The gig

James Reese Europe. Source: wiki.

Long before the “gig economy”, the term gig was widely used in circles such as jazz and WAM. I’m fond of the story about the late lamented Linda Smith chatting with her mum.

The New Grove dictionary of music and musicians gives a succinct, dry definition:

a term commonly applied to a musical engagement of one night’s duration only; to undertake such an engagement.

Wiki elaborates:

Gig is slang for a live musical performance, recording session, or other (usually paid) engagement of a musician or ensemble. Originally coined in the 1920s by jazz musicians, the term, short for the word “engagement” [?], now refers to any aspect of performing such as assisting with performance and attending musical performance. More broadly, the term “gigging” means having paid work, being employed.

More detailed is this discussion on stackexchange, referring to the Word detective site.

I associate the term particularly with freelancers. A Messiah in Scunthorpe for a jolly good tea is a gig of sorts, but so is a Matthew Passion at King’s College Chapel in Cambridge. I wonder when WAM musos, ever keen to deflect pomposity (cf. Viola jokes and maestro-baiting), began using the term.

But (apud Word detective)

Every job is a “gig” today.  Calling your job a “gig” is a way of saying “I’m not really emotionally invested in my job, which I find boring and soulless, and I’m only doing it so I can act/write novels/play jazz saxophone on the weekends”.  And it’s not just laconic “baristas” at Starbucks.  I’ve heard corporate lawyers describe their positions as “gigs”.

Commonly cited is a 1926 Melody maker article, whose byline reads, “One Popular Gig Band Makes Use of a Nicely Printed Booklet”. But The jazz lexicon goes further:

According to jazzman Eubie Blake, bandleader James Reese Europe used the term in its jazz sense as early as c1905; widely current since c1920.

While the use of the term in the jazz world since the early 20th century is widely attested, there are many interesting suggestions about its earlier usage, which remain controversial. The Oxford English dictionary suggests (*Sexism watch!*):

The meaning of the term “gig” is transferred from the deprecatory term for a “flighty girl” and subsequently indicates anything which whirls, or is dangerous or unpredictable.

Word detective has more, alas without giving a source:

The first incarnation of “gig,” around 1225 [?!], was to mean “a flighty, giddy girl,” although this sense may well have been based on an earlier sense of “gig” meaning “something that spins or whirls” (as later found in “whirligig”).  The Oxford English Dictionary suggests that “gig” may be onomatopoeic or “imitative” in origin, meaning that the word itself was meant to suggest something small that whirls.  This sense of “gig” later came to also mean “an odd person, a fool” as well as “a joke” or “a state of boisterous merriment and fun” (“in high gig”).

This sense leads to an etymology from “giggle”, having some fun.

Source: wiki.

By the late 18th century, gig commonly referred to a light, one-horse carriage, popular in New Orleans; by extension,

The thought is that black musicians, in order to avoid being arrested for playing on the street, would instead play jazz on the back of carriages or trucks.

I’m most attracted to two possible musical derivations from gigue (jig), or geiger fiddle. GIG has also been claimed as an acronym: God Is Good, or Get It Going.

Stackexchange thickens the plot bewilderingly by citing the Dictionary of American slang (1960):

gig n1 A child’s pacifier or any object, as a cloth square, spoon, or the like, used as a toy; any object to which a small child is attached and with which he likes to play; any object treated by a child as a fetish; a gigi or ju-ju. Orig. Negro slave and Southern use. From “gigi,” the word is very well known to about 35% of the population, unheard of by the rest. 2 [sometimes taboo] The rectum. From “gigi.” Used euphem. by some children, as part of their bathroom vocabulary, but not common to all children. Used by some male adults [taboo] as a euphem. for “ass” in such expressions as “up your gig.” 3 [taboo] The vagina. From “gigi.” Not common. Prob. Southern use. 4 A party, a good time; esp. an uninhibited party; occasionally but not often, an amorous session, necking party, or even a sexual orgy between a man and a woman. c1915 [1954]: “Cornet players used to pawn their instruments when there was a lull in funerals, parades, dances, gigs and picnics.” L. Armstrong, Satchmo, My Life in New Orleans, 100. 1958: “Life is a Many Splendored Gig,” a song title. 5 A jam session ; a jazz party or gathering of jazz musicians or enthusiasts. Orig. swing use. 1920 [1954]: “Kid Ory had some of the finest gigs, especially for the rich white folk.” L. Armstrong, Satchmo, My Life in New Orleans, 141. 6 Specif., an engagement or job for a jazz musician or musicians, esp. for a one-night engagement. 1950: “If I ask you to go out on a gig, it’s thirty-five or forty dollars for that night.” A. Lomax, Mr. Jelly Roll, 204. 1954: “On a gig, or one night stand.” L. Armstrong, Satchmo, My Life in New Orleans, 221. 7 Something, as a jazz arrangement, that is satisfying or seems perfect. Orig. swing use. 8 A fishing spear; a pronged fork as used for catching fish, frogs, and the like. 1946: [citation omitted]. 9 An unfavorable report; a demerit; a reprimand. Army and some student use since c1940. The relations, if, any, between a child’s pacifier or fetish, the rectum and vagina, a party, a sex orgy, jazz music, a pronged fork, and a reprimand are most interesting, and lie in the field of psychology rather than of etymology.

The white album

Beatles White Album

Image: John Downing / Getty Images. Source.

*Click here for my series on the great Beatles albums, with introduction!*

In my series, based on the work of Wilfred Mellers and Alan W. Pollack, somehow I’ve left The white album (aka The Beatles) (1968) till last.

Sandwiched between Sgt Pepper and Abbey road, The white album may seem rather less cohesive as a suite, but it has all the hallmarks of the Beatles’ late style, and again the effect of its songs is cumulative. Mellers highlights the parodistic, retrospective elements of the album, with simultaneously innocent and ironic incorporation of a variety of styles (music-hall, Country, R&B, children’s rhymes…), with what Pollack describes as a “rapid string of costume changes”. But the more we listen, the more enthralling it is.

Rishikesh

Source: wiki.

The Beatles conceived most of the songs while on a Transcendental Meditation course with Maharishi Mahesh Yogi in Rishikesh, India. While (in keeping with their late style) the lyrics are trippy, the influence of Indian music, heard on their other albums around the time, is barely evident here.

The austere cover of the double album made a deliberate contrast with the exuberance of that for Sgt Pepper.

Here’s a playlist for the 2009 remastered version:

As usual, Pollack’s analyses are stimulating (links below), often making use of the “Esher demos” to explore the creative process.

Side 1

  • Back in the USSR. Pollack: “hard edged rock-and-roll”, with “the fresh impact of a palate-cleansing, eye-catching, and ear-opening album opener”, channelling the Beach Boys and Chuck Berry:

Well the Ukraine girls really knock me out
They leave the West behind
And Moscow girls make me sing and shout
That Georgia’s always on my mind.

—a satire of naïve patriotism that was issued with unfortunate timing, just months after the Soviet invasion of Czechoslovakia.

  • Dear Prudence. Mellers: “a new type of Eden song”, with a pentatonic melody over a D pedal; Pollack: “taking that same droney aesthetic with which George was so enthralled”.
  • Glass Onion: an up-tempo rock number, its tune “obsessed by the disquieting interval of the tritone” (Mellers).
  • Ob-la-di, Ob-la-da, “a Liverpudlian-West Indian music hall that deflates love by way of deliberate vacuity” (Mellers).
  • Wild honey pie, an entr’acte, “a little bonsai tree of a song” (Pollack).
  • The continuing story of Bungalow Bill, “a total deflation of the tough guy myth, […] the irony given an extra twist by the romantic flamenco-style guitar prelude and the lyrical postlude for solo bassoon” (Mellers).
  • While my guitar gently weeps, a song by George, with guitar solo from Eric Clapton. Pollack gives a particularly detailed analysis. For weeping in a variety of music, see under Fassbinder’s bitter tears.
  • Happiness is a warm gun, satirising cabaret, soul-cum-blues, and corny balladic waltz (for Beatles waltzes, see here), with changes of metre—Pollack even spots hemiola in Mother Superior jumps the gun.

Side 2

  • Martha my dear: related to Ob-la-di, affectionately ironic. The brass-band riff was arranged by George Martin.
  • I’m so tired, an enervated, self-deflating song from John.
  • Blackbird, Paul’s haunting, deceptively simple solo. Mellers:

The folk-poetic identification of light and dark in this refrain complicates our response to what appears to be a straight little song about freedom, but which turns out to be unexpectedly moving in its fusion of naïve white country guitar with black blues. This may be why the squeaky blackbird noises that erupt into the song affect us as being pretty, comic, and scary all at the same time.

Who knows how long I’ve loved you
You know I love you still
Will I wait a lonely lifetime
If you want me to, I will.

  • Julia. Eschewing the usual contrast between tracks, John concludes Side Two in somewhat similar vein, “elegiac, entirely devoid of irony” (Mellers). Analysing the shifting harmonies, Pollack finds it almost agonisingly exquisite in its restrained, laconic poetry. He adds:

Though you probably treasure your knowledge of the poignant personal history that underlies Julia, do you ever stop to wonder how relatively incidental and non-essential that knowledge is to the effect that the song has upon you? Oh, I understand that knowing that Julia was John’s mum unavoidably adds a new dimension to your so-called appreciation of the song, but what I’m asking now is how much less does the song speak to your heart in absence of that knowledge?

Side 3 opens again with a burst of blues-tinged rock-and-roll, in

  • Birthday. As Pollack comments, once you probe more deeply, you quickly discover that this is no mere rote revivalist knock-off.

As they matured they likely found that, in spite of all early interest, the strict blues form was not an idiom that they felt all that comfortable with in terms of self-image and expression. Interestingly, they never quite forgot or expunged the technique from their vocabulary, but it did remain for them something to be used sparingly, for special effect and exotic tang.

On a personal note, I note this felicitous addition to my inventory of Stammering songs:

I would like you to dance (Birthday)
Take a cha-cha-cha-chance—(Birthday)
I would like you to dance (Birthday).

Side 4

  • Revolution 1, an ultra-stylised blues, rather laid-back, with a fashionable reference:

But if you go carrying pictures of Chairman Mao
You know you ain’t gonna make it with anyone anyhow.

  • Honey pie, a quaint rags-to-riches fairy tale, with period detail, described by Mellers as a 1930-ish Fred Astaire number, the wit of the chromatic harmonies nostalgically recalling Rodgers or Cole Porter.
  • Savoy truffle: George in blues mode.
  • Cry baby cry, a surreal anti-lullaby, leading into
  • Revolution 9. By contrast with Revolution 1, this is a long “electronic freak-out and collage piece, distorting and mixing muzak of various kinds” (Mellers), with sung melody banished. Even here, Mellers suggest that the Beatles are parodying their recent electronic experiments in Sgt Pepper.
  • Good night. Deploying a range of dreamy, sentimental Hollywood clichés,

The effect is quite different from the emotive strings in Yesterday, Eleanor Rigby, or She’s leaving home, for we saw that in those songs the lush accompaniment preserved a virginal frailty that, in context, was at once sentimentally committed and ironically detached. […] The kitsch does not discredit the tenderness of tune and harmony. […] Its beauty, despite the cinematic scoring, turns out not to be in inverted commas. (Mellers).

This final sequence leads Pollack to make a fine point:

In order to fully appreciate the uncanny aptness of ending The white album with Good night, you need to first back up and consider why the penultimate album slot is such as logical place for Revolution 9.

Where else could you put Revolution 9? [SJ: he doesn’t consider the option of not including it at all…] Too early in the running order would make the rest of the album seem a bit anti-climactic at best. At worst, you could lose most of your audience well before you’ve trotted out the rest of your best stuff. Putting it at the very end lends it too much emphasis. Maybe put it at the end of one of the other sides, but no-one will be sufficiently motivated to turn the record over. Next to last feels just right.

Now then, what kind of act could possibly follow Revolution 9? You clearly need a sharp contrast, but exactly what kind? Virtually any other song from the album would sound a combination of anti-climactic, stylistically repetitive, underwhelming, or too weird.

Good night has the simultaneous virtues of providing musically arch-conservative ballast, a change of style as refreshingly surprising as anything else on the album, and a clever, self-referential way of telling you the music’s over; turn out the lights.

The mandala of Sherlock Holmes

Holmes cover

On modern Tibetan society, Jamyang Norbu has long been a stimulating voice (note his splendid website). Here I’ve already admired his remarks on Tibetan opera, and his article The Lhasa ripper. His novel

  • The mandala of Sherlock Holmes: the missing years (alternative subtitle “the adventures of the great detective in India and Tibet), “edited by Jamyang Norbu” (1999)

is a Rattling Good Yarn, with a serious moral—like many of the best crime novels (Philip Kerr, Tony Hillerman, and so on), both gripping and educative.

Born in 1944 in Lhasa, Jamyang Norbu was sent to a Jesuit school in Darjeeling, where he relished Kipling and Conan Doyle. After an interlude with the Khampa guerrilla group “Four Rivers, Six Ranges” in Mustang to resist the Chinese invasion of Tibet (see e.g. Jamyang Norbu’s own recollections, and Tsering Shakya, The dragon in the land of snows, Chapter 6), he became a leading light in the educational and cultural scene at Dharamsala. Combining the fruits of his early education and his experience as a Tibetan in exile, he wrote The mandala of Sherlock Holmes there (the Epilogue is dated 1989) before making his base in the USA.

Only in the Preface and the Epilogue does Jamyang Norbu write in his own voice, observing the political context in which we now read the tale.

Tibet may lie crushed beneath the dead weight of Chinese tyranny, but the truth about Tibet cannot be so easily buried; and even such a strange fragment of history as this may contribute to nailing at least a few lies of the tyrants.

Still, he indulges poetic fancy by evoking the discovery of Hurree’s notes, and Holmes’s living incarnation in a monastery.

Given the wealth of later tributes to Sherlock Holmes, the Preface opens with a wry flourish:

Too many of Dr John Watson’s unpublished manuscripts (usually discovered in “a travel-worn and battered tin dispatch box” somewhere in the vaults of the bank of Cox and Company, at Charing Cross) have come to light in recent years, for a long-suffering reading public not to greet the discovery of yet another Sherlock Holmes story with suspicion, if not outright incredulity.

Holmes having faked his own death at the Reichenbach Falls in 1891, Conan Doyle had the sleuth explain in The adventure of the empty house (1903, set in 1894):

I travelled for two years in Tibet, therefore, and amused myself by visiting Lhasa and spending some days with the head Lama. You may have read of the remarkable exploration of a Norwegian named Sigerson, but I am sure that it never occurred to you that you were receiving news of your friend.

The story is narrated by Hurree Chunder Mookerjee, a Bengali scholar/spy from Rudyard Kipling’s novel Kim (based on the real-life character of Sarat Chandra Das), who takes Watson’s place as Holmes’ trusted friend and confidant. As Jamyang Norbu explained, “The Sherlock Holmes stories worked because of Dr Watson. You need someone who is sweetly endearing but also slightly dim.”

With erudite footnotes (mostly in the persona of Hurree, on both Holmesiana and Tibetan studies at the time), the novel is a most accomplished pastiche, replete with vignettes—like the use of fingerprinting for identifying criminals, introduced in Bengal in 1896, before it was adopted by Scotland Yard in 1901, or the history of the Thug cult and worship of the goddess Kali.

Holmes arrives in Bombay incognito—or so he hopes—with only a Gladstone bag and a violin case:

This was, of course, suspicious in itself. No self-respecting sahib who travelled to India was without at least three streamer trunks, not to mention other sundry items of baggage like hat boxes, gun cases, bedding rolls, and a despatch box. Also, no English sahib, at least if he was pukka, played the violin. Music was the preserve of Frenchmen, Eurasians, and missionaries (though in the latter-most case the harmonium was a more favoured instrument).

Amidst the “Great Game”, Holmes’s arrival has come to the attention of the British Secret Service in India, and Hurree latches on to him. They soon learn that his life is still in danger.

I commend your energy, Strickland. But I fear that such a direct course of action would prove futile. Colonel Sebastian Moran is a most cunning and dangerous adversary. At the moment the only net we have is too frail to hold such a formidable prey.”
“But, dash it all!” cried Strickland. “The man is an honourable soldier. […] You expect me to believe that an English gentleman, a former member of Her Majesty’s Indian Army, the best heavy-game shot in India, a man with a still unrivalled bag of tigers, is a dangerous criminal. Why, I was with him just two nights ago at the Old Shikari Club. We played a rubber of whist together.”

Holmes Tibet map

All along their arduous journey via Bombay, Delhi, and Simla on to Lhasa, pursued by Moriarty’s well-trained, dastardly henchmen, “Sigerson” solves baffling cases. Even in Simla, “a delightful and sophisticated town”, he is not inclined to relax; as Hurree observes,

I was really at my wits’ end trying to make him enjoy himself. […] Knowing his liking for music, I thought it would not be improper to suggest a visit to the Gaiety Theatre, where at the time a comic operetta by Messrs Gilbert and Sullivan was being performed. It was only much later that I learned that his musical interests leaned towards violin concerts, symphonies, and the grand opera.

Holmes frequents the Antiquarian Bookshop run by Mr Lurgan—another character from Kim—and enlists Hurree to teach him Tibetan. Another period note:

But I will not burden my readers with any further digression into the subtleties of the Thibetan * language, for such a subject can only be of interest to a specialist. Nevertheless, for those readers who would like to know more about the Thibetan language I can recommend Thibetan for the beginner (Re 1) published by the Bengal Secretariat Book Depot, and the Grammar of colloquial Thibetan (Rs 2.4 annas), by the same publisher.

