Musical ignorance

You won’t find this blog doing late-breaking news or commentary.   Web-browsing, I am led to a report of an interview given by Cambridge academic George Steiner to a Spanish newspaper in 2008, in which he is quoted as saying:

“It’s very easy to sit here, in this room, and say ‘racism is horrible’,” he said from his house in Cambridge, where he has been Extraordinary Fellow at Churchill College since 1969.

“But ask me the same thing if a Jamaican family moved next door with six children and they play reggae and rock music all day. Or if an estate agent comes to my house and tells me that because a Jamaican family has moved next door the value of my property has fallen through the floor. Ask me then!”

In his essays and books, Steiner is a model of erudition.   But his knowledge of music is quite evidently lamentable.  In my experience, almost nobody likes BOTH reggae and rock music, and certainly no Jamaican I have known.  
Ignorance of reggae seems to be a special attribute of the literati.  VS Naipaul once described its beat as “pseudo-portentous”, a property which I have never been able to hear in the music itself.   I doubt he could either; he just liked the phrase and disliked the music.  And – like Charles Rosen with Mendelssohn – used his sharp verbal skills to seek to justify his prior musical tastes.  In both cases, the attempt fails. 
In response to Steiner’s ignorance, I decided to listen to the Master in a superb chilled-out remix:

  • Dreams of Freedom:  Ambient Translations of Bob Marley in Dub. Remix Production by Bill Laswell, Creative Direction by Chris Blackwell. Brooklyn, NY:  Island Records, 1997.

followed by some of the best industrial noise:

  • Shinjuku Filth.  Darrin Verhagen.  Melbourne: Iridium, 1999.

Theatre

Having created lists of concerts I have attended, bands I have heard, galleries I have visited, etc, I overlooked theatre and dance productions I have seen.  Herewith a list, sometimes annotated, to be updated as and when I remember additional events.

  • The Lieutenant of Inishmore, at the Noel Coward Theatre, St Martin’s Lane, London, August 2018.  Martin McDonagh’s very funny satire on the IRA and the INLA, in a well-acted production.  The production was somewhat gory for my tastes.
  • Continue reading ‘Theatre’

Danish surname mystery

According to this list, the 20 most popular Danish surnames all end in “-sen” (meaning “son of”).  Surname #21 is Møller, and the next 7 surnames again end in “-sen“.  Surname #29 is Lund and of the next 21 surnames (ie, numbers 30 through 50 inclusive), fully 15 also end in “-sen“.

As I browsed this list, I thought of the characters in the TV series Borgen, a fictional series about Danish coalition politics.   I struggled to think of any characters with a surname ending in “-sen”.  The Wikipedia page for the series lists 28 recurring characters whose surnames we learn.  Of these 28, only 5 characters (18%) have surnames ending in “-sen”.  One of these 5 characters is the Prime Minister, Birgitte Nyborg, whose husband’s surname is “Christensen“; almost never in the series is she called by her husband’s surname.  Interestingly,  9 of the actors playing these 28 characters (32%) have names (which may be real or stage names) ending in “-sen“.

Here are the surnames of the 28 recurring characters in Borgen listed on the Wikipedia page, in alpha order.  Where the surname appears in the list of the top 100 Danish surnames, I include its position in the list in parantheses following the name. Thus, “Chistensen”, for example, is the 6th most common surname.

Christensen (6), Dahl (52), Diwan, Fønsmark, Friis (61), Hedegård (98), Hesselboe, Hesselboe, Holm (32), Höxenhaven, Juul (96), Kiær (48), Klitgaard, Kruse (92), Laugesen, Lindenkrone, Lund (29), Madsen (12), Marrot, Mørch, Munk, Nagrawi, Nedergaard, Nyborg, Saltum, Sejrø, Thorsen (89), Toft (71).

For comparison, I also looked at the character names of the Danish TV series The Killing.  In Season 1, there were 11 main characters, of whom only 2 (the victim’s parents) have a surname ending in “-sen”.  In Season 2, just 2 of the 13 main characters do, and in Season 3, not a single one of the 12 main characters does.

