Showing posts with label politics. Show all posts
Showing posts with label politics. Show all posts

Sunday, January 20, 2008

Today's logged-in blogged-out youth


'The global forest fire of revolution in 1968 needed no internet - if anything, it was the antithesis of the sedentary, logged-in, blogged-out world of today's deactivated youth. It was a time of direct communication, between countries and within them, so that throughout the Mexican summer mimeographs worked all night to produce 'wall newspapers' telling of prisoners, police brutality, and proposed further agitation. Slogans were spray-painted on buses, handbills thrown from tower blocks and leaflets placed inside brown bags alongside bread sold by bakeries' - Ed Vulliamy writes in today's Observer in one of a series of excellent articles about the year that rocked the world - 1968.

Related logged-in and blogged-out resources here include:
* Notes of a college revolutionary
* Why aren't we marching in the streets?
* They were demanding jazz and rock and roll
* Karlheinz Sockhausen - part of a dream
* The year is '72
* Oscar Peterson or Karlheinz Stockhausen?
* Music can help change the world
* Music acid and the collapse of Communism

* I am a camera - St Tropez 1967

Header image is the London cast album of Hair, which opened, of course, in New York and London in 1968. Any copyrighted material on these pages is included as "fair use", for the purpose of study, review or critical analysis only, and will be removed at the request of copyright owner(s). Report broken links, missing images and errors to - overgrownpath at hotmail dot co dot uk

Thursday, January 03, 2008

Brian Eno adds ambience to adolescent angst


Nick Clegg, the new leader of the UK's Liberal Democrat party, has recruited Brian Eno (above) as an adviser on youth problems to help him fix Britain's "broken politics". Good news; because not only is Eno a respected contemporary musician, he is also 59. I can now look forward both to the Liberal Democrats winning the next general election, and to Brian Eno conducting the Vienna Philharmonic's New Year's Day concert in 2031.

More on politician's musical tastes here and here.
Header photo is, appropriately, from Brian Eno's first appearance on Second Life, and is by Rik Panganiban. Any copyrighted material on these pages is included as "fair use", for the purpose of study, review or critical analysis only, and will be removed at the request of copyright owner(s). Report broken links, missing images and errors to - overgrownpath at hotmail dot co dot uk

Thursday, July 26, 2007

European politicians catch classical music bug

In the audience for yesterday's Bayreuth Festival performance of Die Meistersinger von Nürnberg were German chancellor Angela Merkel and the president of the European commission, José Manuel Barroso. In the audience at the recent Orchestra of the Age of Enlightenment anniversary concert in London was the new UK culture secretary James Purnell. European politicians are catching the classical music bug, as two articles from the official EU website, which I have combined below, confirm:


'Among the ranks of MEPs are two concert pianists - Lithuanian Vytautas Landsbergis (above left) and Luxembourg's Erna Hennicot-Schoepges (above right). This week we speak to them both to get their views on the relative merits of piano playing and being an MEP.

Erna Hennicot-Schoepges has been a leading politician in Luxembourg since the 1970's - mainly through her involvement in cultural policy. She has also held the post of Cultural Minister of Luxembourg. She is also - like fellow MEP Vytautas Landsbergis - a highly skilled pianist. We spoke to her about her experiences in the cultural field - both on a national level and in the European Parliament where she sits as an MEP for the European People's Party and European Democrats.

Vytautas Landsbergis shot to prominence in the late 80's as the leader of Lithuania's independence movement from Soviet rule. He was the county's first post-Soviet leader before becoming an MEP. Prior to both of these he was a concert pianist.

Are musical and political skills comparable?

- Music and politics are complementary. A piece of music obliges one to start from scratch every time. This calls for a significant amount of discipline and an attitude of humility because irrespective of the music level reached, every piece is a fresh challenge each time. Playing music requires working consistently and insistently. What is lacking in politics is certainly harmony and colours, the art of looking at details and of observation and feeling. The danger of politics lies precisely in the potential loss of one's character and the acquirement of wooden language. Citizens are horrified by these empty words which consist of speaking but saying nothing.