Colonel Creighton fills them in on the situation in Lhasa:

“This is a secret report I received from K.21 just a week ago. His monastery is, as you know, close to the main caravan route from Kashgar to Lhassa, and is therefore a good place to pick up news from the Thibetan capital. Evidently things are not as they should be in Lhassa. There are rumours that two senior ministers have been removed in disgrace from the cabinet, and a much respected abbot of the Drepung monastery jailed like a common criminal. K.21 feels that the Manchu Amban is behind these events, and it is probably an attempt to undermine the position of the Grand Lama and strengthen Chinese influence in Thibet. It seems that these particular ministers and the abbot wanted the young Grand Lama to be enthroned before his constitutional age. They were opposed to the Regency, which has acquired the reputation of being influenced by the Chinese representative, the Amban.”

So in late spring, once the passes are no longer snowbound, they set off, joining the Leh-Lhasa caravan near Mount Kailash.

arrow missive

Sigerson’s passport into Tibet: da-yig arrow missive. **

Reaching the fortress of Tsaparang, Hurree tells Holmes the story of the Portuguese Jesuit community there, founded by Antonio de Andrade in 1624:

“Did the good father succeed in converting many of the natives?” asked Holmes, knocking the ash of his pipe against the side of a broken wall.
“Not very many, I would think. Thibetans are notorious in missionary circles for their obstinacy in clinging to their idols and superstitions.”
“They revel in their original sin, do they?” chuckled Mr Holmes. “Anyhow, there is a surfeit of religion in this country already. Why should the missionaries want to bring in another?”

Lhasa 1904

Lhasa, 1904. Source.

Eventually, with sherpas in tow (shades of The ascent of Rum Doodle?!), on 17th May 1892 they reach Lhasa. In another nice note Jamyang Norbu comments on Hurree’s text: “Only one white man, Thomas Manning, had ever set eyes on it before”:

Hurree is mistaken. John Grueber and Albert d’Orville visited Lhassa in 1661 and saw the Potala palace, although the construction was not fully completed until 1695.

For early Europeans in Tibet, see here.

Holmes Lhasa map

As observed by Tibetscapes in this Twitter thread, the novel critiques the exoticisation of Tibet, bringing to focus Tibetan voices and perspectives. Lhasa is described not as the reified Buddhist utopia of Western imagination, but as a thriving metropolis:

Merchants from Turkestan, Bhootan, Nepaul, China, and Mongolia displayed in their stalls a ruch array of goods: tea, silk, fur, brocades, turquoise, amber, coral, wines, and dried fruits and even humble needles, thread, soap, calico, spices, and trinkets from the distant bazaars of India. Lhassa is a surprisingly cosmopolitan town, with merchants and travellers from not only the countries I have just mentioned, but also Armenians, Cashmiris, and Muscovites.

Holmes and Hurree are ushered into

a well-appointed chamber, decorated in the Thibetan fashion with religious paintings (thangka) and ritual objects, and the floor covered with rich carpets and divans. We were served tea and Huntley & Palmer’s [sicapostrophe pedant] chocolate-cream biscuits.

Visiting the Norbulingka (“Jewel Park”) for an audience with the Dalai Lama’s Chief Secretary, they learn that Sigerson’s true identity has been revealed by the Grand Seer. As the Chief Secretary explains,

Thibet is small and peaceful country, and all that its inhabitants seek is to pass their lives in tranquillity and to practise the noble teachings of the Lord Buddha. But all around us are warlike nations, powerful and as resilient as titans. […] To the east is our greatest peril and curse, Black China—cunning, and hungry for land. Yet even in its greed it is patient and subtle. It knows that an outright military conquest of Thibet would only rouse the ire of the many Tartar tribes who are faithful to the Dalai Lama, and who are always a threat to China’s own security. Moreover, the Emperor of China is himself a Buddhist, as are all the Manchus, and he must, at least for the sake of propriety, maintain an appearance of friendly amicability with the Dalai Lama.
But what he cannot achieve directly, the Emperor attempts through intrigue…

So Holmes assumes the task of rescuing the young 13th Dalai Lama from the plots of the Chinese, in a climactic encounter with the arch-fiend himself. Finally the true numinous identity of Holmes himself is revealed. While Jamyang Norbu has long been a dispassionate critic of the Tibetan religious mindset, the dénouement indulges esoteric mysticism to the full, with the mandala of the Great Tantra of the Wheel of Time and mudra hand gestures playing a crucial role. Lhasa is free to celebrate the coronation of the young Dalai Lama.

Such intrigues can only remind the modern reader of the events leading up to the current Dalai Lama’s flight in 1959. His predecessor himself fled from the Chinese in 1910, returning from exile in 1913 (for more on the intrigues of the day, see e.g. this post by Woeser). In the Epilogue, Jamyang Norbu cites the 13th Dalai Lama’s last testament:

It may happen that here, in Tibet, religion and government will be attacked from without and within. Unless we can guard our country, it will happen that the Dalai and Panchen Lamas, the Father and the Son, and all the revered builders of the Faith, will disappear and become nameless. Monks and their monasteries will be destroyed. The rule of law will be weakened. The land and property of government officials will be seized. They themselves will be forced to serve their enemies or wander the country like beggars. All beings will be sunk in great hardship and overpowering fear; and the nights and days will drag on slowly in suffering.

Like Tintin in Tibet (1958–59, sic) and Twin Peaks, one hopes that such popular works will lead the casual reader to explore the troubled modern history of Tibet. Here’s a roundup of my posts on the topic.


A couple of notes of my own [dated 1st April 2021] in homage:

* The aspirated initial might seem to suggest that Tibet was “discovered” by the Irish, the “h” disappearing from orthography as other Westerners heard them evoking the country. Cf. Denis Twitchett’s theory that Li Bai was an Irishman called Patrick O’Leary (n. here).

** Could it be that emissaries called out “da-yig!” to announce their arrival, a custom that eventually found its way to Venice via the Silk Road, becoming the gondolier’s cry of O-i? [No it couldn’t. Stop it.—Ed.]

Twilight of democracy

Twilight cover

  • Anne Applebaum, Twilight of democracy: the failure of politics and the parting of friends (2020; subtitle for US edition the seductive lure of authoritarianism)

serves as a useful survey of disturbing trends around the world, notably in Europe and the USA, making a slim and accessible tome with its own seductive lure. *

As a historian, Applebaum has long been a noted critic of the Soviet system, with her thoroughly-researched accounts of Stalin’s gulag and the 1930s’ famine (see under Life behind the Iron Curtain). Such work is easily co-opted by “anti-Communist” conservatives in the West, and until quite recently Applebaum, happily aligned with the centre-right, didn’t care to argue; like many liberals, she only felt compelled to confront the wider issue when authoritarianism began posing a threat to democracy around the world.

With her media profile as a journalist (e.g. in The Atlantic and on Twitter), Applebaum is prominent among the legion of vocal critics of Trumpism (including, from her own field, other public intellectuals such as Timothy Snyder, as well as committed democrats like Robert Reich), and she’s just as engaged with related global trends, notably in Europe and the UK. By virtue of her own background, her warnings seem, at once, all the more telling (it’s good to find erstwhile conservatives defecting) and flawed.

A 1999 New Year’s Eve party that she hosted with her husband Radek Sikorski at their Polish home prompts her to reflect on the imminent “parting of friends”.

What, then, has caused this transformation? Were some of our friends always closet authoritarians? Or have the people with whom we clinked glasses in the first minutes of the new millenium somehow changed over the subsequent two decades?

Along with anecdotal passages, the book also provides excursions into earlier debates over democratic values. Applebaum suggests:

Authoritarianism appeals, simply, to people who cannot tolerate complexity; there is nothing intrinsically “left-wing” or “right-wing” about this instinct at all. It is anti-pluralist. It is suspicious of people with different ideas. It is allergic to fierce debates. Whether those who have it ultimately derive their ideas from Marxism or nationalism is irrelevant. It is a frame of mind, not a set of ideas.

Following World War Two,

British Tories, American Republicans, East European anti-Communists, German Christian Democrats, and French Gaullists all come from different backgrounds, but as a group they were, at least until recently, dedicated not just to representative democracy, but to religious tolerance, independent judiciaries, free press and speech, economic integration, international institutions, the transatlantic alliance, and the political idea of “the West”.

Such values seemed to have triumphed after the collapse of Soviet regimes from 1989. But recently, “by contrast, the new right does not want to conserve or to preserve what exists at all”; liberal democracy turns out to be worryingly fragile.

Noting the role of political entrepreneurs and propagandists, Applebaum cites Julien Benda’s 1927 La trahison des clercs. Having cautioned us that “there is no single explanation, and I will not offer either a grand theory or a universal solution”, she begins her discussion of right-wing populism, its lies and conspiracy theories, with east Europe (notably Poland and Hungary), where two illiberal parties have monopolies on power: in Poland, the Law and Justice Party, and Vikor Orbán’s Fidesz Party in Hungary.

Applebaum finds hypocritical the grim warnings over the influence of “Communism” that retain an appeal for the right-wing ideologues of her generation. Her explanation of the crisis in Poland is informed by her own involvement with the leading political figures there. In Hungary, she has a run-in with the historian Mária Schmidt, whose House of Terror Museum she had found impressive, but who later espoused Orbán’s nationalist cause.

Observing that these movements are not particular to the former Communist countries of east Europe. Applebaum turns to the UK and the rise of Boris Picaninny Watermelon Letterbox Johnson, whose “outsized narcissism” complemented a “remarkable laziness” and penchant for fabrication. Her encounters in 1990s’ London with “nostalgic conservatives”, and the jocular atmosphere at the Spectator, seemed like harmless fun. She harangues effectively against the Brexit débacle, but again, given that she consorted happily with Simon Heffer and Roger Scruton, one worries about her social circle.

Nostalgia took the form of belief in a world where England made the rules. In The future of nostalgia Svetlana Boym distinguishes “reflective” and “restorative” nostalgia: the former miss the past, without wanting it back; the latter want to live in it, right now, lamenting decline.

In the Western democracies anxiety, anger, and the backlash against immigration may seem like a long-delayed reaction to the crises of capitalism since the 1960s, compounded by new technology (cf. Can’t get you out of my head).

After considering the Vox party in Spain, Applebaum focuses on the USA, noting antecedents to Trumpism and the predilection for violence, and introducing former acquaintances with whom she parted ways, such as the alarming Laura Ingraham and Roger Kimball.

* * *

Twilight of democracy has been widely welcomed—see e.g. LARB, NYT, and in the Guardian, this review (along with Kratsev and Holmes, The light that failed) and interview here. But it’s worth reading two reviews by David Klion and Jorge González-Gallarza—both critical, yet far apart on the political spectrum.

Klion comments:

Applebaum’s blind faith in the centre-right strains of neoliberalism and meritocratic mobility conveniently absolves her and her remaining friends of any responsibility for the present crisis. […] It never seems to cross Applebaum’s mind that having had so many erstwhile friends who ended up on the far right might say something unflattering about her own judgment—and more generally about the centre-right political tradition to which she belongs. […] Applebaum is willing to skewer her erstwhile friends, but she is unwilling to interrogate her own culpability and that of the centre-right establishment more generally.

From a conservative standpoint, Gallarza observes:

Her journalism reads like a (somewhat more) refined version of the doomsday prophesying that prevails among her never-Trump colleagues. […] Waxing alarmist about the demise of the American republic is something of an oversubscribed beat across the mastheads she writes for. […]

Applebaum’s primary ambition is to chronicle how modern republics can undergo dismantling, from within, through the subversive influence of a rogue faction of the intelligentsia. For [her], national populism complicates the democratic experiment, but its hold over a share of the elite intellectual class is most disconcerting.

Gallarza concludes:

[Applebaum] draws attention to an old truth that merits recalling—yes, democracy only thrives when a spirit of republican virtue overcomes factionalism, authoritarianism, and other undemocratic impulses. And there may well be cause for alarm on this score in the post-Soviet East. But Applebaum’s record of casting off divergent views as the work of authoritarian demagogues puts her in a difficult spot to raise the alarm.

Given the valuable role that Applebaum plays in defending the cause of liberal democracy, perhaps we might overlook her dubious past involvements with the sinister figures she now excoriates. But similar arguments from further left may prove to be more valuable. For practical, passionate, informed ways of strengthening social justice, do follow AOC!


* Rather like the decor for her online interviews—runaway winner in the Classy Book-Lined Study category.

AA zoom

Anagram tales: a roundup, with wacky index

Here are links to our initial selection from the magnificent anagram tales by Nicolas Robertson. They group neatly in three trilogies—first, Mozart operas:

followed by

and

The visions emerging here make up a kind of Esperanto fiction—it’s most rewarding to follow the gnomic texts with the aid of the explanatory stories. Here’s a general introduction by Nick himself:

The anagram stories Stephen Jones has been resolutely issuing arose from a specific combination of circumstances. First, amongst professional classical music singers, the 80s and 90s were a high point for tours, residencies, and CD recordings, all of which furnished extended periods of having to sit patiently around—time used in various ways, crosswords, knitting, books and magazines; there were not yet smartphones or iPads, had they already existed it’s unlikely that these texts would ever have developed.

But in 1984 I had been introduced to the work of Georges Perec and the Oulipo, which added to my early enthusiasm for Mots d’heures: gousses, rames and an appreciation of word games of various sorts (though I never enjoyed or was much good at Scrabble, oddly: I think it was the element of competition which spoiled it). Such games had a much more serious aspect for me (as indeed, to a hugely greater extent, they did for Perec), through their function of creating “potential literature”—Oulipo is “Ouvroir de Litterature Potentielle”, freeing up through constraints. Having always been keen on writing, I nevertheless had found myself unable, every time I tried, to write imaginative fictional narrative; what began as a collaborative pastime (many anagrams, and certainly the best ones, were deduced by colleagues, once I’d proposed a source text or name) gradually morphed into a generator of unlikely yet rigorously underpinned stories.

As to the process, during recording sessions etc. I collected from volunteers and compiled my own anagrams, which I then joined up in whatever form of narrative appeared possible, permitting myself any old punctuation but always (the few exceptions are noted in the text) sticking rigorously to the sequence of repeated anagram matrices, with the same letters repeated each time, never overlapping nor transposing—no cheating for effect (however tempting). At first that was as far as I thought of going, but it soon appeared that there was another level of interpretation waiting to be exploited, the “potential literature”, and I spent some months, or even years (in the case of Lili Boulanger and Johann Sebastian Bach) extrapolating the story I felt the anagrams were perhaps telling.

In addition to the nine Steve has published, there are six more which survive—several were wholly or partly lost during the course of time and specifically in a fire in our house in Portugal which destroyed most of my papers (and books) in 2009: the survivals are in great part due to Steve himself, and Charles Pott, a notable contributor, who had kept copies, backed up by a handful I’d managed to consign to the internet (most of the stories also predate the days of web-based email).

These other pieces are:

  • Israel in Egypt (anagrams only, stitched together but without parallel text, 1989)

  • Die Entfuhrung (sic—no umlaut, nor the missing ‘e’ it would represent) / Aus dem Serail (introduction + anagrams only, 1991)
  • Salzburg (introduction + anagrams of Beethoven’s Leonore/Beethoven’s Fidelio + story, 1996—probably the most substantial piece of the whole run)

  • Alceste (raw anagram list + anagrams + story, 1999)

  • Merano (intro + raw anagram list + anagrams + story + epilogue, 2000)

  • Oslo (raw anagram list + anagrams + sort of story + epilogue/more story, 2000).

These last two were envisaged as being integral parts of my reactions to the celebrations at the time of the 250th anniversary of Bach’s death, and the many concerts in which I took part during that year. The last anagram piece I wrote of this sort (there’s since been an acrostic anagram sonnet for Fernando Pessoa) was indeed Johann Sebastian Bach, compiled between 2000 and 2021. There’s a hope that the complete set may eventually interest a publisher…

I still can’t write (and don’t believe I have written) fiction. I was just following where the letters led me.

Nicolas Robertson, August 2021.

* * *

[SJ:] With my penchant for zany indexing (see here, and here), I can’t resist compiling a selective general index of some of the more striking people, places, and themes that adorn the plots so far (just the anagrams, not the extrapolations!), and allowing characters to mingle freely after being trapped within the bonds of the individual stories that generated them. In the absence of page references, you can have fun working out which tales the entries belong to.

196.

index 1

 

197.
index 2 

198.

index 3

199.

index 4

Medieval helpline

test card

Normal service may or may not be resumed shortly.

After a whole day of fruitless wrangling with the well-meaning wizz-kids of Mac, I find myself at the mercy of forces against which I am ever more helpless.

Will my updated version of Safari work if I upgrade to OS 14.1.1?
Sure, if you upgrade to OS 14.1 first.
Great! Can I do that?
No.
So I’m completely fucked?
Indeed you are, sir. Have a nice day.

Medieval helpline (excuse my abject failure to reproduce the language faithfully, but you get the gyste):

Estymed Syre! Thyne present Qyll ys incompatyble with ye Vellum thou art usyng. Thyne veyn attempt to use “fowntayne penne” founder on ye fact that it will not invented be for many centuriys. Nor wyll any fantasticalle Appe rescue ye from languyshing in Purgatory. Fare thee well.