How very curious. I checked the list of current members of the Folketing, the Danish Parliament, and a mere 26 of the 179 members have names ending in “-sen”, just 14.5%.   The ranked list of surnames shows that, of the top 100 names, those ending in “-sen” or “-son” are held by at least 49.6% of Danes (2,774,269 out of 5,590,000). So perhaps having a relatively rare surname is an advantage in Danish politics.  I wonder if the writers of Borgen and The Killing were worried about their characters being mistaken for living politicians or other well-known people, or about foreign viewers not being able to distinguish one Mads Kaspar Somethingsen from another.

Or, perhaps, there is a class or status aspect at work here, with common surnames considered déclassé, and thus less likely to be used by screenwriters or actors. (HT: SP)

Does evo-psych explain anything at all?

Evolutionary psychology and evolutionary sociology have long struck me as arrant nonsense, because they ignore human free will and self-reflection, and thus our ability to rise above our own nature.   There are no pianos on the savanna, as I have remarked before, so an evolutionary psychologist will have a major challenge to explain a desire to play the piano in evolutionary terms.
Christopher Booker, in a review of E. O. Wilson’s new book, The Social Conquest of Earth, views similarly the flaws of evolutionary theory when applied to human behaviours:

It is our ability to escape from the rigid frame of instinct which explains almost everything that distinguishes human beings from any other form of life. But one looks in vain to Wilson to recognise this, let alone to explain how it could have come about in terms of Darwinian evolutionary theory. No attribute of Darwinians is more marked than their inability to grasp just how much their theory cannot account for, from all those evolutionary leaps which require a host of interdependent things to develop more or less simultaneously to be workable, that peculiarity of human consciousness which has allowed us to step outside the instinctive frame and to ‘conquer the Earth’ far more comprehensively than ants.
But it is this which also gives us our disintegrative propensity, individually and collectively, to behave egocentrically, presenting us with all those problems which distinguish us from all the other species which still live in unthinking obedience to the dictates of nature. All these follow from that split from our selfless ‘higher nature’, with which over the millennia our customs, laws, religion and artistic creativity have tried their best to re-integrate us.
Nothing is more comical about Darwinians than the contortions they get into in trying to explain those ‘altruistic’ aspects of human nature which might seem to contradict their belief that the evolutionary drive is always essentially self-centred (seen at its most extreme in Dawkins’s ‘selfish gene’ theory). Wilson’s thesis finally crumbles when he comes up with absurdly reductionist explanations for the emergence of the creative arts and religion. Forget Bach’s B Minor Mass or the deeper insights of the Hindu scriptures — as a lapsed Southern Baptist, he caricatures the religious instinct of mankind as little more than the stunted form of faith he escaped from.
His attempt to unravel what makes human nature unique is entirely a product of that limited ‘left-brain thinking’ which leads to cognitive dissonance.
Unable to think outside the Darwinian box, his account lacks any real warmth or wider understanding. Coming from ‘the most celebrated heir to Darwin’, his book may have won wide attention and praise. But all it really demonstrates is that the real problem with Darwinians is their inability to see just how much their beguilingly simple theory simply cannot explain.”

Abuse of media power (again)

I have complained before that The Grauniad sometimes looks as if it’s no more than the internal corporate newsletter of the people who work for it.   Their sister title, The Observer, has a particularly egregious example of such behaviour this weekend.  Of the 18 pages devoted to arts preview coverage, 6 entire pages are devoted to one person, 7 pages if you count the cover.  Who is this paragon?  Did some famous artist just die?  What artist or actor or dancer or musician or film-maker or writer deserves such coverage?  Why, it was  none of these!  The coverage is for the newspaper’s film-critic, Philip French, who hasn’t even died, but is merely retiring.   And guess what?  As well as these 7 out of 18 entire pages, another half-page is given over in the reviews section to French’s latest film review! 

It’s good see the Guardian/Observer’s Marketing Department so successfully targeting that crucial demographic, current and former Guardian/Observer employees who know Philip French.   Pity that doing so alienates the rest of us.