- Skills are mental and physical. When talking about music we usually have physical abilities and their preservation and improvement in mind. Nevertheless, mental skills like memory and ideas for performance are following the music during all the moments. One can prepare a well known repertoire for a concert without practicing for a long time - performance is more than repetition. In the European Parliament sometimes you have to prepare for the meetings when you are at the meeting. Preparation is in one's head, unless the questions discussed are completely new.

Should politicians stay out of or support the arts?

- One should not confuse culture with art. One forms part of the other but culture is profound. It differentiates us from other species and gives us especially in Europe a better knowledge of others and a predisposition to dialogue. In art politics should not interfere in the content but politics must ensure the conditions to carry it out. Negative examples of political interference in art like in Nazism and Communism are still fresh in our minds. Back then art was encouraged and financed to ensure national glory, but at the cost of interference in its contents. In the EU we are now at a crossroads. Those countries of the EU which did not experience communism knew insufficient financing and poor, unstructured social conditions for artists. In other countries which knew generous financing, artists have seen a regression in their material conditions. Freedom requires a terrible sacrifice. For liberty one has less money. Thus the Union today must arrive at a balance. The other model is that of the USA where culture is completely privatised and sponsors influence the contents

- Patronage and care about conditions of creation and expression does not necessarily mean interference. We used to live in a regime that was interfering with everything, including the art, but it met insurmountable obstacles, such as music. Just remember the party's decision on good and bad music taken during Stalinist times. It wasted time and created some rubbish. Interference with art is wrong, nevertheless if politicians care about art it does not automatically mean interference.

You personally know the price of freedom and democracy - what is your message to people who are not inclined to vote?

- Non-voting means treason towards representative democracy. It is a paradox. We're re-establishing independence through democracy and won a right not to mechanically vote, but rather choose. If people do not cherish democracy, do not want to participate in it then they can loose it. Sometimes people have to pass democracy exams and defend their elected governments using direct democracy - like in Lithuania in January 1991.

What about those who compare the European Union to the Soviet Union?

- It is hard to speak to ignorant people who confidently repeat clichés. This mental barrier can be overcome by acquainting with the facts on the spot. For example by organising visits to the EU institutions, showing how debates are conducted. Have the people forgetten about the Soviet dictatorship? The Soviet Union was no union, just a falsified Orwelian entity. There was no socialism – the state became a capitalist exploiting workers.

Aside from music, culture is of great importance to you. What do you hope to achieve in this field in the Parliament?

- In Luxembourg I was a Culture Minister - in Parliament I can speak about and say things that others cannot say because they do not know the issue in depth. My goal is to ensure that culture is admitted as a policy field in its own right. It is also a wide subject like the environment. One can speak about culture in law, industry and education. Culture is everywhere.

In your experience, how compatible are artistic and political lifestyles?

- The political world is very creative and is like art in that respect. I chose politics firstly to show that a musician can bring lots of ideas to politics. Secondly, as a woman in Luxembourg a lot remained to be done back then as is still required today in the field of male-female equality and the combination work-family today.

Finally, what is your favourite piece of music?

- A delicate question indeed...but one of my many favourites includes the Goldberg Variations of Bach.

- It is hard to name a single one. My favourite composer is M. K. Čiurlionis.'


* Biography and music samples of M. K. Čiurlionis via this path - he is a real discovery. Music really can help change the world.
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Friday, May 11, 2007

Great Britten


Interesting to read today's Guardian leader invoking Benjamin Britten (and George Crabbe) in its assesment of the departing Tony Blair ~ 'Christianity underpinned so much about his prime ministership, from his 1997 identification of the act of voting Labour with spiritual redemption - "one cross on the ballot paper, one nation was reborn" - to his attempts to persuade the public of absolute truths. The effect could be brilliant. But it produced a strange sort of defiance, especially after Iraq and in the response to terrorism, a leader who came to believe, like Peter Grimes, that he could see the shoals to which the rest of Britain was blind.'