Cc Dante, Chaucer

Sure enough, this has already become something of a meme:

All this may heighten our appreciation of oral transmission. Cf. Flora, Amos and the tweet, The wonders of technology, and Bunnios.

Lukewarm Laodiceans and puffed-up Pharisees

Pharisee

Fresco of Pharisee and tax collector, Basilika Ottobeuren
(source: wiki).

Continuing to explore the riches of Bach cantatas (most recently in Cycles and seasons), I note that it was on 8th August 1723, the 11th Sunday after Trinity, that Bach first directed Siehe zu, daß deine Gottesfurcht nicht Heuchelei sei (“See to it that your fear of God be not hypocrisy”—a fine motto) for his new congregation at Leipzig (see here, and wiki).

The text (author unknown) is laden with sonorous rebukes:

Christianity today
is in a bad way:
most Christians in the world
are lukewarm Laodiceans
and puffed-up Pharisees
who make an outward show of being pious
and like a reed bow their heads to earth
[…]

The appearance of false hypocrites
can be called Sodom’s apples
that are filled with filth
and from outside glisten splendidly.
Hypocrites, who are outwardly fine,
cannot stand before God […]

Wretched man that I am, wretched sinner,
I stand here before God’s face.
Ah God, ah God, be gentle
and do not enter into judgment with me!
Have mercy, have mercy,
God, my Forgiver, over me!

Just imagine the sermon (see here and here) (but don’t imagine Dudley Moore’s Psalm). The cantata might appeal to Alan Bennett, with his observations on hypocrisy as a defining trait of the English.

Here are John Eliot Gardiner and the Monteverdi Choir in a live performance during the 2000 Bach Cantata Pilgrimage, with the stellar Mark Padmore and Magdalena Kožená (singing another exquisite Erbarme dich, with two oboes da caccia; cf. Bach and the oboe), with Stephan Loges:

For more from Magdalena Kožená, see here, and here.

For a variety of posts, including more cantatas, see A Bach retrospective.

Hosanna—J.S. Bach!

Anagram tales 9: Johann Sebastian Bach

guest post by Nicolas Robertson

For a general introduction to the series, see here.

Prelude—SJ
The grand finale of this third trio of anagram tales, this wonderful fantasy is much informed by Nick’s own research on Bach, with plentiful allusions to the 2000 Bach Cantata Pilgrimage among his typically diverse cast.

* * *

JOHANN SEBASTIAN BACH
Series of concerts and recordings December 1999 –January 2001, 250th anniversary celebration of Bach through his church cantatas, performed each on the liturgical calendar day for which they were written, in places as closely as feasible linked with the original performances; or with the composer himself; or with places dear to or chosen by the director of the Bach Cantata Pilgrimage, John Eliot Gardiner. English Baroque Soloists, Monteverdi Choir, multiple vocal and instrumental soloists.

Bach denkmal

J.S. Bach Denkmal, Arnstadt.

Impossible to encapsulate JSB in an anagram, and I didn’t think of doing so, I reckon, until some time into 2000. The letters were not inviting, as well as too many to control; but on one long bus journey Stephen Varcoe came up with the gem included below, and I understood I had to have a reciprocal try.

Compiling the anagrams took the whole of that year, on and off; the parallel story has taken a bit longer. A substantial part was in place by 2003, John Eliot Gardiner’s 60th birthday, when I submitted an early version of the finale. But the ‘story’ hadn’t been committed to any imperishable medium, and was lost in our 2009 fire. (The anagrams, such as they were, haphazardly survived in a disc I made when leaving the computer on which I’d typed them in London, in 2007, and miraculously had the nous to send to myself by e-mail before the fatal day).

The commentary, though substantially already imagined, has necessarily had to be re-derived, sometimes from scratch, over the subsequent two decades. It follows what I can remember of the original apprehensions, from the anagram matrix, and carrying on…

146 anagrams, in strict rotation. Here goes my 19-letter Passacaglia, followed by a Fantasia on the same ground:

HOSANNA—J.S. BACH!

  “Béni !”
   “Ta. Hosanna basic, jah.”

Bent: “Bach Jain hosanna best.”
   “Jain Shoah ebbs. Can’t an Osanna —”
   “H !” (aitch)
JSB bane. Banish abject hosanna.

JSB: “Ché ? No shit, Anna !”
   “Baa”—Anna hatch babies on J.S.
JSB: “Ach, isn’t Anna boa!” (he is absent.)
Johann, a Bach: “An Eis’nach Abba!”
St John = SANCTI JOHANNES

ABBAH

Bach: “St John as Bean, in a thin assonance.”
   “ABBAH?”
J: “Ach, ja, hab Noten in Baß.” [1] Josh Abba, ancient ash’n Eis’nach nabob.
Jan: “Hast BA?”
   “Has insane chant job”—Anna Bach. “Has-be’n? JS? Toi??”
Bach (in jeans—bathos): “An anabasis, JC ohne NT. Bah, bah, an incessant job.”
   “Ah, JSB canonist? Bane…”
   “Ha ha,” J.S. Bach hones Anna bait, “chess, Anna B.?”
   “Jah, bon, ta, I…”
J.S. Bach, Anna—Tao.

H. IBSEN
   “Hans O. Jahn St., cabbie!”
   “Na. Hans? – ja, a bench bastion, cannabis hash-bean, jot NASA cash. Joint, B. Behan?” Behan: “Ban scat jois? Nah! ‘Cats’ jois ebb, Hahn ‘Nana’ hath a nonsensic jabba, an incessant Noh jabba. The job’s ‘Banish Canaan Banana’! – Shona jest…” (hic) “B-banana jibes,” chants. “ ‘Oh, I eat bananas’ – John B’ch’s banjo shanties.”
   “Na – Bach? J. Bach an’ sons bathe in a Bosnian casbah.”
Janet: “A-Anne?”
   “I shan’t casbah job, shabbiest Canaan john.”
Can job astonish Behan? “Joint, Abbess Hannah?”
Can Hannah? Abbot: “Jessica? O henna nacht, Jass babi!”
Abbess Hanna chant “Joi!” Abbess’ hijo chant “Na-na!”
Abbot: “Jinn Cessna, ha ha! Jess, Hannah, botanic BA – ”
Johann: “Athens BA basic.”

* * *

BAs? Joanna Hitchens, BA.

* * *

John B.: “The CIA’s bananas!”
Bananas—a Hitchens job (John as a cabinet has-b’n).
Jessica O’Bannan hath Bishan B., Shane, Jan Cabot—bah, Jan Cabot, ‘sanshine’…
   “Jinnah nab seacoast, H.B.”
   “Jinnah?”
   “Eton, BA –”
   “– cash BAs. NB neo-Janata bacshish.”
   “Non-Janata shish-cebab Jahan’s sahib NT beacon – ‘bacon bhaji, nan’ – the ass!”
   “Netaji Bose, ANC ban, hah!”
   “Sai Baba, natch, Jens, hon (hasten bhaji, son – an’ cab) – he Johnian (Cantab) bass!”
A.Besant: “Bach’s Johnian?”

A BATH ABC
Nash, In. Jones (Ian ‘Sabbath’ Jones, nach.) Jones? a Bath cabin. Nash? Bath ascension, jah. Nab cabin Jonathan bashes. A casino? nah, Jebb hasn’t.
J. (sob): “The china bananas!” Icon: Saab; Shah; Taj. Benn, Hanoi bachante, S.J., bans Jinnah, Botha (“an abcess”—abcess, Johanna? in Bath??).
Basic ash’n be Jonathan: “I scan ‘H’ sonnet – ABBA, jah? ‘Ban’e’snatch, Jab’ !”
   “No Shia!”
   “Beat B.S. Johns’n! Aa… chain Satan, can banish Hob.”
J.E.: “Ancient bash: Jason. Bah! Johanna’s B’nai B’ith case, Canaan Josh’a, ten shibb–”
   “Jah. Sheba, BC—an onanist!”
   “Ba’ath ’n Hossein ABC, Jan?”
   “Jes. Ch. ahanatos ibn ban Jocanan Bathsheba sin. Bashan benison, jah. Act chasten Jonah.”
   “NASA bib?”
   “Ten-inca hash, baas…”
   “Bon, J. –
        Habas [beans], join, catch,
        Jain ass, a bohnen batch
   “Baba-ja?”
   “Ten-shi chanson?”
   “Chthonian Jaen’s Abbas enchants Habana (obs.). Anna (ij.), bin Jacob’s sheath. Bacon a Jansenist? Ahab?”

* * *

Joanna: “Stein ABC: A B Shh…”

* * *

Johnnie bans a cat-bash: “Nab Jonti, ha!” Bash a scena: Jonti, Hanse scab-ban.
   “Ah, Hansi C’onje bats—nab! Ha!!”
Bet on Hansi C.: Sha’ja’ ban. Abbas – Sha’jah – innocent. Hans—a jab, both canines.” [2]

J.S. Bach has inane baton, J.S. Bach nabs henna iota!

ABACABA 
– “John—thinness?”

NB JSB’s ‘Ninth’ echo: [3]

AAAA

* * *

J.S. Bach, Anna, anise both: ‘Ache, Sob, Jab, Sin.’
Nathan: “JS,” (Bach) “no absinthe?” Ann? Abba cash, honest injan…”
   “Hinab!” Chaos et…
JSB: “Anna! Anna—snobbish Taj ache.” (Ban insane J.S. Bach oath.)

* * *

   “Abbot – Jenni – a Hans Sachs, an Aachen hobbit’s…”
Jan: “Noh ! Banshei! a JSB cantata beano!”
Nin has J.S. Bach in sash, Ecbatana john. B-Beth, John: “Anabasis? Can John B., a Sachsen Ta’iban, ban Nash Hanseatic job?”
   “Bach Iona’s best, Jan.”
   “Nah” – Jan. “Bach? Iona? SHAN’T!”
EBS nab Bach, astonish Jane, bin John’s Sabata ache.
N.J.: “I, the Hon. N., ban ACAS, as ban a snobbish Janet, ach.”
Ban cane? John abstains: can’t bash a shinbone, ja. “Josh has a BBC antenna—I ban he in sonata.”

* * *

J.S. Bach: “Bassinet, banjo, ha ha, c’n-can sahib…”
   “The banjo’s an – a ! – Johann Schein sabbat…”
Johann Sebastian: “Ah!…”

 C B

– “Johann? Hansi? aa…”

 C B B

(E.T.S.) [4]

* * *

HOSANNA—J. S. BACH

Praise be for JSB!

   “Bless you!” – Johann has sneezed, perhaps.
   “Thanks. Makes me think that ‘praise’ is the root of it, yes.”

A musicologist writes: “I like Bach’s praise music best when it lines up with a non-violent pre-Christian ethical world-view.”
   “Practitioners of which used to be harried, a bit less now, I hope. But couldn’t we extend ‘Osanna’ –”
   “Excuse me, there’s an H in Hebrew: it’s Hosanna.”
There’s no agreement, curse it; discussion of praise music founders.

* * *

   “What? is that really so, Anna?” Sebastian exclaims.
Anna, a bit sheepishly, has told Johann she’s pregnant.

   “Wow, what a girl!” Sebastian cries – and exits to take evensong.
His cousin, another Johann, who’s with them today (the Bachs come and go between each other familiarly), reassures Anna, “He’s like the boss in the old Eisenach days!”
Sebastian nips back in, looking for a rebus he’s made for the St John. “I like this small shift in harmony, could provide a laugh.”
   “But where do you get that B natural from?” Johann pleads.
   “Oh, it’s ok, just listen to the bass line”—Sebastian likes to tease the older Eisenach generation.
Jan, whose connection is unclear but who’s obviously entitled to be there and equally obviously allies with the conservative faction, asks “Do you really have the qualifications to risk this?”
Anna cuts this off with a cheery “A mad Cantor job, that’s what he has. But Sebastian’s not finished yet, ARE YOU?”
Bach, who’s taken off his top to put on his cassock—looking touchingly informal, in his jute trousers—responds seriously, “Look, I’ve been making my way up, as if I were Christ without yet the New Testament. But, oh god, there does seem to be no end to the work that has to be done…”
   “Right, but you spend your time making fugues! Sod that…”
Sebastian laughs, he’s above this, and turns to Anna, with an offer he knows she finds it hard to resist, “How about a game of chess before the service?”
Anna’s all confused, thinking she’d been left out of the conversation, “Well, if you think there’s time – yes – thanks – ok –”
Johann’s happy to know the two are on the same wavelength.

* * *

“I knew Herr Jahn,” the taxi driver confided, “he was a stalwart of the judiciary, but wasn’t averse to a joint or two, or a subsidy from the space programme. Speaking of which, can I tempt you, Herr Behan?”
“As long as you don’t go on about free jazz. I’ve had enough of Lloyd Webber, fin-de-siècle musicals don’t make sense to me, any more than japonaiserie. Scare off African potentates, that’s what I’m here for.” Noting a coolish reception from the driver, Behan temporises, “that’s a joke I heard in South Africa…” but he couldn’t resist breaking into song, ‘Yes, we have no bananas’…
He’s delivered safely to the British Council, where the staff ask if he’ll be referring to Bach, whose year it is.
“You what? As far as I’m concerned, let the whole Bach family go and enjoy themselves in a Yugoslav thermal brothel.”
Janet, an intern, asks “Oh, do you think Mrs Bach would go along with that? I wouldn’t accept it, sounds like dodgy Middle Eastern sanitation.” But Behan is imperturbable, and he spots a nun he recognises:
“Join me in a joint, Hannah? Abbess and all?”
An abbot across the room has heard this, and calls over with words echoing Lorenzo’s in The Merchant of Venice, “Go for it, lass!” (no one had ever heard the Abbess’s real first name before, Jessica) – “How sweetly sleeps…”
Hannah/Jessica, liberated, cries “Bliss!”, and her ‘son’ (presumably an acolyte monk) echoes.
The abbot, after veering inexplicably into Indian subcontinental politics (or can that be where he met Jessica, now Hannah, abbess?), launches “Do you remember that devilish monoplane, oh, how we laughed! Jess, ok Hannah, you’re the one who knew about plants, even got a degree for them!”

– across a few centuries, Johann in Leipzig wonders if Sebastian shouldn’t have got a qualification from the Greek academy, for a start

– but for the value of a university degree, I ask you to consider Joanna Hitchens (and I ask her indulgence).

* * *

Meanwhile, in Chichester, the cathedral organist, coolly sceptical, opines over sherry after Sunday Matins, “The US secret services have gone pear-shaped.” That’s what we would expect from the Hitchens brothers, vying with each other for conspiracies.
   “Wouldn’t you have liked to be a politician?”, JB is asked. Well, yes, he’d had his chance. There are some quite outspoken guests, among them associates of the Dean who’d served in the army in SE Asia. I already overhead Jessica mentioning an Indian spin bowler, plus Alan Ladd, and the Boston founding fathers (oh the bright new dawn long promised, those slave traders who spoke only with god) –
   “I remember when I told Helena Blavatsky that Jinnah wasn’t going to be content without a sea port.”
   “But Jinnah was one of us!”
   “Yes, British education, qualifications…”
   “One could buy them. And look how that’s turned into nationalist Hindu free-loading.”
   “Thinking of the Hinduists, I just ordered a beef skewer takeaway, image of the Taj Mahal, that National Trust signpost, in mind. But do you know what the man said? ‘You want a pork fry-up, with onions and chapati?’—what a twit!”
   “This is like infighting between freedom fighters,” interposed Jens, an old Indochina hand. “Netaji Bose thought it more important to oppose British colonialism than worry about alliances with the Third Reich or Japan—hero to Indian nationalists, ‘a common traitor’ to your father. Not sure how South African Gandhi supporters saw him, though.”
“And what about another charismatic guru, Jens, my dear” – I hadn’t met this couple before, but they’re clearly keen to get out of the Vicars’ Close and enjoy their takeaway on the coast, they’ve booked a taxi—though they can’t bear to leave an argument, only had to because the taxi arrived.
But as they go, a tantalising throwaway: “You know JSB sang at St John’s Cambridge, as a bass?”
Annie Besant hears this, and to her credit can hardly believe it is so.

* * *

What you need to know about Bath
Talk of Bath, and you talk first of John Nash, and Inigo Jones. But did Jones build more than a garden shed? While Nash, he saw Bath going up in the world, oh yes. (Still, I wouldn’t mind that shed, Jonathan, since you seem not to think much of it.) Neither of them planned a gambling resort, nor did the Oxford philosopher.

How fragile the past is! I remember a reception in the British Council home on the Île St Louis in Paris, where I and a colleague, our gestures becoming expansive with hospitality, knocked a crystal ashtray off a mantelpiece, which shattered distressingly around our feet. Our hostess was impeccable, she had it cleared up in no time, and told us, “Please don’t worry, the person who gave it to us is dead now anyway.”