Mama don't allow

Norm’s latest entry in his Mommy and Daddy collection of songs is JJ Cale’s version of “Now, Mama don’t allow no guitar playing round here“.   The version of this song that I first recall hearing was that of The Limeliters, who do not refer (as Cale does) to “My Mama“.   So, I’d always understood the song to be about boarding-house owners, rather than natural-born mothers, and hence a fine metaphor for the suffocating nanny culture that was the US of the 1950s.  I cannot find their version online.
Of course, a mention of The Slightly Fabulous Limeliters would be incomplete without a reference to their song about Harry Pollitt, long-time General Secretary of the Communist Party of Great Britain.

The Yogyakartan Candidate

An explanation of Bam’s aloof style and strategic cunning in terms of the idioms of traditional Javanese kingship, by Edward Fox in Aeon Magazine, here.   Fox could also have mentioned the first-term Cabinet of Rivals as another example of this idiom, absorbing one’s enemies.
An excerpt:

The Javanese have a word for this kind of bearing. They call it halus. The nearest literal equivalent in English might be ‘chivalrous’, which means not just finely mannered, but implies a complete code of noble behaviour and conduct. The American anthropologist Clifford Geertz, who wrote some of the most important studies of Javanese culture in English, defined halus in The Religion of Java (1976) as:
“Formality of bearing, restraint of expression, and bodily self-discipline … spontaneity or naturalness of gesture or speech is fitting only for those ‘not yet Javanese’ — ie, the mad, the simple-minded, and children.”
Even now, four decades after leaving Java, Obama exemplifies halus behaviour par excellence.
Halus is also the key characteristic of Javanese kingship, a tradition still followed by rulers of the modern state of Indonesia. During my period of study in Indonesia, I discovered that halus is the fundamental outward sign or proof of a ruler’s legitimacy. The tradition is described in ancient Javanese literature and in studies by modern anthropologists. The spirit of the halus ruler must burn with a constant flame, that is without (any outward) turbulence. In his classic essay, ‘The Idea of Power in Javanese Culture’ (1990), the Indonesian scholar Benedict Anderson describes the ruler’s halus as:
“The quality of not being disturbed, spotted, uneven, or discoloured. Smoothness of spirit means self-control, smoothness of appearance means beauty and elegance, smoothness of behaviour means politeness and sensitivity. Conversely, the antithetical quality of being kasar means lack of control, irregularity, imbalance, disharmony, ugliness, coarseness, and impurity.”
One can see the clear distinction between Obama’s ostensibly aloof style of political negotiation in contrast to the aggressive, backslapping, physically overbearing political style of a president such as Lyndon Johnson.
Traditionally, the Javanese ruler triumphs over his adversary without even appearing to exert himself. His adversary must have been defeated already, as a consequence of the ruler’s total command over natural and human forces. This is a common theme in traditional Javanese drama, where the halus hero effortlessly triumphs over his kasar (literally, unrefined or uncivilised) enemy. ‘In the traditional battle scenes,’ Anderson notes:
“The contrast between the two becomes strikingly apparent in the slow, smooth, impassive and elegant movements of the satria [hero], who scarcely stirs from his place, and the acrobatic leaps, somersaults, shrieks, taunts, lunges, and rapid sallies of his demonic opponent. The clash is especially well-symbolised at the moment when the satria [hero] stands perfectly still, eyes downcast, apparently defenceless, while his demonic adversary repeatedly strikes at him with dagger, club, or sword — but to no avail. The concentrated power of the satria [hero] makes him invulnerable.”
Even to seem to exert himself is vulgar, yet he wins. This style of confrontation echoes that first famous live TV debate in the election of 2012 between Obama and Romney, in which Obama seemed passive, with eyes downcast, apparently defenceless (some alleged ‘broken’) in the face of his enemy, only to triumph in later debates and in the election itself.
Like a Javanese king, Obama has never taken on a political fight that he has not, arguably, already won
But such a disposition is not just external posturing. Halus in a Javanese ruler is the outward sign of a visible inner harmony which gathers and concentrates power in him personally. In the West, we might call this charisma. Crucially, in the Javanese idea of kingship, the ruler does not conquer opposing political forces, but absorbs them all under himself. In the words of Anderson again, the Javanese ruler has ‘the ability to contain opposites and to absorb his adversaries’. The goal is a unity of power that spreads throughout the kingdom. To allow a multiplicity of contending forces in the kingdom is a sign of weakness. Power is achieved through spiritual discipline — yoga-like and ascetic practices. The ruler seeks nothing for himself; if he acquires wealth, it is a by-product of power. To actively seek wealth is a spiritual weakness, as is selfishness or any other personal motive other than the good of the kingdom.”