I wonder which operatic character the Guardian will use in their assesment of George W. Bush? And talking of political failings, now read the story of Peter Grimes' first conductor.
Photo is the 1995 Royal Opera House production of Peter Grimes. Any copyrighted material on these pages is included as "fair use", for the purpose of study, review or critical analysis only, and will be removed at the request of copyright owner(s). Report broken links, missing images and other errors to - overgrownpath at hotmail dot co dot uk

Saturday, April 14, 2007

Here comes iPod diplomacy


'I've somehow got more faith in the essential decency of the British people that they want to talk about big and important issues in a way that does justice to them' - prime minister designate Gordon Brown plugs his new book in today's Guardian

'The Iranians pinched my iPod - The gifts the Iranians gave the crew were a load of junk - and nothing in comparison to what they stole, including Arthur Batchelor's iPod, he said yesterday. Before their release the Brits were given shabby grey three-piece suits made by a local designer and a fake Hugo Boss shirt. They also got a "granny bag" (sic) full of tat including toffees with a label saying "containing pistachio", a CD and DVD that don't (sic) work and 11 books. These were in English and mostly aimed at trying to convert the reader to Islam with titles like Youth and Morals by Sayid Lari.

Arthur said of the gifts: "They're a bit pathetic. I don't know what they're trying to prove by giving us books on morality and their religion. My morals are fine, thank you very much. And those suits were an insult. Not only did mine not fit, but it was cheap and tacky and the Hugo Boss shirt was a fake. I could pick up a better outfit at a jumble sale."

When they were first captured by the Revolutionary Guards the crew were searched and all their belongings were seized. Among the kit stolen was Arthur's iPod, a going away gift from girlfriend Steph Nethercott. Arthur said: "The iPod was really special to me as it was a gift. It had our song on, Hold Me Tonight by Angel One, which was one of the tunes playing when we first met. It was in a pocket in my overalls. The guards took everything off us - including cigarettes and watches. All we were left with were the clothes on our back. We were told we'd get them back - but I'm still waiting."
'

British gunboat crew member Arthur Batchelor talks above to the Daily Mirror about big and important issues following his release by the Iranians last week. The Mirror's sub-editor clearly had more big and important things to do than sub that piece. Which does rather confirm both the point I made earlier this week about the quality of contemporary journalism, and Polly Toynbee's view that the British press is "the worst in the west." And the Iranians haven't much to fear, the Ministry of Defence gives Arthur Batchelor's rank as 'Operator Mechanic', but he hasn't passed his driving test.

Now read Peter Maxwell Davies raging at another British politician's musical garbage
No, the header photo is not a British navy inflatable, it actually belongs to the US navy, but they are one and the same thing these days anyway. Any copyrighted material on these pages is included as "fair use", for the purpose of study, review or critical analysis only, and will be removed at the request of copyright owner(s). Report broken links, missing images and other errors to - overgrownpath at hotmail dot co dot uk

Sunday, March 04, 2007

Why aren't we marching in the streets?

It took me more than three decades to see Joan Baez live, but the wait for tonight's concert in Cambridge was well worth it - what an artist! Here are some thoughts prompted by the concert we've just returned from:

Three decades later, it’s terribly clear that my generation hasn’t changed the world very much. The question is, how much has the world changed us? As young “radicals,” we considered ourselves the conscience of the nation. To us, the Vietnam War was a moral offense, not a question of politics; and we reacted to it in primarily moral, rather than political, terms. Somehow, by the strength of our youth, the nation would be wrenched from the grip of death, cleansed, made new. A “movement” without politics or program, we were defined largely by our shared lives on the campus – millions of us getting stoned and listening to the Beatles – and by our opposition to the war. Now that war is long over, and we inhabit private worlds.

Still when I speak with my old “radical” friends – none of whom are leading noticeably radical lives – I find that our basic values haven’t changed that much. We’re dismayed by the country’s swing to the right and appalled by slashes in social programs. Why then aren’t we heard from? Why aren’t we marching in the streets?

Paradoxically, we felt a more excruciating responsibility for the acts of our nation as 18-year-olds who couldn’t even vote than we do now. We took things more personally. We felt that we were bombing Vietnam, and we were allowing the less well-connected of our generation to die there. Now, we say, it’s those Republicans who have declared all-out war on the poor and powerless.