This makes me think of memorable images, and how they can fade. Saab – who remembers those stylish cars? The Shah of Iran? The Indian restaurant in York where I saw Victor Lewis- Smith once successfully pay with a library card? Tony Benn’s memoirs tell (or would if they hadn’t been redacted) of a Jesuit having a high old time in Saigon, ignoring both Indian and South African politicians, of whom one was a boil on the body politic—

I must have been muttering aloud to myself, for “A boil? did you hear that, Johanna? – and in Bath!”
Jonathan went pale, at least to the level of his foundation make-up: “Let’s talk about Shakespeare. I’ve digitalised one of the love poems, it’s got that Keatsian rhyme-scheme, nicht war? like Lewis Carroll’s ‘Snark’ – ”
   “That’s a pretty fundamentalist interpretation.”
   “But avant-garde at the same time! Or eerie, like Quatermass, dig up and pin down the old evil!”
John Eliot says this is an old set-to: “It’s all in the Golden Fleece.”
   “OK, but this is actual: Johanna’s tied up with the Israeli nationalists, a historic second-generation fighter, ten commandments set in st—”
   “—yes, but it didn’t start there. Long before, an exogamous queen, after her own pleasure…”
   “Jan, can you give us an up-to-date secular run-down on this?”
   “Ok, if you can keep up, it’s a bit convoluted. Jesus Christ, who is deathless, is the metaphorical son of John the Baptist and Solomon’s mother. This transgression is compensated for by the fecundity of the fat bulls each brought to the union, right? It’s fair to say though that the prophet Jonah felt personally humbled by this deal.”
   “Till he was spoon-fed by the Pentagon.”
   “Not to speak of limitless supplies of peyotl, big boss.”
   “Fine, Jen, but I’d like you to know there are other virtues in plants:

Fava, runner, haricot bean,
Makes a donkey an Indian Queen

   “Yevtushenko? A witch’s spell?”
   “A song for active meditation?”
   “Look at it this way. A Pakistani bowler once thrilled Cuban observers in the earthy olive groves of Andalusia (in those days when Cubans played cricket, not baseball). Anna, now living under another name, deliberately neglected to insist Jacob put on the condom. These are accidents, perhaps determinant, of history. Does that make Bacon, who predicated binary computing machines, a predeterminist? Did it have to be this way? Did you have to carry to the end your existential antagonism with the white whale? Was the story only ever you/it/he/she?”

Joanna, looking on aghast, sympathises with Gertrude Stein’s abdication, after much struggle and play, in the face of so many letters.

* * *

The final set of borrowed (burrowed?) images includes a small, rather sad, cricket vignette—as is apparently inevitable, my medium seems to have a predictable set of stand-bys. This one can be quite precisely situated: it’s the time of the infamous match-fixing scandals involving the South African cricket set-up and specifically the captain, Hanse Cronje, a fine upstanding batsman who went dismally wrong. I think there was a tournament in Arabia at about this time where for once the authorities showed their teeth—who knows if they bit all those responsible?

But JSB himself was not immune to unruly behaviour (though I don’t have reason to think corruption as such was ever attributed—hot temper and intolerance perhaps, and a tendency to collar the Thomas-Kirche’s calligraphy ink allowance). Perhaps he didn’t take it so well, when a colleague heard a theme he was working on—curiously redolent of the ‘Dies Irae’—and wondered whether there was enough substance in it. (Another sketch adumbrates a clearly Beethovenian motif, which just shows one can never know what may give fruit later, and furthermore that minimalism goes hand-in-hand with polyphony).

* * *

Sebastian and Anna are playing games with making up cantata titles—they’re both a bit fired up by absinthe. [We too used to do this: I recall, from Stephen Varcoe and/or Richard Savage, Mein Stimme ist mit Scheiss bedeckt, and Ach Gott, du stehts auf meinen Fuß.]

   “How about Weinen, klagen, sorgen, sagen?”
   “Brilliant! A bit over the top, but go for it!”
There’s an apprentice with them, who can’t quite follow this, and wonders if they should keep off the anis.
   “Anna,” says Johann, “don’t you think that’ll put us on the best-seller lists, truly?” Nathan’s insulted by any suggestion of selling-out, and threatens who knows what sort of mayhem. Sebastian, calm, just says to Anna, “Don’t worry—he has this old idea of Indo-European hierarchy.” Though he then swore softly; but I won’t transcribe what he said, it sounded a bit crazy to me.

* * *

Somewhere, a little while before the Bach Pilgrimage, the office are discussing progress with the idea. They’ve got a highly placed cleric, a beloved singer, a small wizz-kid from Aix-la-Chapelle…
Jan, who’s everywhere, says “Think of Japanese theatre! We’ll go down singing in glory! It’ll be a great Bach-fest!”
Nin immediately imagines scenes with Sebastian dressed in exotic robes, in some sort of Persian latrine. Beth (I stammer as I address her, I’m so nervous, especially as John’s with her) questions the concept of ‘anabasis’, return to the source – “Do we think that Sebastian, who is by way of being a Thuringian fundamentalist, would accept a British makeover of a Baltic town?”
We’re called back to the matter in hand. “I’m sure we should concentrate on Iona as a high point, Jan.”
   “Sorry, I personally won’t be doing Iona.”
And so the English Baroque Soloists get the Iona gig, surprising Jane, and assuaging JEG’s problems with the recording.
The Honourable representative intervenes to outlaw temporising views, ‘no industrial negotiation, and no smart-alecs either, phew’.
Would she even rule out corporal punishment? JE keeps out of it, no knee-capping here. Most importantly, don’t let Radio 3 pirate this—I’ve spotted one of their mikes in the mix—watch out in the ‘Sancta Maria’!

* * *

   “Do you know,” Sebastian murmured to Anna, “I can hear low clarinets, I can hear a strumming continuo instrument, wow, I can see the old masters dancing to our tune….”
   “That—guitar, is it?—can launch you and all your predecessors into a jamboree…”
But JSB’s already hearing something else, is it birdsong, sounds from the future, from another country? “Ach, listen…”

CB

   “Johann? Sebastian? Hansi? Are you there? Oh…”

CBB

CTS

Ernest Thompson Seton, Lives of the Hunted (1902).

Nicolas Robertson, 2000 –2021.


[1] Anagram by Stephen Varcoe.
[2] Anagram by Charles Pott.
[3] The penultimate bar, violins: AAAA.
[4] Amongst the stranded letters in the final anagram, I’d already realised that ETS could mean Ernest Thompson Seton, a Canadian nature writer I’d loved when young; but I had no idea what the still unattributed letters (CB CBB) could do until I looked him up in the British Library.

Gran visits York!!!

Anagram tales 8: Igor Stravinsky

guest post by Nicolas Robertson

For a general introduction to the series, see here.

Prelude—SJ
In this tale (whose title “Gran visits York” is my all-time favourite anagram), yet another numinous cast includes Sir V. Kitson-Gray (Tory), Sir K.Y. Groins-Vat, and Kirsty Garvison—with gin (already a favoured lubricant in Don Giovanni) again playing a role in the arcane plot.

IGOR STRAVINSKY

Stravinsky CD cover

Westminster Cathedral Choir and City of London Sinfonia, directed by James O’Donnell, Westminster Cathedral and St Jude-on-the-Hill, Hampstead Garden Suburb, London, June 1990. [Symphony of Psalms, Mass, Canticum Sacrum, Hyperion recording, issued 1991]

Roughly 118 anagrams, compiled at the time of the recording; followed by an explanatory text, written 30 years later, according to principles deduced during subsequent anagram exercises.
 
GRAN VISITS YORK
Sir V. Kitson-Gray (Tory) asks virgin Ros, stray Viking , “Kiss raving Tory!” Sorry vista. King Gorky I riv’n – TASS. Sir K.Y. Groins-Vat—govt. rank, is Sir Y. (Tory)—asks Irving, Irving K. Tory-Ass, “Try Ivor King, SAS.”

   “IRA KY is v. strong. Gorn—visit Krays!”
   “O, striving Krays. Krays’ sin v. grot—vs. snaky riot-rig.”
   “ ’s Krays givin’ rot. Syrian skirt, gov.”
   “Syria, King? OR TVS?”
   “Kristy Grinsova rigs Sky TV on air.”
   “Sky TV is on air!”
   “Grr… origin sky vat. Sky vision? RATS! Gr…”
   “Rory v. Stasi, King? Ran Gorky visits…”
   “Rory v. giant kiss. Vag ? Rory sinks it. Rory skits Gavin.”
   “Sir Gavin Torsky? Try visor, King, as virgins stray, ok?” Ros’ skin—gravity…
Sorry Viking.

* * *

Sat, I vary stork-sign ink. Grass, tor, ivy: strong, ivy, a risk. Roving yaks stir; “V. strong yak, Iris!”
I try saving orks; Gant risks ivory. “Ivory task,” grins ‘Tsar’ Roy, skiving, “or yaks?” Striving Vik’s gyrations risk gravity (Ron’s).
   “Sir, Roy, vast king, o risk gravy tins.”
   “Rio gravy stinks.”
   “Or, is stink gravy? Toss kir in gravy!”
   “KIR? Gross vanity!”
   “Oy, risk starving! Gravy on sir’s kit!”
   “Sir’s kit? Gravy?? NO!!” Raving soy-skirt, striving soy-ark.
   “O, KV, SIR, STINGRAY!!!”
V. risky, roasting. 1 risky Strogan’v…

* * *

Ross, varying kit (groin’s kits vary), is raving. Storky NY vigor is stark (NY vigo*r…)
   “OK, sis, try!” Raving: “Kris, gravity’s on, or gravity sinks. Toss—KY arriving!”
   “Ivor,” sang Kirsty, “Vag—sorry I stink. Vag ri’ stonky, sir!” Stygian risk. Or Viv: “Roy’s rig stank. Rosin (gratis) v. KY?”
Garry: “I stink.” VSO? “Arvo, try kissing Kirsty Garvison, savory skin-grit. O, KV, stringy sari… Kiss or yang—triv Skytrain vigors.*

* ast’risk: Yank visitors, gr…!
[* non-U]

* * *

Tony risks Varig. “Varig? stonky, sir.”
   “Varig rots in sky—is gory tin ark.” – Gray Visor-Stink. “TGV—air risk.”
‘Sony’ Tanya risks “Rig ‘V’? Rig ‘S’ stank.” Ivory rosary (King T. IV’s), King VI starry, so saving Yorkist.
R. Orr, Stakis vying vs. Rotary skiing: “Skiing ? Sorry, VAT.”
   “O, vary ski-string!”
   “Tyson v. Rik, Riga?” (Kirov’s Tring, say…) “Ivy’s go-kart, Sir N.?”

Ivan Gorky stirs TV, says “Gin or kir? Gin, Stavros?”
   “Kyri’ ? Kvas? o, try gin, sir.”
   “Risky, gin, Stavros. KV!”
I tarry, I snog, vary kiss—Girton, King’s or Varsity?
   “Kiri’ ’av try snogs, roving Starsky, in ‘Savitri’.”
Gorky’s GI star, I. Vronsky.
Sky ‘Ring’ vista – or –
Gran, sky visitor:
   “Igor’s art’s v. inky…”

Hampstead Garden Suburb / Westminster, June 1990,
with 
acknowledgments to Charles Pott (the title!), Adrian Peacock and other colleagues.

And now the story …

Researching into what had passed for British Foreign Office strategy towards the end of the cold war, I came across a curious transcript of a meeting between a number of high-up government officers and a hypothetical field agent. The curiosity is that the account is by the agent himself, a certain Ivor King of the elite forces:

I was waiting outside the chief’s door, as he’d told me I might be wanted. I couldn’t help hearing what was being said inside, it sounded as if Sir Viv (the chief—not the West Indian cricket giant!) was chaffing Rosamund, his offbeat Scandinavian-looking secretary, suggesting she betray the one of them she thought most bonkers with a kiss. I know this is the sort of thing that goes on, but —looking through the spyhole in the door—it made a sad sight.
Down to business. They know, from official media, that the Tsar is in two minds. How to take advantage of this? The powers-that-be decide to ask—me! I entered, feigning surprise.

I was greeted by a challenge: “The Provos are too slippery. Can we suggest you pay a little visit to the Kray brothers?”
   “In my view, the Krays are trying too hard,” I responded. “Their trouble is they play dirty, and that doesn’t work against the Cobra public-order squad.”
   “It’s true, they’ve never been much use to us, I wonder if playing on the Damascus elite’s interest in women wouldn’t be more productive?” asks an under-secretary. This seemed to arouse strong feelings among the assembled nobs.
   “That Russian girl pretends to be presenting a fake Sky channel.”
   “But there already is a real Sky channel—which is quite fake enough.”
   “Ha. There’s room for endless pints in the celestial brewery. What do you think Murdoch’s worldview is? That we’re all laboratory animals, that’s what, blast it.”
   “You, Ivor—do you reckon we could put our impressionist up against the East German secret police? He was good in that Russian travel programme.”
   “He’s a great softy. But if he sees someone he fancies, there’s no stopping him. What’s more, he takes the piss out of the Comptroller.”
   “Torsky? oh dear… Well, it’s got to be you,” he said to me bleakly. “Make sure you’ve got your protection, you’re going to have to get close to those people, and you never know, even if they’re nuns.”
I closed the door behind me, and leant my forehead against the heavy wood. I wondered how Ros put up with it, and the memory of the touch of her hand made me feel I was being pulled into a black hole. Ros, forgive me; I make a poor pillager.

* * *

This morning’s job was to repaint the notice warning people not to disturb the storks’ nests. (Duties went in turn in our Tibetan eco-village.) I crouched at the foot of the outcrop the birds had adopted, green with spring herbs, but in danger of being overrun with creepers, which I feared might clamber to the nests . Below me the animals were waking up, beginning to move around; I called down to Iris, “Watch the aurochs! Once they get going, there’s no holding them.”
I’d spent more of my time attempting to care for live wild species, while a colleague (another ex-musician from the UK) concentrated on the more physically dangerous task of protecting woolly mammoth tusks. Our CO used to tease him about this, though he didn’t do anything himself.
Further down the slope an early morning yoga session was in full swing—‘swing’ may not be quite the word, but actually today there appeared to be some unusually hectic movements, as the leader Victoria encouraged Ronald to go a bit too far on the levitation front.
The CO, Roy, was now checking on the catering arrangements. A volunteer chef asked him, with due deference, if he could try out Bisto instant sauce. Roy had seen, though, that the supplies were actually a Brazilian counterfeit, so no—it smelt bad. There seemed to be a spirit of rebellion among the kitchen volunteers, though: “I’m not sure that’s where the smell comes from… Let’s try adding some blackcurrant cordial.”
   “Don’t you dare touch my liqueur cabinet! Such impudence!”—I could hear the chaplain had arrived.
   “But look, if we don’t make it edible, we’ll have nothing to eat! Oh—sorry, I’ve spilt something on your surplice – ”
   ”What? My robes? – aargh…”
(Some people worry madly about sauce on their clothes, I thought, others earnestly wish a vegetarian Noah had only saved plants on his ark.)
   “Watch out, your worship! A flying manta!”
All good fun, but things were going seriously wrong with the cooking. I rushed down the hill to try to staunch the campfire, where not only something dodgy had got into the stew but the flames looked as if they might get out of control. “Careful with the yurt!”

* * *

Kit had imagined that the worst of her job was looking after the organising of sporting clothing for the Scottish curling team—you wouldn’t believe the details individual players insisted on! But she was up against something much more challenging: passing through US control. First, because the name on the passport wasn’t Kit—as on the ticket—but Christine; and then, as she was accompanying curling equipment, “Go on, explain this to us.”
And when she had tried to, “Excuse me, these things are too heavy to move, they must be meant for something else, unless Newton was wrong. OK, heads or tails, we’re bringing in some glycerine to see if what you’ve said makes any sense.”
In another quarter of JFK airport, Ivor King continues with his ungrateful task. He’s had to apprehend Kirsty, Vivian, Garry and Arvo, all of whom provide crazed personal detail he could have done without—but the letters proved it—of endless connivance between agents. Two items stand out: Viv’s indictment of ‘King’ Roy’s set-up, with its attempted substitution of margarine (bought) for amber (free), and Kirsty—whom we’ve already met, but under another lightly-disguised surname – who may be involved in – please be careful – slightly clad – show you’re a man, lover boy – “oh, it’s just the normal strenuous negotiations for satellite contracts.”

* * *

We had this opening for a concert in Brazil, but someone had to go there to settle it. The question was: which airline? Anthony—we should send the top man—thought we should use the national company, for form’s sake. Not everyone agreed, one aide told him it’s a terrific airline, but a personage on the board reckoned it wasn’t trustworthy, made of cheap metals, and that he should take the train. Tanya, whose internship is sponsored by a Japanese tech firm, wonders about a floating oil platform to take him across the Atlantic, on the reasonable grounds that a different oil platform smelled too bad. We were distracted by a beautiful religious ornament (apparently from King Theodore’s time, but worthy of the best of Henry the Sixth, and which would have proved the legitimacy of Richard III had it been known).
The late composer Robin Orr—joined by a Greek hotelier—interrupts us with a few thoughts on winter sports, and how they should be taxed, especially if they’re organised by Lions Clubs. Several voices are raised, complaining about Prof. Orr’s harping on alpine activities. Would you rather think about a remake of a boxing champion and a comedian in the Baltics? (Ballet Rambert in Danzig, say.)
I wouldn’t mind going there myself, but don’t fancy travelling by dodgem, even if the vehicle’s Ivy’s, and I’m blandished by the address.