 

Artists concat

Here is a listing of visual artists whose work speaks to me.  Minimalists and geometric abstractionists are over-represented, relative to their population in the world.  In due course, I will add posts about each of them.

  • Carel Fabritius (1622-1654)
  • Shi Tao (1641-1720)
  • Jin Nong (1687-c.1763)
  • Richard Wilson (1714-1782)
  • Thomas Jones (1742-1803)
  • Katsushika Hokusai (1760–1849)
  • Caspar David Friedrich (1774–1840)
  • John Sell Cotman (1782-1842)
  • Utagawa Hiroshige (1797–1858)
  • Thomas Cole (1801-1848)
  • Richard Parkes Bonington (1802–1828)
  • Thomas Chambers (1808-1869)
  • Thomas Moran (1837-1926)
  • Arkhip Kuindzhi (1842-1910)
  • Robert Delaunay (1885-1941)
  • Sophie Taeuber-Arp (1889-1943)
  • Alma Thomas (1891-1978)
  • Stuart Davis (1892-1964)
  • Ludwig Hirschfeld-Mack (1893-1965)
  • László Moholy-Nagy (1895-1946)
  • Kotozuka Eiichi (1906-1979)
  • Wilhelmina Barns-Graham (1912–2004)
  • Agnes Martin (1912-2004)
  • Jackson Pollock (1912–1956)
  • Gunther Gerzso (1915-2000)
  • Michael Kidner (1917-2009)
  • Guanzhong Wu (1919–2010)
  • Carlos Cruz-Diez (1923- )
  • Fred Williams (1927-1982)
  • Donald Judd (1928-1994)
  • Sol LeWitt (1928-2007)
  • Henry Munyaradzi (1931-1998)
  • Bridget Riley (1931- )
  • Norval Morrisseau (1932–2007)
  • Dan Flavin (1933-1996)
  • Patrick Tjungurrayi (1935-2018)
  • Jean-Pierre Bertrand (1937- )
  • Peter Campus (1937- )
  • Hélio Oiticica (1937–1980)
  • Prince of Wales Midpul (c.1937-2002)
  • Peter Struycken (1939- )
  • Alighiero e Boetti (1940-1994)
  • Alice Nampitjinpa (1943- )
  • Helicopter Tjungurrayi (1947- )
  • Cildo Meireles (1948- )
  • Jeremy Annear (1949- )
  • Louise van Terheijden (1954- )
  • Doreen Reid Nakamarra (1955-2009)
  • Peter Doig (1959- )
  • Katie Allen
  • Els van ‘t Klooster (1985- )
  • Este MacLeod

A golden age

We are currently living in a Golden Age of television drama – well-written screenplays, innovative narrative techniques, significant themes, gripping stories, mostly true-to-life representations, all superbly-acted, and realized with attention to detail and high production values.  See, for example, the following list (which has been added to, as the years unfurl):