We no longer believe that we can remake the world. Instead we adapt to it and act cautiously, because we have much more to lose. We have our careers. In the booming economy of the ‘60s, the affluent youth’s greatest concern about a career was how to avoid one. A career was part of the System, within which success and exploitation, work and war, were inextricably linked. ( “Work! Study! Get ahead! Kill!” we used to chant at demonstrations.) Also, embarking on a career meant accepting the constraints of adulthood. I thought if I’d settle down, I could stay young forever. I was wrong. You get old whether you’re wearing a necktie or not.

When I was a “kid” – a word we applied to ourselves well into our twenties – I avowed a profound aversion to wealth. All I wanted, I used to say, was to raise a family in a decent home and be able to spend a few weeks at the beach. That’s all I want now, but I find that these modest ends require massive means. It’s hard to renounce materialism when materialism is renouncing you.

Our middle-class instinct (subliminal, unshakable) to “make something of yourself” and contribute to society, has led almost all of us down the Establishment road – what we used to call selling out. We like to think that our careers give us more effective ways to act on our values than we had as students. We try to do good and do well at the same time.

Meanwhile, people sleep on the streets. We know we really ought to find the time and courage to do something about it. (Things to do today: call insurance broker, add to Individual Retirement Account, smash the state.)

At least we have a past to live up to. We helped end one war, and the continuing effect of our action restrains our country from getting into new ones. It’s good that there was a time when we stood up for what we believed in – which, as you get along and go along, is not something you do every day.


From James S. Kunen’s pre-Iraq 1995 introduction to his 1968 book The Strawberry Statement, Notes of a College Revolutionary. After writing the Strawberry Statement Kunen registered as a conscientous objector and worked as a counsellor at a group home for young offenders in Lancaster, Mass. He graduated from New York University Law School, and became a public defender in the criminal courts of Washington, DC, an experience retold in his book "How Can You Defend Those People". He then left the practice of law and returned to journalism. Kunen's 1994 book "Reckless Disregard" was an exposé of the Ford Motor Company's role in a Kentucky school bus fire which killed 24 children and three adults.

Now playing - Joan Baez's 2006 release Bowery Songs. This album is a product of the 2004 Presidential election. In July and August, conventioneering and electioneering fever grew more heated in the US, as a pall of desperation seemed to grip the country. Michael Moore's Fahrenheit 9/11 stirred the pot, and Baez joined Rage Against The Machine's Tom Morello for the West Coast leg of Moore's 'Slacker Uprising Tour.' The tour's ad hoc appearance at Cal S U. San Marcos outside San Diego was banned by the administration. The result was that the students rented the nearby Del Mar Fairgrounds and attracted ten times as many to the event, upward of 10,000 people. The album, which was recorded live at the Bowery Ballroom on New York City's Lower East Side, is classic Joan Baez. Stand-out track for me is Steve Earle's 'Christmas in Washington' ('So come back Woody Guthrie/ Come back to us now ...'), which Baez sang in her concert in Cambridge tonight.

I can only agree with Ezra Pound when he wrote - 'One of the pleasures of middle age is to find out that one was right, and that one was much righter than one knew at say 17 or 23'.

And I was 23 in 1972, so I will end by taking you back to when The Year is '72

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Saturday, December 30, 2006

A New Year's Honour for classical music


The 2007 UK New Year's Honours announced today are remarkable for the absence of political awards, which may have something to do with the current scandal over cash for honours. But classical music does appear in the awards, with Evelyn Glennie receiving a damehood for 'services to music'. Glennie (above) is a lady of many parts, and on her website describes herself as " solo percussionist, composer, teacher, motivational speaker and jewellery designer." She has strong views on the futute direction of music, and in June 2006 published an open letter to music professionals. Here is an edited version:

Dear Colleagues. My comments here demonstrate my huge concern over what our business is actually offering our customers today. As many of you know, I am naturally “stubborn” and do not just accept the dismissal of a need when there is an urgent requirement for its address in a healthy, open, honest and constructive way from ALL quarters of the business and beyond.