* * *

Not quite sure what happened , that day in Mykonos. I was thinking hard about content for our pan-island festival, switching from one music channel to another, and, tiring, asked Stavros if he could lay on a drink. But which one? A cocktail or the thing in itself?
   “Sir,” he replied—I wish he wouldn’t do this subservient thing—“how about slivovitz?”. He saw I made a face—“OK, it’s gin.”
   “Mind you, I’ve heard that gin is dangerous, Stavros, watch out” (I liked to taunt him).
I can’t make up my mind, but am happy, meanwhile, to kiss the girls around me—who cares which college they come from?
   “Sir, you’ve done that, what about putting on an action series, in a Vedic setting?”
I try to reimagine myself as an American soldier adrift but shining in the Russian provinces, a Tolstoy tragic catalyst. Did he understand all that he brought about, or was he a sentimental fool?

The next challenge was going to be the York Festival: TV film of a production in York Minster of the Ring cycle—oh god … could I come up with something else? As often in these straits, I called on my grandmother, by now well ensconced in the heavens, and as if descended from a future time I heard her say:
   “You know, in Wagner the notes run all over, filling up space, a great wash—and those colours, well, altogether they make up brown—but Stravinsky, now, he puts notes right there, each one counts for himself, black on white…”

That’s Gran for you. So I went for Igor Stravinsky.

 

Nicolas Robertson, Outurela, Portugal, May 2021.

Joining the elite musical club

komuso

Cunningly-disguised shakuhachi player (see Dressing modestly).

At the New Grove dictionary of music and musicians we used to debate some weighty issues of principle (see e.g. here, for Tibet; and here, for China).

Lower down the scale in our discussions was which typeface to use for “ethnic” instruments. The theory was that roman should be used for instruments that had passed into common English usage, whereas less widely-known terms should be in italic. So some, like sitar, shakuhachi, and shamisen, were deemed worthy of roman; whereas most others, like sarangi, zurna, and qin, were still considered exotic enough to be given italics. Some genres or ensembles, such as gamelan, have been awarded roman too—maybe even gagaku.

Reigakusha

Of course, it’s all rather subjective, and subject to changing perceptions. I believe some instruments graduated from italic in 1980 (and the 1984 New Grove dictionary of musical instruments) to roman in the 2001 edition.

For instruments like the shakuhachi, “well-known” is a lofty conceit, of course—last I heard, the shakuhachi isn’t constantly on the lips of Albanian villagers or East End pub-goers.

Piffling as the debate may seem, it serves as a marker of our degree of ignorance, with roman as a badge denoting admission to our elite club, depending on which genres happen to have gained a certain exposure in the West through the vagaries of exploration, research, recording, touring, and hype.

Taking the long view, many instruments of WAM (solidly roman) have a history of acculturation from foreign origins, taking time to establish themselves (cf. China). See also under What is serious music?!

More Steven Wright

Wright

Further to my original post on Steven Wright, a reminder of his deadpan style:

Here are some more of his one-liners:

How do you tell when you’re out of invisible ink?

Today I dialed a wrong number. The other person said, “Hello?” And I said, “Hello, could I speak to Joey?” They said, “Uh… I don’t think so—he’s only 2 months old.” I said, “I’ll wait.”

The early bird gets the worm, but the second mouse gets the cheese.

The sooner you fall behind, the more time you’ll have to catch up.

Change is inevitable—except from vending machines.

42.7 percent of all statistics are made up on the spot.

My roommate got a pet elephant. Then it got lost. It’s in the apartment somewhere.

I spilled spot remover on my dog. Now he’s gone.

It’s a small world, but I wouldn’t want to have to paint it.

You can’t have everything. Where would you put it?

What’s another word for Thesaurus?

I took a course in speed waiting. Now I can wait an hour in only ten minutes.

Is “tired old cliché” one?

I went to a fancy French restaurant called Déjà Vu. The headwaiter said, “Don’t I know you?”

I went to a general store. They wouldn’t let me buy anything specifically.

I was trying to daydream, but my mind kept wandering.

Loads more here. See also Daoism and standup.

Daoism and standup

HS

Hanshan.

Daoist and Zen literature became popular in the West quite early, with works such as R.H. Blyth’s Zen in English literature and Oriental classics (1942); Eastern mysticism is a major theme in the novels of J.D. Salinger, and in the life of Gary Snyder.

Daoism has since been co-opted to various ends by post-beatnik New Age generations, as thoughtfully studied by David Palmer and Elijah Siegler in Dream trippers: global Daoism and the predicament of global spirituality (2017).

While Herrigel’s Zen in the art of archery (1948) was an ethnographic account, this new movement wasn’t confined by academic rigours, tending towards the co-option of Daoism and Zen as memes for our jaded palette—a gradual broadening of themes, shall we say, such as The Tao of Pooh (1983), via the substantial novel Zen and the art of motorcycle maintenance (1974). No topic is now safe, as you can see from my forthcoming bestsellers The Tao of the call centre and Zen in the art of chartered accountancy. But Daoism and Zen are not to be reduced to clickbait—after all,

The dao that can be dao-ed is not the eternal dao
The name that can be named is not the eternal name.

Performance is rarely central to the New Agers, but several disciplines stress spontaneous responses to the moment—or rather, the interplay of technique (based on meticulous practice) with inspiration. Again, Daoism and Zen hardly have a monopoly here. The common instance of this is jazz, closely followed by Indian raga (see Unpacking “improvisation”). 

One may seek Daoism/Zen in the art of conducting. Rozhdestvensky had an exhilarating spontaneity, complemented by an aversion to rehearsal. Conversely, Carlos Kleiber, whose stage presence appears so untrammelled, relied on a vast amount of fastidious rehearsal; as he observed,

With a good technique, you can forget technique.

Celibidache was just as hung-up on rehearsal—despite his study of Zen.

And the theme has been applied to sports such as tennis—a genre initiated by Timothy Gallwey, The inner game of tennis (1974). Again, the balance of experience, repetition, with improvisation.

Now, following Jay Sankey’s book Zen and the art of standup comedy (1998), we have

  • Mark Saltveit, “Comedians as Taoist missionaries”, Journal of Daoist studies 13 (2020; early version here).

As with Zen, the wisdom of the Daoist classics is frequently based on humour.

There is an attitude underlying comedy that shares a lot with Lao-Zhuang thought: mischievous, suspicious of authority and pomposity, fond of humble citizens and workers, very aware of the limits of knowledge and problems of communication, self-challenging, and drawn to non-logical truth, the kinds of thought not taught in school.

Daoism also celebrates a manner of action perfect for comedy; spontaneous, intuitive, humble, perfected through repetition and awareness.

From Saltveit’s standup:

I’ve actually become a Daoist missionary.  Which means I stay home and mind my own goddamned business.

Among Daoist jokes here, I also like

What did one Daoist say to the other? Nothing.

I think of Stewart Lee (whose labyrinthine routines, inspired by jazz, are also based on meticulous preparation), or (by contrast) the deadpan one-liners of Steven Wright (here and here).

Other relevant posts include Daoist non-action (“Don’t just do something, stand there!”) and Outside the box, again including a koanesque aperçu by Walt Disney. See also The True Classic of Simplicity and Vacuity, n.1 here.

For a suitable soundtrack, how about Gershwin’s I got plenty o’ nuttin’ (from the 1935 folk-opera Porgy and Bess):

As ethnographer, Saltveit does a nice line in observing the US comedy scene:

City comics live in New York or Los Angeles or San Francisco or Boston, maybe Seattle or Austin.  They have day jobs and perform short sets at showcase clubs that don’t pay but offer exposure, as they’re angling for TV appearances.  Their acts have distinctive styles (which road dogs might call gimmicks); think of Steven Wright with his sad sack demeanor and verbal paradoxes, or Mitch Hedburg’s rock star look and cerebral stoner one-liners.  Lesser city comics resort to in-jokes that only friends laugh at, and often despise the audience.

Road dogs often work in comedy full time, piecing together a very low salary from 3 to 5 day “weeks” at smaller clubs and strings of “one-nighters” at bars in small towns, often hundreds of miles apart.  They are not given lodging on their off nights and usually drive around the country, sleeping in their cars between gigs.  Some wrangle “corporates” (higher paid private gigs) or move on to squeaky clean and highly paid cruise ship work.  Lesser road comics steal jokes and premises, pander to popular prejudice, or get lazy and rehash their older material for decades at a time.  One wag said that road comics aren’t really entertainers so much as truckers who deliver jokes to small towns.

City comics look down on road dogs as mindless hacks, repeating ancient stereotypes about men being dogs and women being cats.  Road dogs look down on city comics as unfunny, self-important wimps who couldn’t last half an hour at a “real” gig. Comics of either camp who’ve actually worked together often share a deep, battle-worn camaraderie that transcends this pettiness.

Meanwhile, Tibetan monks have long excelled at punch-lines (see e.g. Michael Lempert, Discipline and debate: the language of violence in a Tibetan Buddhist monastery, 2012):

For remarkable 1958–59 footage of the young Dalai Lama taking part in such a session for his Buddhist “graduation”, see the film here, from 5.03.

Roll-call

Schoolmaster

Rowan Atkinson’s classic Roll-call sketch has been modestly tucked away under Philomena Cunk‘s wonderful list of words possibly (not) invented by Shakespeare, but it deserves its own coverage.

As Richard Sparks explains in a BTL comment on YouTube, he wrote the sketch in 1978 for Rowan’s first London revue, Rowan Atkinson and friends; after John Cleese saw it, he invited Rowan to do it for The secret policeman’s ball [in 1979]. Charmingly, it transpired that “the Powers That Be wanted to cut Rowan from the film because he was a complete unknown, and the show was over-long and packed with big-name stars”.

So here’s the sketch’s first outing at The secret policeman’s ball:

Like Alan Bennett’s Sermon, it evokes the peculiarities of the English upper classes at a particular time. Whereas the world of the Sermon was still familiar to AB’s audience, the audience for Roll-call might have had less personal experience of the bygone public-school values that Rowan Atkinson evokes, but the air of supercilious menace is a widely-enough shared characteristic of the English.

We all have our favourite names; alongside Elsworth-Beast Major, Orifice, Plectrum, and Zob, I’d like to put in a word for Kosygin.

Rowan Atkinson is yet another stammerer manqué; his overarticulation of plosives is partly a deliberate block-modification technique. I’d erased from my memory the painful ordeal of having to answer roll-call at school.

More classics under The English, home and abroad.

Hergé’s Adventures of Tintin!!!

Tintin lamas

Despite our best intentions, Hergé’s Tintin books and TV animations remain compelling, both in the West and in the cultures in which he dabbled from afar (see also wiki). The sonorous declamation “Herge’s Adventures of Tintin!!!” in the 1950s’ cartoons is still highly nostalgic for early generations of naïve youth like me—who would have been unaware how we were being indoctrinated by “racial stereotypes, animal cruelty, colonialism, violence, and even fascist leanings, including ethnocentric, caricatured portrayals of non-Europeans”.

Hergé developed the series as illustrator at Le vingtième siècle, “a staunchly Roman Catholic, conservative Belgian newspaper based in Brussels, describing itself as a “Catholic Newspaper for Doctrine and Information” and disseminating a far-right, fascist viewpoint.

His first story Tintin in the land of the Soviets (1929–30) was followed by Tintin in the Congo, written “in a paternalistic style that depicted the Congolese as childlike idiots”. His fictional creation of Syldavia long predates Molvania. After the war Hergé somewhat distanced himself from such racist, paternalistic messages. The first English translations appeared in 1951, and the TV cartoons became popular.

By 2007, the UK Commission for Racial Equality called for Tintin in the Congo to be pulled from shelves, stating: “It beggars belief that in this day and age that any shop would think it acceptable to sell and display [it]” (cf. this Channel 4 report). Still, in Belgium the Centre for Equal Opportunities warned against “over-reaction and hyper political correctness”; and Claude Lévi-Strauss, no less, stated that “Tintin was the comic strip that was the most respectful of world cultures”—admittedly a low bar. A thriving discipline of Tintinology emerged, as well as parodies.

* * *

Tintin: So you see, my dear Chang, that’s how many Europeans see China!
Chang: Oh! How funny the people of your country are!

Shanghai Tintin

The Blue Lotus (1934–35; see also wiki), set in Shanghai, was inspired by Hergé’s friendship with the Chinese artist Zhang Chongren, then a student in Brussels.

with Zhang

In the story Zhang appears in the form of Chang Chong-chen, who relieves Tintin of his preconceptions.

Tintin China images

In China, pocket editions of the Tintin books were pirated from the 1980s, giving him the pleasingly economical name of Dingding 丁丁. A recent Sixth Tone article explores the reputation of The Blue Lotus there. As Alex Colville comments there, “without Zhang’s humanising influence, it is easy to imagine The Blue Lotus simply becoming a tale of Tintin foiling a group of pigtailed Chinese opium dealers.” The story scored points for its anti-Japanese stance; and moving away from imperialist stereotypes, Tintin defends the Chinese not only from Japanese aggressors but bullying Western businessmen.

Zhang Chongren returned to China in 1936. Rehabilitated after the Cultural Revolution, he met up again with Hergé in 1981 in France, where he ended his days.

Here’s a 1992 animation of The Blue Lotus:

* * *

Tintin Tibet coverThe character of Chang also features in Tintin in Tibet (1958–59, sic) (wiki; note also Séagh Kehoe here). By this time Hergé was doing more research; the story was based on his readings of works such as Fosco Maraini’s Secret Tibet, Heinrich Harrer’s Seven years in Tibet, Tsewang Pemba’s Tibet my homeland, discredited author Lobsang Rampa’s The third eye, and the books of Alexandra David-Néel.

For Hergé, Tibet might seem a Can of Worms, yet another potential candidate for the Duke of Edinburgh Gaffe of the Year award—but instead in 2006 the Dalai Lama bestowed the Light of Truth award on the book. A Chinese edition under the sneaky title Tintin in Chinese Tibet had already been retracted in 2001 after protests by the publishers and the Hergé Foundation. YAY!

Tintin lama

Sidestepping politics, there are no baddies here; it’s been seen as a story of friendship, a spiritual quest. Here’s the 1992 animation:

For all their flaws, these works may have enticed many young minds like mine to China and Tibet. Apart from innocent childish pursuits, the whole series must have inspired more anthropologists than crypto-fascists.

Shaanbei-ology

SB covers

The northwestern province of Shaanbei (see sidebar tag) is a popular venue for the discussion of the interplay of politics and traditional culture, its iconic image as “a revolutionary mecca of modern China with colourful folk cultural traditions and scenic landscape” contrasting with the changing complexities of local reality.

Just in case you haven’t noticed, the top menu (under the Other publications sub-menu!) has a page on Shaanbei-ology, introducing splendid studies by David Holm, Adam Yuet Chau, and Ka-ming Wu;

GYH cover

and most notably, the ethnography of Guo Yuhua (must-read page here) on the hill village of Yangjiagou, detailing the peasant’s own views of the periods before, during, and since the coercive Maoist era.

My own work on Shaanbei is mainly presented in my 2009 book, leading to a series of posts on this site, including

For yet more, see Shaanbei tag in the sidebar.

Compton Mackenzie meets Henry James

In 1949 Compton Mackenzie (1883–1972) gave a sublimely elegiac talk on the BBC Home Service, recalling his last visit to the aged Henry James (1843–1916) at his flat off Cheyne Walk in the late summer of 1914. He had already published a written version in his “My meetings with Henry James” (Mark Twain quarterly 6.3, 1945). 

The BBC broadcast his talk again in the 1970s, and copies circulated among a little group of friends. Even then, there was a double nostalgia about listening to a 1949 reminiscence of a 1914 meeting. The encounter rather reminds me of my own Cambridge visits to Laurence Picken, as well as Sir Harold Bailey. It’s one of my most treasured recordings, and I’m mortified that the BBC hasn’t made it available online (go on, BBC!). Mackenzie’s delivery is at once hilarious and poignant, evoking James’s sense of frailly handing over the baton to a younger generation; to transcribe highlights on the page is a paltry stopgap. 

“And now, my dear boy, make yourself as comfortable, as, in this monstrous time of war, comfort either of body or mind is… is…”. He paused to grasp the adjective, floating for a moment out of his reach, and then, just as his fingers were closing upon it, or rather—I become Jamesian myself as the memory of the scene recurs —or rather, poising like a butterfly hunter, net in air, to swoop upon the perfect adjective and imprison it in the reticulation of his prose… at that moment, his housekeeper came into the room.

Henry James looked round for the epithet, now well on its way to escape, desperation in his mild and magnificent eyes. And then his housekeeper said, gently but most firmly,

“It’s about the marmalade, Mr James.”

“Marmalade…” he ejaculated.

“Marmalade—from the Army and Navy Stores,” she insisted. Henry James turned to me:

“Will you, my dear boy, try to entertain, or perhaps not so much entertain as engage yourself with a book, while I devote a minute or two of most unwilling attention, or rather, er… tortured concentration upon one of these hideous encounters with domestic necessity. A vast emporium, one of these appalling achievements of our modern craving for the huge, the immense… looms between myself and this delightful company of yours […]”

Mr James,” the housekeeper interposed, with hardly concealed impatience, “the man from the Army and Navy Stores is waiting, for the order.”

“One moment, Mrs Dash, I will not keep you a moment… Now, my dear boy—where is our dear H.G. Wells’s last book, full of that Wellsian quality, which sometimes flows, perhaps a little too…? Or you may rather beguile yourself for a moment while I surrender to the remorseless ritual which these domestic conveniences demand from us… Yes! Here is our dear Arnold Bennett’s last…” While Henry James was picking up book after book on the table, and bumbling around them like a great irresolute bee, his housekeeper was tapping the floor with her foot.