  • 24 (USA)
  • Band of Brothers (USA)
  • Berlin Station (USA)
  • Billions (USA)
  • Bodyguard (UK)
  • Borgen (Denmark)
  • The Bridge (Denmark-Sweden)
  • Brothers and Sisters (USA)
  • The Bureau (Le Bureau des Légendes) (France)
  • Call My Agent! (France)
  • Covert Affairs (USA)
  • Damages (USA)
  • Deadwood (USA)
  • Designated Survivor (USA)
  • Deutschland 83/ 86/ 89 (Germany)
  • The Diplomat (USA) (2023)
  • Fauda (Israel)
  • Gåsmamman (Sweden)
  • Generation Kill (USA)
  • Gloria (Portugal)
  • The Good Fight (USA)
  • The Good Wife (USA)
  • Heartstopper (UK) (2022)
  • Homeland (USA)
  • The Hour (UK)
  • House of Cards (USA)
  • Intimacy (Spain)
  • Jack Irish (Australia)
  • Janet King (Australia)
  • Judge John Deed (UK)
  • The Killing (Denmark)
  • Kleo (Germany)
  • Mad Men (USA)
  • Madam Secretary (USA)
  • Merlí: Sapere Aude (Catalonia)
  • Merlin (UK)
  • Messiah (USA)
  • The Newsreader (Australia)
  • The Newsroom (USA)
  • Occupied (Norway) (2015-2020)
  • The Patients of Dr Garcia (Spain) (2023)
  • Pine Gap (Australia)
  • Prisoners of War (Hatufim) (Israel)
  • Rake (Australia)
  • The Recruit (USA) (2023)
  • Resistance (France)
  • The Restaurant (Vår tid är nu) (Sweden)
  • Scandal (USA)
  • Secret City (Australia)
  • Shadow Lines (Finland)
  • Silk (UK)
  • Skam (“Shame”) (Norway) (2015-2017)
  • Smiley (Spain)
  • The Sopranos (USA)
  • Spiral (Engrenages) (France)
  • Spooks (UK)
  • Sports Night (USA)
  • Striking Out (Ireland)
  • Studio 60 on the Sunset Strip (USA)
  • Suits (USA)
  • The Unit (USA)
  • Totems (France)
  • A Very Secret Service (France)
  • The West Wing (USA)
  • The Wire (USA)
  • Young Royals (Sweden) (2021-2023)

Like the golden age of Elizabethan and Jacobean theatre, one has to wonder:   Why here? Why now?

Irishness and Jewishness

A friend’s thoughtful meditation on the different natures of Irishness and Jewishness:

Irishness, at least in its North London manifestation, was clearly a much more inclusive category than I had been prepared for.  There were quite a few Black Irish people, and one or two Chinese ones.  There were a couple of others with what looked to me like Jewish faces, though they might equally have been Greek.
I don’t know how everyone in the room felt about this; but I do know that there was no outward sign that anybody had any feelings about it at all. Then and subsequently, I have never come across any handwringing about who the traditional music activities ought to be for, let alone ‘who is an Irish person?’ The activity was Irish in content, and that was enough.  Other, non-Irish people’s participation did not detract from its Irishness or threaten its existence or value.
In our community, interest by others in our culture is rarely taken at face value.  Although discussions about Jewish culture are often shot through with barely-veiled assumptions about cultural superiority, we are usually suspicious about anyone else wanting to partake.  Perhaps it’s because we are afraid that it won’t stand up to much scrutiny from anyone without a sentimental attachment to it; or maybe we are worried that they are only showing an interest so that they can insinuate themselves into our superior institutions. Why else would non-Jews be trying to sneak into our schools?
Either way, there is an all-pervasive obsession with maintaining and policing a boundary, with determining who is and isn’t entitled to come in.  Look at the selection processes associated with admission to Jewish schools, or the application forms for joining a synagogue.  No-one at Meitheal Cheoil ever asked me for my parents’ marriage certificate.
I don’t want to imply that Irish culture is inherently inclusive and anti-racist.  I’m sure that someone else could find plenty of counter-examples, together with joyous examples of Jewish inclusiveness and syncretism.  But I don’t think that the Jewish obsession with boundaries and separation, which make up an enormous proportion of our law and our lore, are merely accidental add-ons to our culture either. In biblical and talmudic Judaism, the principle of distinction and separation, and the importance of keeping things from mixing, is always imbued with a moral and theological dimension.
We are forbidden to mix meat and milk; fish and meat on the same plate; wool and linen in the same garment; and forbidden to yoke two kinds of animals to the same plough.  God does not like it when we mix things, stuff, or ourselves.  It’s worth remembering this next time you get into one of those discussions about the essential ethical core of Judaism.