So who are our customers ? While my employer may be the many orchestras and other promoters that hire me to perform over 100 performances per year,
my customer is actually the paying public who come to these venues and events to be entertained and stimulated by our artistic endeavours and experience the passion which we bring to our specialities. An artist without passion is the same as any other employee who is just doing their job – our extra effort makes the difference.

I was rehearsing in the wonderful Disney Hall in Los Angeles – the new building designed by Frank Geary – and looked up and counted approximately 200 fixed lighting features and about 20 moving light fixtures -
I walked past far more backstage. There is also a fantastic sound system built into and especially for the space. I was banned from using all of it and was told that, “This is a concert Hall and not a theatre” and that the logistics of the event in which I was involved excluded even the modest audio reinforcement that I and the composer had requested. We have all the ingredients right in front of our faces to consistently put on great events but at this point I see this part of the music business and many of our performances like the ingredients of a cocktail sitting in a glass and needing to be shaken or stirred. Let's face it, we aren't going to repeat a bad cocktail experience by choice.

The elitism and refusal to accept that what orchestras are doing now is far less relevant to the general public is answered by the old mantra “they need to be educated”. I do not believe that entrenching ourselves in tried, trusted and accessible repertoire is the answer.
It cannot be denied that the composers of these pieces are great composers with many wonderful works available to us to experience - It is the only reason why these pieces continue to be performed. However, with the advent of the myriads of alternative entertainments available to the public why should they want to come to hear the same thing time and time again done in exactly the same way? We would not expect a contemporary artist to continue to play the same repertoire endlessly and continue to make a living yet this is exactly what we see the orchestras doing.

Despite the classical orchestras being perhaps the older of the Arts we have not learnt new tricks. The pop world, theatre, dance and the graphic and written arts have all reinvented themselves and where deserved, thrive. This is also known as evolution. Dame Evelyn Glennie OBE, June 2006

But for an opposing view read about The latest avant garde tricks.
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Friday, December 29, 2006

The musical tastes of our politicians

Downing Street last night insisted that Tony Blair had paid properly and in full for his winter break, after a day of confusion over the arrangements surrounding his stay in the Miami mansion of former Bee Gee Robin Gibb (left). As yet another political storm rages around Blair's holiday arrangements it is difficult to know what is more suspect, his financial judgement or his taste in music. But appalling musical taste is not limited to the prime minister, as Michael Church pointed out in an Independent article in July.

What it adds up to is the rampant anti-intellectualism that I found Sir Peter Maxwell Davies (below) raging against, when I visited him at the Royal Academy of Music. The Master of the Queen's Music has just been listening to David Cameron's Desert Island Discs choice on BBC Radio 4, and he's not amused. "In any other European country," he says, "a politician who chose that sort of garbage would be laughed out of court. The anti-artistic stance of our leaders gets up my nose. Their main aim is to turn us all into unquestioning passive consumers who put money into the bosses' pockets. That is now the purpose of education."

David Cameron is the leader of the Conservative Party, and here is the music which caused Max to rage.

1. Tangled Up In Blue, Bob Dylan, CBS 26334
2. Ernie, Benny Hill, EMI CDGO 2040
3. Wish You Were Here, Pink Floyd, EMI 536112
4. On Wings of Song, Mendelssohn, Kiri Te Kanawa and Utah Symphony Orchestra
Decca 475 6013
5. Fake Plastic Trees, Radiohead, Parlophone CDRS6411
6. This Charming Man, Smiths, WEA, YZ000ICD2
7. Perfect Circle, R.E.M, I.R.S.DMIRHI
8. All these Things that I've Done, The Killers, Lizard King,Lizard012

Book:The River Cottage Cookbook by Hugh Fearnley-Whittingstall
Luxury: A crate of Scottish whisky.

For more on the musical tastes of politicians visit Condoleezza's musical mystery tour revealed, and for more Maxwell Davies visit A musician with teeth,.
Image credit - MaxOpus. Any copyrighted material on these pages is included as "fair use", for the purpose of study, review or critical analysis only, and will be removed at the request of copyright owner(s). Report broken links, missing images and other errors to - overgrownpath at hotmail dot co dot uk