“Mr James, please,” she protested. The great novelist seated himself at his desk, pen poised above the notepaper, looked anxiously up to his housekeeper:

“How would you, er… how shall I address the apex of this pyramid, the, er, director of this magnificent display of co-operative energy?”

“Mr James, just write the order please, and the man will take it,” she almost pleaded.

“And what was the peculiar title of the condiment which we seek to import into this so humble corner of this vast London of ours, Mrs Dash?”

“Mr James! Oh… We were going to order six jars of that Oxford marmalade you liked.”

From the corner of my eye I watched the operation of writing that order, as Henry James’s pen advanced to paper and drew back, and advanced again, and again drew back and then hovered above the notepaper, making a traceless pattern upon the air in a kind of sarabande, to which the housekeeper’s foot tapped quite out of time. At last the pen descended upon the paper, and a large, angular script flowed across it. The six jars of marmalade were ordered, and with a sigh of exhaustion and relief, Henry James came back to his guest, apologising once more for the interruption, and full of solicitude for the way I’d been able to pass the time while the marmalade was being ordered. […]

marmalade

To this day the very word “marmalade” invariably sends us into fits of giggling. For the tribulations of composers beset by mundane concerns, as recreated by Monty Python, see here.

On a feminist note, Sarah Jane Gill, creator of said delicacy, has been largely deprived of deserved fame by her husband Frank Cooper—Typical!

Anyway, with James liberated at last from his “hideous encounter with domestic necessity”, he can devote his attention once again to his young visitor:

Just before I said farewell to Henry James on that October afternoon, I told him it was my intention to revise, and possibly rewrite altogether my novel Carnival in the light of my experience. He held up his hands in a wide gesture of dismay. […] “I once wasted ten, indeed twelve precious years in foolishly supposing that in the light of experience I could grope my way towards a more… towards that always elusive… in short, that I could add yet something to what, when it was written, I had given all that I could give at that time. Renounce this preposterous ambition of yours, my dear boy. You have been granted the boon which is all a novelist should beg for himself. You have been granted that boon with a generosity beyond that accorded to any of your young contemporaries. You fling the ball up against the wall, and it rebounds immediately into your hands— […] whereas I fling the ball against the wall, whence it rebounds not into my hands but onto the next wall, and from that wall to the next…” He followed, with apprehensive glance, the flight of that ghostly ball around the room… “Until it at last falls to the ground, and dribbles, very, very slowly, towards my feet; and I, all my old bones aching, stoop, and most laboriously, pick it up.”

 

With thanks to Leo Kanaris.

 

Franca Rame: The same old story

Rame cover

In 1982 I was fortunate to hear the great Franca Rame (1929–­2013) in London performing her Female parts: one-woman plays (1977, co-written with Dario Fo).

Waking up
A woman alone
The same old story
Medea

The stories, satirising the chains of Church, State, and machismo, are based on her Tutto casa, letto e chiesa; here’s her virtuosic complete 1977 live performance in Milan—using the clichéd image of femininity to further confuse her Italian audience:

And here she performs Waking up (Il risveglio) for TV that year:

The same old story, with its foul-mouthed dolly (translated by Ed Emery here; and in Stuart Hood’s booklet for the 1982 London performances), is particularly fine—Rame’s 1977 live performance above has a variant from 1.49.50. She may be a tough act to follow, but here’s Jennifer Long performing the concluding doll story in English:

So anyway, once upon a time there was a lovely little girl who had a lovely little dolly. Well, actually, the dolly wasn’t lovely at all… she was all dirty and tatty and made of rags, and she used to say terrible swear words, which the little girl learned and went round repeating.

One day her mummy asked her: “But who on earth taught you those horrible swear words?” “My dolly,” said the little girl. “Ooh, you liar! You’ve been hanging round with those horrible boys.”

“No, mummy, really, it’s my dolly. Come on, dolly, say a few swear words for mummy!”

And the dolly, who always did everything the little girl asked her to do, because she loved her so much, came out with a whole string of terrible words: “Porca puttana! Stronzo! Mi piaci un casino! Culo!” [She chants, like a slogan] “Cu-lo, cu-lo, cu-lo!” […]

“Excuse me, gnomey,” she said, “have you seen a big ginger cat with a rag dolly in his mouth, who swears all the time?”

“Er, there he is, there,” says the gnome, waving with his willy, and splosh, he squirts out a big stream of widdle, which lands right on the ginger cat, which promptly falls down dead. Because, as we know, gnomes’ widdle is terribly poisonous for cats! […]

The dénouement makes the message clear:

And the grown-up little girl takes her dolly and hugs her closely closely to her, and gradually, gradually, the little dolly disappears, right into her heart.

And now the grown-up little girl is out there all on her own, on a long, long road… She walks and walks, and she comes to a big tree. And underneath that tree there are lots of other grown-up little girls just like herself, and they make her ever so welcome, and they say: “Sit down here… with us… We’re all telling our own stories. Why don’t you start…” they say to a fair-haired girl sitting there. And the girl begins: “When I was a little girl I had a rag doll who used to say terrible swear-words…”

“Me too!”
“Me too!”
“Me too!”

And all the girls burst out laughing. And one of them says: “Well, who would ever have imagined it: Your story… my story… We’ve all got the same story…!”

You can admire more of Franca Rame’s own performances on her YouTube channel, such as her version of Mistero buffo, debunking Catholicism (Dario Fo’s full version is here, with English translation here; cf. Patricia Lockwood).

The course of feminism is not always smooth.

Pacing the Void 2: styles in vocal liturgy

WD 2011

Li Manshan, Wang Ding, and Golden Noble Delivering the Scriptures at the soul hall, 2011.

To follow my article on Pacing the Void hymns, what I didn’t attempt there was to discuss the musical style of modern renditions of the genre. It’s clearly important to document the soundscape of ritual: the most basic argument for taking it into consideration is that ritual is about performance, and sound is the means through which silent texts are animated and ritual expressed.

However, I find it hard to find clues that might help differentiate styles within vocal repertoires (such as notional “archaic” elements), or to suggest how Pacing the Void hymns may be distinguished from other items—either among temple or household Daoists.

To illustrate the problem, here I’ll outline aspects of the vocal liturgy of the Li family in north Shanxi, based on chapters of my Daoist priests of the Li family, with examples from the complementary film Li Manshan: portrait of a folk Daoist (for a roundup of many posts, see here).

In Chapter 11, “The ancestry of texts”, I noted:

Scholars of ritual tend to discuss whole segments and whole ritual manuals, rather than the individual elements within them. But it’s not just music scholars who focus on the detail: collections of musical transcriptions from current temple practice reflect the emic views of Daoists themselves (both temple and household) in documenting individual hymns. Since the same text is often used in different rituals, we may call such texts “floating” hymns.

I find more of the Li family’s Orthodox Unity texts in modern Complete Perfection temple practice than in the Daoist Canon or the Daozang jiyao; most come from the daily services and the yankou. At least nine of the texts sung by the Li family today appear in the “Orthodox melodies of Complete Perfection” (Quanzhen zhengyun) (cf. Rethinking Zhengyi and Quanzhen).

In a ritual corpus like this we have three types of text, some highly standard and national, others apparently distinctive and regional, even local:

  • ritual manuals: now hardly performed; few sources in the Daoist Canon or elsewhere, either whole or in part
  • individual hymns still in use today: few appear in the Canon, but many are found in modern temple sources like the daily services and the nocturnal yankou ritual—which are now known mainly in Complete Perfection versions
  • scriptures (jing 經) and litanies (chan 懺), which the Li family no longer performs: nationally standard, ancient, and found in both the Daoist Canon and modern temple sources.

In content, Pacing the Void texts can’t be neatly distinguished from those of other hymns. Many of the same hymns may now be used for several different ritual segments. As I explained in my previous post, the Li family’s Pacing the Void hymn is performed at the central pole for Hoisting the Pennant (yangfan 揚幡) and just before the coffin is taken out of the house to be buried.

In structure and style there is no clear difference between song types, like hymns (zan 讚) , mantras (zhou 咒), and gāthas (ji 偈) (such as Hymn to the Three Treasures, Mantra to the Three Generations, Gātha to Water), so such titles provide few clues. Here the terms zhou 咒 and zhenyan 真言 (mantra) seem to be used interchangeably; and despite its title, Sanbao zan 三寶讚 isn’t a “hymn” in the classic six-line structure of 4-4-7-5-4-5 words, common to both Daoist and Buddhist ritual (for an extensive collection of such texts in the syncretic tradition of Lesser Huangzhuang village south of Tianjin, see here).

As to textual structure, some hymns are in regular verse with lines of five or seven words—such as Recitation to the Great Supreme (Taishang song 太上誦, our Pacing the Void hymn Taiji fen gaohou 太極分高厚) and Diverse and Nameless (Zhongzhong wuming 種種無名) respectively—but most are in verses of irregular lines. Some hymns are strophic, with a recurring melody for successive verses, though that of the opening line is usually somewhat different. Two textual structures with several different lyrics are sung to the same two melodies: the six-line hymns, and the Lantern structure. More often, one just has to learn them individually.

For the seven visits to the soul hall over the day to Deliver the Scriptures (songjing 送經) , some hymns are prescribed, others a free choice. The hymns sung at the five poles for the Hoisting the Pennant segment are prescribed, but their texts are not specific to the ritual; and those for Transferring the Offerings (zhuanxian 轉獻) are a free choice, with only the brief shouted instructions to the kin between the sequence of hymns relating to the ritual itself. Such flexibility might seem like an impoverishment, but we find similar versatility in the elite temples, where many of the same texts may be used within different rituals.

Sound
For contrasting reasons, the texts of both hymns and scriptures are barely intelligible to the human ear: whereas the former are sung very slowly with melisma, the latter were chanted very fast, isorhythmically.

In Chapter 14 of my book I went on to discuss the Li family Daoists’ vocal liturgy in some detail.

What the Daoists learn is not so much ritual manuals to be recited complete, as how to perform rituals—acquiring the building-blocks and learning how to put particular hymns together within the context of the ritual segments required.

Daoist and Buddhist traditions, both temple and household, use a variety of styles of vocal delivery along the continuum from speech to song. The Yanggao Daoists now distinguish only shuowen 說文 solo recited sections and zantan 讚嘆 sung hymns; they are all “recited” (nian 念), though for visiting scholars they may explain that the hymns are “sung” (chang 唱)—a word usually denoting popular secular singing. “Reciting” can mean singing a cappella, accompanied only by the ritual percussion; when a hymn is further accompanied by the shengguan wind instruments, they call it chui 吹 “blowing” (see Unpacking “Daoist music”)—the singing goes without saying. Before focusing on the sung hymns that are now the main content of the Li family’s ritual practice, we should note other vocal styles:

  • short chanted shuowen solo introits (film from 32.19)
  • fast chanted mantras (film from 35.00)
  • reciting documents (solo) (film from 1.02.55)
  • silence (rare!).

As an instance of variety within the seemingly narrow parameters of vocal liturgy, I analysed the Invitation (zhaoqing 召請) segment performed at dusk at the edge of the village.

Focusing on the hymns, most are sung in unison by the whole group—either all six Daoists (formerly seven) when singing a cappella with percussion accompaniment only, or three (formerly four) when accompanied by the shengguan wind ensemble.

Whereas the melodies of the shengguan ensemble are recorded in gongche solfeggio notation, vocal liturgy is not traditionally notated. But as I seek to identify a core melodic style in the latter,  the useful cipher-notation score (see here, under 3rd moon 4th), compiled by Li Manshan’s father Li Qing while he was recopying the ritual manuals upon the revival of the early 1980s, lists a group of several hymns with similar or identical melody. Of these, still performed are A Lantern (Yizhan deng 一盞燈, film from 27.30) and Mantra of the Wailing Ghosts (Guiku zhenyan 鬼哭真言, sung a cappella for Redeeming the Treasuries huanku 還庫, film from 1.03.58), as well as Diverse and Nameless, based on the same melodic material. Li Qing further listed four other hymns to the same melody that have not been performed since the 1950s. Also closely related in melody is the Mantra of the Skeleton (Kulou zhenyan 骷髏真言), used to Open the Scriptures in the afternoon (film from 56.08).

Some hymns are only sung a cappella—I haven’t heard a shengguan version of the Hymn to the Three Treasures (Sanbao zan 三寶贊), first hymn to Open the Scriptures in the morning (film from 22.02) though Li Qing notated it. Li Manshan observes that the a cappella versions must be primary; and that “six-line hymns” are hard to sing with shengguan.

Conversely, some other items seem to be performed only with shengguan, like our Pacing the Void hymn Recitation to the Great Supreme; Diverse and Nameless is rarely sung a cappella; and A Lantern could presumably be performed a cappella (as are some other hymns with the same melody and textual structure), but the Daoists never do so.

To the casual listener it’s not at all clear how a cappella and shengguan versions of the “same piece” align. In my score below, the upper stave shows Mantra of the Wailing Ghosts, the lower stave A Lantern—they may look quite similar, but note that the latter is performed very much slower than the former!

Li score 1

Today one of few hymns still regularly heard in both a cappella and shengguan versions is Mantra to the Three Generations (Sandai zhou 三代咒). My film shows the contrast between the a cappella rendition sung at the gate on the return from the Invitation (from 1.06.08; cf. Playlist in sidebar, §§2 and 3, with commentary here) and the magnificent slow decorated version with shengguan in Transferring the Offerings (from 1.08.01); again, this is how the openings of the two versions align:

SDZ opening

In Chapter 14 I went on to discuss cadences and melisma; repeated words, text-setting and timbre; vocal contour, register, and tempo progressions. The percussion accompaniment on drums and cymbals follows the same rules across the sung hymns (for the melody and accompaniment of the opening of Diverse and Nameless, see here, and here).

If we listen again to the Li family’s Pacing the Void hymn (with the aid of my score), while it contains some phrases from the core melodic repertoire, it also uses phrases not heard there. The patchwork of melodic elements has to be learned hymn by hymn.

* * *

In sum, there are many sonic distinctions to be made within any Daoist ritual corpus: the sung hymns, fast chanted sections, and so on. But I find little to distinguish the Li family Daoists’ Pacing the Void hymn from their other vocal liturgy: it belongs firmly within the general stylistic parameters of their repertoire. Any distinctive melodic, or even textual, identity is elusive. So we should treat it not as some exotic ancient remnant, but rather as a part of a living ritual tradition.

At the same time, a reminder: ritual is about performance, and sound is the means through which silent texts are animated and ritual expressed!

For ritual traditions elsewhere in north Shanxi, see under Local ritual.

Some early American humorists

Ward and PunchThe roster of early American humorists commonly begins with Mark Twain, but he was in good company. Nick Robertson, creator of the outstanding anagram fantasies, led me to the oeuvre of Corry O’Lanus (John Stanton, 1826–71).

Corry O’Lanus.

As the Brooklyn Programme commented (Mark Twain’s letters, vol.2, p.45),

As a humorous writer Stanton has no equal in New York or Brooklyn. While his fun is not so boisterous as Artemus Ward’s, or so cutting and sarcastic as Orpheus C. Kerr’s, or so wildly burlesque as John Phoenix’s, there is a gentle ripple of pure fun about it—humor, in fact—which makes one hug himself (sic) with pleasure to read.

All this while their cohorts were decimating the native population… (see under Native American cultures).

Billings

The complete works of Josh Billings (Henry Shaw, 1818–85) are here; those of Artemus Ward (Charles Browne, 1834–67) here. On Ward’s 1866 visit to England he wrote for Punch and gave drole lectures:

Ward 2

Ward

Ward BM

Note also Orpheus Kerr (Robert Newell, 1836–1901) (works here), and John Phoenix (George Derby, 1823–61).

Such writings call to mind the great Flann O’Brien.

Left, portrait of Ann Stephens, c1844; right, Marietta Holley.

Nor should we neglect early female humorists. Antecedents of the great Dorothy Parker included Ann Stephens (1810–86) (links to her works here); Francis [Frances] Whitcher (1811–52); and Marietta Holley (1836–1926), aka Josiah Allen’s Wife (sic), who wrote on women’s rights and prohibition.

Among the wealth of later figures, on this blog I’ve dabbled in Groucho, Sid CaesarLenny Bruce, Woody Allen (herehere), and David Sedaris. Right now, Patricia Lockwood seems the most exceptional of all, her hilarious style and literary flair merely a vehicle for her insights.

Songs of Asia Minor: early recordings

Greek Oriental CD

Roza Eskenazi with Demitris Semsis (violin) and Agapios Tomboulis (cümbüs),
Athens 1932.

Through the first half of the 20th century, the popular songs loosely grouped together as rebetika, performed by Greek, Turkish and other ethnic groups (Armenian, Jewish, Roma), thrived in the night-clubs and music halls of port cities like Istanbul, Smyrna/Izmir, and Athens, as well as in the diaspora, notably the USA (cf. Accordion crimes).

