ­racy. How­ever, that doesn’t mean that I con­sider doc­u­ments like the Dec­la­ra­tion to be unim­por­tant. Far from it. It was so impor­tant, in fact, that minor vari­a­tions in its phras­ing would have made a pro­found dif­fer­ence in the sub­se­quent his­tory, not only of the Unit­ed States, but of the world. Because the Dec­la­ra­tion was in the pock­et, so to speak, of every Amer­i­can, it could have reper­cus­sions, and util­ity, far beyond any philo­soph­i­cal essay. Fred­er­ick Dou­glas, whose char­ac­ter and intel­lect make most of the more famous thinkers of the 19th cen­tury seem puny by com­par­i­son, wrote mov­ingly of the impact its word­ing had on him. When you are a plan­ta­tion slave, as Dou­glas was, the words “We hold these truths to be self-evi­dent, that all men are cre­ated equal…” are not just a snap­py slo­gan. They are hope, enlight­en­ment, des­tiny, right­eous anger, human­ity, solace, and con­cil­i­a­tion com­pounded in a sin­gle sen­tence. That sen­tence is impor­tant to any­one who wish­es to free them­self from slav­ery, and is a pre­cious gem in humanity’s strong­box, not just for Americans.

So it’s inter­est­ing to com­pare Jefferson’s first draft with the final arti­cle. The first ver­sion fol­lows the con­ven­tions of mid-eigh­teenth-cen­tu­ry prose more close­ly. It is said that Thomas Paine had some influ­ence on the revi­sion, and it does shift to blunter, more Quak­erish phras­ing that would seem unusu­al in a cul­tured Vir­gin­ian like Jef­fer­son. But I think it more like­ly that Jef­fer­son real­ized he was think­ing in a new way, and that it had to be said in a new way. The first ver­sion is a prod­uct of a writer to be read in a book. The final ver­sion is a prod­uct of a man tap­ping a moral dimen­sion of the uni­verse. The sad thing is that Jef­fer­son him­self could not live up to his own inspi­ra­tion. The man who did more than any­one except John Wool­man to lay down the moral argu­ment against slav­ery him­self kept slaves. It is true that the Vir­ginia leg­is­la­ture, fear­ful of his exam­ple, had declared that if Jef­fer­son attempt­ed to free his slaves, they would be seized and sold to oth­er, doubt­less cru­el­er mas­ters, but Jef­fer­son, being an undoubt­ed genius, could sure­ly have devised some strat­a­gem to cir­cum­vent this. No, it was just anoth­er sad case of a bril­liant intel­lect capa­ble of imag­in­ing, but not of doing what rea­son demands. 

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