For “the birth of modern Istanbul”, I’ve already praised Charles King’s Midnight at the Pera Palace, which puts the popular music scene of the day in context. Despite its syncretic style, rebetika found itself on the faultlines of a period of convulsive change, with savage ethnic conflicts leading to the population exchanges of 1923. The rebetika ethos is commonly linked with other popular demi-monde styles like flamenco, fado, tango, blues, and so on. [1]

This was also a booming period for the commercial recording industry, and we have a wealth of reissues on CD (often with fine liner notes and translations), such as

  • Greek-Oriental rebetica: songs and dances in the Asia Minor style—the golden years, 1911–1937 (Arhoolie Folklyric, 1991)
  • Armenians, Jews, Turks and Gypsies: oldest known recordings (Collection Greek Archives, 1995)
  • Great voices of Constantinople 1927–1933 (Rounder, 1997)
  • To what strange place: the music of the Ottoman-American diaspora, 1916-1929 (Canary, 2001)
  • Women Of Rembetika 1908-1947 (JSP, 2012).
    .

Women CD

Left to right: Safiye Ayla, Necmiye Ararat Hanim, and Suzan Yakar Rutkay.

Prompted by the CD Women of Istanbul (Traditional Crossroads, 1998), I’ll feature YouTube playlists for some of the female singers who feature on such discs, as they achieved popularity from the 1920s alongside male performers. Their biographies only hint at the changing times. As Harold G. Hagopian observes in the liner notes, the gramophone

could effectively divide the public from the private, the voice from the body, screening women at least for a time from the very modern world they helped foster.

Left, Zehra Bilir; right, Roza Eskanazi.

Zehra Bilir (1913–2007), of Armenian descent (see e.g. here) (17 songs here, some duplicated):

I love her plaintive free-tempo songs, like this one punctuated by fiddle—reminiscent of a Uyghur muqaddime (and, more distantly, Irish sean-nós!):

Here she sings in an Armenian dialect quite remote from “standard” Turkish, with stock phrases borrowed from Anatolian folk türkü, rich in allusions. As my Istanbul friends tell me, the folk lyrics seem to have inspired a poem by Ali Kızıltuğ, in which a man professes his undying love.

This style is featured on the CD Amanedhes and taxims 1929–1937 (playlist):

Safiye Ayla (1907–98) (8 songs here):

The Jewish-Greek singer Roza Eskenazi (mid-1890s–1980), based in Athens—a playlist with 276 gorgeous tracks:

The list opens with Why I smoke cocaine—the Greek lyrics translated by Hagopian:

Where’s all my prettiness, where are those great looks of mine?
In all of Athens, no girl had my class.
I was really a doll, with money and all—
I’m not putting you on, I made the world go wild.
Then this tough guy, yeah, a number one Mr Cool,
Got me involved with him;
He took all I had and left me flat—
He took my heart, my. youth, and my money too,
And from the pain, I smoke cocaine.
(Oh damn you cocaine, you’ve wiped me out!)
Bigshots loved me, old guys, young guys, boys,
And all the fine dudes on the scene.
What great times I had, with wine and song;
Every day I partied it up and led the good life.
And now, poor me, I wander around and waste away,
‘Cause my hang-up for that tough guy won’t let me be.
That cokehead came and wrecked my brain,
So I myself now smoke cocaine.

Müzeyyen Senar (1918–2015) (25 songs):

Hamiyet Yüceses (1914–96) (99 songs):

Marika Papagika (1890–1943), Greek singer based in the USA (12 songs):

Other Greek singers include Rita Abadzi (c1914–69) (295 songs!):

and Marika Kanaropúlu (1914–90), who moved from Turkey to the USA via Greece—18 songs here:

Again, she was a fine exponent of soulful solo amanedhes:

And here she exemplifies the migrant experience with Neva hedzaz (“Like a dry and drifting leaf”):

* * *

All these singers were backed by a host of fine (male) instrumentalists. The CD Istanbul 1925 (Traditional Crossroads, 1994) also has many wonderful instrumental tracks, like this:

For a couple more examples of the free-tempo taxim preludial style which opened that song, here’s the blind Armenian oud-player Udi Hrant (1901–78):

as well as the wind-player Şükrü Tunar (1907–62):

And here’s a wonderful recent taxim on zurna:

For a change of tone, to follow this recording of Misirlou from 1927 New York, sung by Tetos Dimitriades,

Quentin Tarantino included a version on the brilliant soundtrack of Pulp fiction (cf. Dusty):

Rebetika makes another good illustration of Bruno Nettl’s parameters for musical change and adaptation—in scales, vocal style, heterophonic and harmonic accompaniment, instrumentation, context, and so on. For related themes, see e.g. Musics of Crete; Italian folk musicking, Accordion crimes, and Bernard Lortat-Jacob at 80

 

With many thanks to Hülya and Augusta!


 [1] The wider context is described in chapters 5 and 6 of Peter Manuel, Popular musics of the non-Western world (1988), and by Paul Vernon; see also The Rough Guide to world music (under both Greece and Turkey), and Songlines. Amidst a vast bibliography, note Alex Papadopoulos and Asli Duru (eds.), Landscapes of music in Istanbul: a cultural politics of place and exclusion (2017); see also e.g. two articles from greeksongstories.wordpress.com (here and here), with more under the rebetika tag there; and this article by Rod Conway-Morris. From the Greek perspective, Gail Holst, Road to rembetika (1975) remains a classic.

Mimesis salons

Anagram tales 5: Missa Solemnis

guest post by Nicolas Robertson

For a general introduction to the series, see here.

MISSA SOLEMNIS
Setting of the Mass, by Beethoven; soloists, Monteverdi Choir and Orchestre Révolutionnaire et Romantique, directed by John Eliot Gardiner, performances in various European cities, 1994.

Missa CD cover

Sequence of 92 anagrams followed by a parallel text (composed at the same date).

* * *

MIMESIS SALONS
   “Melisma, sons, is some sisal sin. M-minims, o lasses? Ass loses minim, ass in LSO mimes. Lo! ‘Messias’ in MS: me main loss is S. Simeon’s Missal.”
Noam smiles, “Is S-Sionism Mass ‘El Al’—is MS Simeon’s?”
   “O, Missal in mess! Lone, I miss Mass. Missa ‘no smiles’!”

* * *

   “Massie’s slim, no? I’m no less mass, I slam emissions, males’ missions, I mess men’s soil, Islam, Simeon, SS…”
   “…SS means…” – is Milo –
   “Means Miss Lois!”
   “SS! – “
   “MALE SIONISM,” slam Sion’s misses, “Mole in SAS.”
   “Miss? Salem, Miss??”
   “SION!”
Miasm’l session: Salome ‘Miss Sin’, lemon Isis, mass lissom Messina, anis, slim; Moses (Solesm’ Sinaï MS), Amos (“missiles ’n Mosesism nails Limies”), Samson’s Messianism, Sol (“less Miami, sons!”); M—Moses is slain!

* * *

Lemnos is a miss. Selim’s maisons… “Mil s/Sâone, si, Ms...”
   “Minos ass, Selim. Smiles, moans, is Somali mess. Sin!
Emma iss sinlos??
   “Sins?” – Emma. “Soils lessons Mimi ’as.” (Mimi’s lessons: animal mess. So is loess.) “Imam’s sins!”
   “Amis, lessons! Minimal mess, so is…”
   “Is seminal, Moss!”

sss…! Aliens, Mom! I …

   “Alien? Moss?? MISS SOAMES!!!”
   “Miss nil. I’m Nils Soames, son.” (Smiles, assim.)
   “ ‘Miso’ Simnel, SAS.”
   “I’m Lomas.”
   “Ness!”
   “Si?” (Silas Simmons, ’e…)
   “SIMMONS, lassie. Esso mini, m’lass?”
   “Esso maims” – Nils.

* * *

   “Some snail, Sims?”
   “Semi-snail.”
   “Moss?”
   “Miss semolinas. Less Mosiman‟, is slim seasons. I’m seismal.”
Simon: “ ’s molasses sin?”
   “I’m sinless, mimosa…”
Mason’s smile is simian, Mo’s less. Mason’s is miles, miles on; Sam’s is aimless.
   “No!” – Miss Melissa Simons, Islam nose, Miss ‘I’m Miss Sloanes’. Slim men’s oasis. (Limn oasises, Ms. Simons, Melissa…)
   “Siam melons, sis?”
   “Melons mi ass—is lemonsAssisi moles…”
   “Sam’s minis?”
   “Sam’s mini-sole’s semi-salmon, sis.”
Sam misses loin, misses ma’s lino.

Alone, miss Miss.

* * *

ACTING CLASSES (ON THURSDAY AFTERNOONS)
The students appreciated the familiar style of their professor, iconoclastic as he was and at home in any period of musical history:
   “Look, guys, you can fall into a pretty thorny error if you go on spinning out your melodic lines on one syllable –
   “Y-y-” (he has an occasional slight stammer) “You want some advice about white notes, girls? Only the sort of donkeys who mark time in the back desks of symphony orchestras need that. Look, here’s really something: I’ve seen the manuscript of Handel’s Messiah, and it’s in German! But that’s nothing beside the Saint-Simon partbooks, lost now alas.”

One of the professor’s friends, the philosopher Noam Chomsky, shows a hitherto unattested interest in musicology, and combining disarmingly friendly attention (poking a tiny and good-hearted bit of fun at the stammer) with incisive grasp of the matter asks,
   “Are you telling me the p-parody mass “Oh, for the wings of a dove, Oh, to home may I roam‟ is in the Saint-Simon codex?”
   “God knows, the sources are all jumbled up. I seem to be the only one who’s noticed this lacuna, and it’s no laughing matter, it’s as if there were a whole Missa Solemnis out there up for grabs…”

* * *

Fade to a cricket match in the 70s, where a popular sporting figure, in this case an Australian swing bowler (unless it’s the unfairly neglected Scottish novelist), turns out to serve as but a peg on which to hang an array of prejudices, thus:

   “I put it down to build. I weigh about the same as him, though it may not look like it, and I too hate the idea that we men have some divine right just because we give out instead of taking in, and that’s the way it is and so on… And anyway, I like to queer our pitch a bit, I mean, we’re sentenced by the Koran, the Bible, Mein Kampf…”
   “You know what’s going to happen if you touch that topic,” warns a man called Milo.
   “Yeah. It means that girl Lois.”
   “But you might not have fully appreciated her extreme views, and …” And sure enough, Lois and her defenders of the faith can be heard demonstrating in the street outside, brutally lumping pro- and anti-Semites together as, worst of all, MEN, rather surprisingly going on to suggest there’s an undercover agent in the élite armed forces, or is it that they propose that there should be one? I can’t say, but I do know that when clearly and politely asked if they will plump for graceful retirement to a borough known for witch-hunting they opt noisily for a mountain top nearer the crucible of contemporary world history.

And thus doing, leave the field to a lurid succession of febrile fantasies, seven veils hardly disguising the citrus flanks of the gorgeous goddess of the Nile, nor the ranks of the sinuous girls of Sicily, high on pastis yet still so slender… A variety of prophets give credence to a French monastery’s claim to own the holograph of the Ten Commandments, and to the theory that a hallowed legal framework plus a few bombs should be enough to keep the British in line. A strong man is seen to betoken a once and future king amidst the ruin of the philistines, and another king enjoins less vice—of the south-eastern US kind in particular—upon his progeny; but the fabric falls apart as we hear the stammered news that the lawgiver has bitten the dust, who now is the authority for any of this?…

* * *

Well, Greek islands are not always what they’ve been cracked up to be; for one thing, they may feature ‘houses’ built by a Cretan-Ethiopian Muslim polyglot who wrings his hands, is effusive in French about a thousand other developments which have apparently been runaway successes—and leaves you sadly disillusioned. You could call his conduct wrong, and that’s certainly what Emma does—who is she to talk? mein Gott—but she talks alright:
   It’s such a shame , ‘t interferes with Mimi’s classes,” (though Mimi’s classes are a zoo, are in fact about as clean as mud) “actually I blame the muezzin.” And, on cue:
   “My friends, come to catechism!” the elevated voice clarions, “little is the interference with –”
   – WITH THE SEED FROM WHICH YOU SPRANG, YOUNG MOSS?? –

   a whisper is heard, urgent, can the boy have seen right, can it be, o god mother believe him, the lad Moss is not what he seems –

   “What, is Moss not one of us? Call the headmistress!”

   “OK, calm down everybody, no, I’m not a woman, I’m in fact a man and have been all along, I’m sorry about the deception but it was necessary, as you’ll find out. Miss Soames was my mother, which is how I managed to fool you, looking so like her—and here’s my team, tough experienced men all.”
Here, Nils gives a sort of Portuguese grin, yes, that’s the one, and gestures to the men to introduce themselves, which they do with exemplary terseness, until it comes to Simmons, who when alerted to his turn asks Emma, “D’you still drive that old banger?” and has to be interrupted by his superior who reminds him shortly that carbon monoxide effluvia are known to be injurious. But then they’re off, on their perilous mission…

* * *

I can’t believe that they’re after me—as an ALIEN! O, I’m tired, I’m hungry—but that gives me an idea, here’s somewhere I can go to ground.
   “What do you think,” they’re asking Sam, “escargots?”
   “If someone’ll share with me.”
   “And you?” I tell them I have a yearning for tapioca, but I’m one of those who think nouvelle cuisine portions an extravagance, given that I’m trying to lose weight. As a result, I admit, I’m volcanically starving. Simon wonders if raw cane sugar is bad for you, and is rewarded by virtuous invitations to ‘sin, flower’.

I watch the face of Mason, his atavistic grin, of Maurice, trying hard to keep up, of Sam, without compass bearing now, while Mason finds himself in some unfathomable future… The spell is broken, o bittersweet epiphany, by the arrival of Melissa, her semitic profile and Harvey Nichols clothes accentuating her availability only to those lean pale men who earn access to her fount… (O Melissa, unwed yet, tell how are these founts, describe your secret sources…)

   “Like a slice of this Thai honeydew?”, Melissa’s brother asks her.
   “Doncha honeydew me, this is a citrus fruit. My Franciscan insiders don’t lie…”
And those little flatfish Sam hoped were Dover sole?
   “I’m sorry, Sam, what you thought were baby plaice were salmon fillets.”
I see Sam looking lost, longing for a good roast beef, longing for the dirty cracked floor of mum’s kitchen –

Left on my own, I realise that what I long for is her.

Nicolas Robertson
Lübeck – Duisburg – Vienna, June–November 1994/ 
Outurela, Portugal, May 2020

Advice from Eton for gang members

Last week David Cameron was keen to remind us that the current rabble of Tory ministers doesn’t enjoy a monopoly on venality, duplicity, and incompetence. As he reflected on his informal consultancy role for Greensill, stimulated entirely by a desire to help people [Yeah right], he offered some useful tips for alleged gang members politely requested to attend a hearing. Some handy expressions:

I accept that no matter how laudable the motives and cause, [nailing people’s heads to the floor] can be open to misinterpretation.

The amount I stood to gain is a private matter. I don’t recall exactly… I haven’t got a complete record of how many times [I used the private jet].

I take a different view. I was motivated by how to help small businesses.

There are great advantages to be had from technical innovation [just look at chainsaws].

texts

My threats communications were not excessive or a distraction.

[Mugging old ladies] was an honest mistake. I have spent most of my adult life in “public service”. I believe in it deeply [sincere face]. I would never put forward something that I didn’t believe was absolutely in the interests of the public good.

I welcome this enquiry and the related reviews. I am as keen as anyone to learn the lessons.

Dodgy Dave’s turn may remind us of the old Piranha brothers sketch:

Interviewer: I’ve been told Dinsdale Piranha nailed your head to the floor.
Stig: No. Never. He was a smashing bloke. He used to buy his mother flowers and that. He was like a brother to me.
But the police have film of Dinsdale actually nailing your head to the floor.
[pause] Oh yeah, he did that.
Why?
Well he had to, didn’t he? I mean there was nothing else he could do, be fair. I had transgressed the unwritten law.
What had you done?
Er… well he didn’t tell me that, but he gave me his word that it was the case, and that’s good enough for me with old Dinsy. I mean, he didn’t want to nail my head to the floor. I had to insist. He wanted to let me off. He’d do anything for you, Dinsdale would.

homeless

Homeless people are in desperate need of your support. Please help.
Cash donations only, in strictest confidence.

The blessings of education… For Cameron’s equally creative successor, see Get a proper speech impediment, FFS. And Priti “I’m sorry if people feel that there have been failings [I’m a heartless cynical monster]” Patel has been getting in on the act too!

Nice fudge shop

Anagram tales 4: Die Schoepfung

Guest post by Nicolas Robertson

For a general introduction to the series, see here.

Note—SJ
Moving on from Mozart opera (Noon? Gad—vini!, Cite not Faust, and Tag, licht—fumée), the world revealed in Die Schöpfung is yet another remarkable creation, indeed The Creation…

* * *

DIE SCHOEPFUNG
Oratorio by Haydn; concert performances by solo singers, English Baroque Soloists, and Monteverdi Choir, directed by John Eliot Gardiner, 1993.

Schoepfung cover

One hundred and one consecutive 13-letter anagrams—liberally punctuated—followed by an “interpretation”, one of an unlimited (though not infinite) number of possible parallel texts. The ‘oe’ component of Schoepfung in German can be represented (and more often is, even in transliteration) by ‘ö’; I chose the extra ‘e’, a legitimate alternative and an invaluable aid for the anagrams.

* * *

NICE FUDGE SHOP
Fed such pigeon pie, Ogden Fuchs is God. Fee: punch Spence, hug Fido. Feed, cough, spin, gosh, epic fun! Eden!

   “Fish?” God, puce. Deuce fish pong. Cede fungi:
   “Shop! Cèpe ’n fish, Doug?”
   “Deign chef soup, cop. Feud hinges on chef’s pud.”
   “E.g.?”, I chide fop.
   “Genus: fudge.”
Phön (sic) pings… Echo—
   “…feud.”
   “Sponge feud?” (hic)

Gnu, fed ice, hops: hops fence I dug. Feed no such pig, singe chop…
   “…feud.”
Poe chides gnu , ff—deep sonic hug: “Puce hog! Fiends, go dupe finches! Défi, gnu, Cheops she, Punic; God, fend foe!…”

Epic gush.

GENOCIDE
Push ff: EP disc enough. Edison Pugh (F.E.C.), he confused pig Ché, duping foes of Pugh.

Scene:
   “I’d fused EC, hoping ECU-fed gin-shop feeds Nip.” Hugo, couch-ped, feigns Defoe’s pug chin.
   “Nigh, pseud of EC, heinous ped.” (C.F.G. Dough-Penis.)
   “F.E.C.?”
   “O.g. punished F.E.C.!”
   “Ugh! Ponce.”
   “If Des used chief pong – ”
   “Fie, Pugh. Second cup?”
   “Gosh!”
   “Define UNICEF.”
   “God—Shep ? Fido? Pug? Hence – ”

sfp—gun echo dies—fp—neigh “Escudo inched – ”. Pogues ff, Oedipus Cheng―Chop sui, Deng?” F.E.C. Sing: hope. Feud. Phonic feed, Gus, Penge disco huff—sing of ‘id’ cheep, pinch Doge, fuse fen-guides chop-chop.

Genius? Fed fig (sound ‘cheep’), hose fecund pig (sheep ‘C’ fungoid)—feed, sing (p) “OUCH”, feed, pouch gins, cop funghi seed. Enoch’s pig feud:

   “Ed, feign hocus-pocus.”
   “Eh?”
   “PIG.”
Fend GI’s fecund hope, i/c gun shop, feed Phensic fog.

* * *

   “Due cups of…”, neighed Denis—fug epoch, defug psico hen, hung pieces of D-code, pushing… Fed fish, e.g. (pun) Eco: “Cosi?—fun??” Hedge (p):
   “F —dosh, Nige?”—puce.
   “Dough, if pence. Spend! Hug foe!” (sic).
Chides fog-pneu:
   “Fog hendicep us.”
   “FOG?”
Sheen CID up:
   “Heed fog, PC! In US find house, PC, e.g. chop fig (US Eden).”

Need gush of Picoic? … Sheep dung?

ff—CUPID’S GONE, HE – Eden (cough): “Is ‘p’ ‘f’?

[– Enough ‘pf’—Ed.] (sic)

‘CHOPIN’S ‘FUGE’ – (Ed.: ??!?) – IN G’. Fop ‘Ché’ ’s due:
   “E,F,G,H—pseud icon!”

Nic new ex.

PS Hugo—feed Nic

* * *

CHIC CONFECTIONERS
Having eaten one of the best game pies of his life, Ogden Fuchs feels great. But there’s a price to pay: he has to hit the owner (Doug Spence) and embrace his dog. You eat, you belch, your head goes round a bit—that’s living all right, that’s paradise.

   “You want some fish now?” calls Doug, holding out the olive branch so to speak. Ogden pales and implores heaven. There’s a desperate stench of old fish hanging in the air. But perhaps he could take it, if accompanied by mushrooms—wild mushrooms. With an attempt at jauntiness he cries,
   “You in there! What about turbot aux morilles?”
   “If I were you I’d go for the consommé, squire. Bear in mind though—it’s the dessert which’s really putting the cat amongst the pigeons…”
   “Miaaow exactly?” Ogden jokes, so badly he hopes as subtly to deflate the fey maître d’.
   “We’re talking butterscotch.”
Doug’s Swiss-made telephone gives an icepick blast. As the sound rings around the room, Ogden thinks he hears a ghostly voice repeating “trouble… trouble…”
   “Trifle trouble?” he burps, and lapses into memories of a wildebeest he’d known. As a child, he’d fed it snow, and it had leapt in alarm, right across the palisaded moat he’d been excavating. Better not, he’d realised, give just any food to creatures who’ll eat anything: better to burn their whiskers.

   ‘Trouble…’—does Ogden really hear this? Lost as he now is in deep reverie, hearing rather the voice of his beloved Edgar Allan as if reprimanding the wildebeest in in a voice stentorian and yet somehow embracing the poor animal in a warm flood of sound:

‘Sickly brown thou gorgest piglike,
(Devils! Fly and fool the birds!)
Brazen bold confront Queen Pharaoh,
Antelope, Hannibal in herds:
Gnu divine, cleave enemies of thine…’

Truly, the stuff of legend.

MASS MURDER
In another part of town, Edison Pugh (known to his friends as ‘F.E.C.’, excuse me, ‘fucking erudite cunt’), he who led ‘that bastard Guevara’ into the final Bolivian trap, thus thoroughly throwing his own enemies off the scent—Edison is entertaining. A couple of tracks from Haydn’s Creation, in German, played at full volume on his anachronistic stereo is sufficient for everybody, but conversation soon flows again, viz.:

   “I managed to stymie that Euro-directive,” says Hugo, “I reckoned the distilled juniper subsidy would keep the Japs happy.” Hugo’s a closet boy-fancier with a receding profile reminiscent of Robinson Crusoe, or so he‘d like to believe.
   “Not even close, you and your imaginary Puero-directives, you great horrible poof”, laughs Charles Fauntleroy Greatorex Dough-Penis.
   “Sounds ideal material for a Future England Captain, Edison, no?”
   “Hoist by his own pet ’ard-on, rather.”
   “Oh, really, you old faggot!”
   “No, honestly, imagine if young Desmond here had applied a touch of Calvin Klein pur Homme…”
   “Shame on you, Edison. More wine?”
   “Ooh yes!”
   “What exactly would you say is the UN’s role with regard to children?” This is Hugo, trying in his inept way to get back into the conversation.
   “Christ, what a question. Round them up like a sheepdog? Comfort them like a lapdog? Defend them like a bulldog? Hang on, maybe there‘s something in this. What if – ”

There’s a sudden loud explosion of gunfire, which dies away as rapidly. Hugo whinnies like a horse and stammers feebly “I was worried about Portugal‘s progress in the ERM.” Somehow ‘Dirty Old Town is playing loudly on the revived stereo, as a blind Chinese incestuous parricide bursts noisily in with a steaming plateful he claims is for his aged president, the Mike Atherton of the Far East. Edison gestures to everybody to start singing, to raise morale. But it’s more trouble, an earful of cacophony reminiscent of the Footwear Band and likely to raise hackles at raves in the Home Counties: unconscious Freudian bird-echoes such as led to the kidnapping of a Venetian plenipotentiary, and united Cambridge geographers in hasty anti-sinology.

You think there’s anything clever in this? Our friends find themselves obliged to stuff fruit into their mouths while warbling, wash down a sow and her litter because the third sheep in line was found to have athlete’s foot: in short (bitter contrast with Ogden Fuchs’ earlier bliss) ingest, stockpile Gordon’s in the cheeks like hamsters, get blown full in the face by puffball spheres. It reminds me of an Old Testament porcine conflict—

– Memo to Bureau Chief: Pretend interference of paranormal nature with software
– Why, for gossake?
– It‘s that word PORCINE

You know what that Vietnam-vet hoped? That ‘porcine’ meant ‘funghi porcini’, the beloved boletus of his Italian youth; and he couldn‘t take it, running as he does an armourer’s, it‘s enough to drive him to blur that yearning with analgesics.

* * *

   “We could do with a drink, you know,” snorted Denis soon after the heist, a character as I should explain straight out of those days when youngsters shut themselves inside sordid bars, reckoned they could sort out the spiritual problems of the deranged poultry of life, dangled but half-censored goodies within reach of dealers…
   “Sola Lolita OK for you, ’Umberto, ’Umberto? Behold!”
   “You’re the sort of person who laughs in a Mozart comic opera.”
   “Hang on, now…” he temporised softly.
   “You call this wealth, Nigel?” Denis asked in a yellow voice.
   “Well, it’s bread, if only peanuts. If I were you, I’d blow it right away. Give the bastards a treat!” (Yes, that’s what I have it down that he said.)
Denis kicked his all-weather tyre, muttering in his funny clipped way,
   “Slurs us up, demned mist.”
   “Mist?”—Nigel had a sudden idea. The Thames Valley Police were bound to be on their way, and he slammed on the short-wave radio:
   “Police are warned to beware of impossible weather conditions! You’ll only find us gone to ground Stateside, Plod, you know, growing our own fruit trees like Adam or George Washington, no lie, we’re off to Paradise!”

* * *

Do you feel this self-indulgent ill-spelt Dickensry fills a gap? Do you find it… gregariously… fertilising?

* * *

For a moment, a great wail behind the quotidian din, can be heard the cry: “We’ve lost hold of LOVE, and…”

But detail reasserts itself: a discredited politician (or, it might be, a longed-for paradise) politely chides us, requesting we not confuse quiet with loud, at which point the compiler of these pages apparently declares a moratorium on the whole dichotomy.

So, to end, a little music: perhaps Edison’s (you could say, my) party has resumed. Amid official incredulity, announcement is made of a fugue, in the German spelling, by Chopin, in the key of G major. No one’s scorn, of course, is greater than that of our camp friend who likes to dress up as a South American liberationist, and who—also using, with bitter sarcasm, the German note-names—brands no less than half the octave meretricious kitsch, a vade mecum of ‘intellectual’ fakery …

But as the first, lonely, rising fourth is heard, scepticism turns to rapture: the cry goes up, in French and German, “Oh, Dervish sage of Marseille!”, “Oh, you lovely man!”. And then, the master-stroke: devastatingly turning on its head ‘Ché’ ’s indictment, Chopin (employing an unprecedented time-signature of Pythagorean proportion) breathes a delicate, modal sigh, resting on a left-hand accompaniment of a simple minor third as a sleepy head on a pillow, slyly working in too a ‘forte-piano’ marking—perhaps to convey that brief half-waking engendered by the shutting of a distant door, or the strictures of an editor…

What? Why must you bother me right now? I’m not hungry! Tell Hugo he can go to the devil!

Nicolas Robertson
Vienna, Jan–Oct 1993 / Outurela, Portugal, April 2020
with thanks to Charles Pott ( the title anagram!) and other colleagues.

Pacing the void 步虛

yangfan

Li family Daoists sing Taishang song at central pole to open Hoisting the Pennant ritual,
Yanggao 2011.

Following the recent commemorations of the great Kristofer Schipper, I’ve been re-reading his article

  • “A study of Buxu: Taoist liturgical hymn and dance”, in Pen-yeh Tsao [Tsao Poon-yee] and Daniel Law (eds), Studies of Taoist rituals and music of today (1989).

The volume was the result of a conference held in Hong Kong, just as the revival of ritual traditions was getting under way, with further contributions by such scholars as Michael Saso, Chen Yaoting, John Lagerwey, Ken Dean, Issei Tanaka, Qing Xitai, John Blacking, and Alan Kagan.

It’s impressive that “Daoist music” was considered to belong with Daoist ritual so early; later, scholars of ritual and those studying ritual soundscapes (a more suitable term) would work separately, to the detriment of both.

Many of the articles in the volume are historical; and most of those discussing “rituals and musics of today” concern southeast China and Taiwan. Indeed, even now, this focus of time and place still dominates the field.

Schipper’s article opens with modern practice in south Taiwan, noting that Buxu 步虛 Pacing the Void hymns are sung there in unison at the opening of jiao Offering rituals, as well as within chao Audience rituals. But the bulk of his article concerns early textual history. He notes that while Buxu hymns already opened jiao Offerings in the Southern Song dynasty, their texts date back as early as the 4th century, soon becoming enshrined in Lingbao liturgy. He also seeks clues about how such hymns were performed in medieval times, noting Buddhist influence. And he finds early associations with meditation, citing the 5th-century Daoist Lu Xiujing:

In the practice of the Lingbao Retreat, when reciting the stanzas of the Empty Cavern Buxu: grind the teeth three times, swallow three times, and then concentrate on the vision of the sun and the moon, in front of one’s face. The rays enter through the nose in the Palace of the Golden Flower. There, after a moment, they change into a nine-coloured halo… Again, grind the teeth three times and swallow three times, and then concentrate on the vision of the Primordial Lord of the Three Simple (pneumata) in the Palace of the Golden Flower, in the likeness of an infant…

Schipper also notes the link with the bugang 步綱 Pacing the Constellation (Yubu 禹步) liturgical dance steps, as well as the Buxu genre in secular literature. He ends by stressing the link between music and meditation in the simultaneous execution of an “interior” and external” ritual:

The way of achieving this, and this is borne out in a way no literary source can provide by today’s rituals, is through music. Only music can integrate the different levels of execution during a ritual, make the meditation and breathing of the Master follow step by step the performance of the outward ritual by the acolytes. Only music can bridge the separation between the two worlds and ensure the harmony of man and his environment and beyond that, of all the spheres of the universe.

I much admire Schipper’s stress here on soundscape; and the high bar that he sets for the “internal” aspects of Daoist ritual was indeed evident in the practices of his own Daoist masters in Taiwan. Yet the fundamental importance of soundscape in ritual practice (hardly pursued by later scholars of Daoism) is far wider than the abstruse arts of cosmic visualisation.

* * *

Schipper set the tone for Daoist ritual studies, which relate modern liturgy firmly to the medieval era. Yet the basis of modern practice is the formation of liturgical traditions since the late imperial period. Throughout China, at the opening of the rituals of both temple clerics and household ritual specialists (Orthodox Unity and Complete Perfection alike), Pacing the Void hymns turn out to be widely performed today. Thus modern collections of vocal liturgy and the provincial volumes of the Anthology of folk music of the Chinese peoples, compiled through the 1980s and early 90s (see e.g. under Suzhou Daoist ritual), contain numerous transcriptions of Pacing the Void hymns from all over China.

For temple practice, Buxu hymns such as Dadao dongxuan xu 大道洞玄虛 are part of the Xuanmen risong 玄們日誦 daily rituals (Min Zhiting 閔智亭 ed., Quanzhen zhengyun puji 全真正韵譜輯, pp.31–2):

And such hymns, sung very slowly with melisma, are just as common among household Daoists. In my chapter on vocal liturgy in Daoist priests of the Li family I gave an example:

Recitation to the Great Supreme (Taishang song 太上誦) is the main hymn that the Li family sings in the Pacing the Void (Buxu) genre. Its incipit is Taiji fen gaohou (“As the Great Ultimate divided high and broad”); this ancient text, sometimes attributed to the Daoist master Du Guangting (850–933), is often found both in the Daoist Canon and in current temple practice.

It consists of eight five-word lines, plus a final fast seven-word invocation to the Great Heavenly Worthy of Five Dragons who Expels Filth (Wulong danghui da tianzun). As ever, my translation stays rather close to a literal interpretation, though the text (such as the obscure third couplet) has been subjected to highly arcane commentary.

Only performed with shengguan wind ensemble, never a cappella, the hymn is mainly used in three rituals: Fetching Water (qushui 取水); Hoisting the Pennant (yangfan 揚幡), at the central pole; and at the soul hall before the coffin is taken out (film, from 45.20 and 1.14.38). Until the 1950s it was also sung for Opening the Quarters (kaifang 開方), and in the Announcing Text (shenwen 申文) ritual for earth and temple scriptures. Buxu is also the title of a percussion item, which they now rarely play—the longest interlude between sections of certain a cappella hymns, a slightly expanded version of Jiuqu (Daoist priests, p.286).

Taishang song

Taishang song score

So while the hymn texts are “in general circulation” (Schipper’s term again), the melodies to which they sung vary widely by locality.

Anyway, Schipper did well to point out the significance of Pacing the Void, even if he could hardly have imagined at the time how very widespread the genre was throughout the PRC. As he wrote, “an entire book could, and perhaps should, be written about Buxu.”

So our choice of emphasis is significant: whereas the sinological method is to use fieldwork as a mere adjunct to unearthing textual vestiges of medieval theology, a more ethnographic approach incorporates such ritual archaeology into our studies of living ritual repertoires in modern society—further discussed here.

TSS

Coda of Taishang song before the burial procession:
Li Manshan, Golden Noble, Wu Mei, Li Bin.

For a sequel on the Li family Daoists’ vocal liturgy, see here.

Killer sounds: cadential patterns in Chinese melody

zisha

A drôle recent Languagelog post on “Pineapple suicide” somehow put me in mind of the shasheng 煞聲 in traditional Chinese music. I’m a bit like that.

A useful little item in the 1985 Zhongguo yinyue cidian 中国音乐词典 (pp.335–6) crams in considerable arcane ancient scalar theory, whose practical application remains obscure. Anyway, in the Northern Song dynasty Shen Kuo 沈括 (1031–95), in his Mengxi bitan 夢溪筆談, defined shasheng as a final cadential note (biqu suoyong zhiyin 畢曲所用之音, also glossed as jiesheng 結聲). Shen Kuo seems to use 煞 and 殺 interchangeably here, and later folk scores do indeed use homophonous characters quite freely.

Outside WAM the final cadential pitch of a melody is not a very useful guide to its melodic structure, and it’s hardly a concern of most performers. To identify the shasheng of a melody, rural musicians in modern north China sometimes name a pitch in the gongche solfeggio system (such as yi chezi sha 以尺字殺 “cadencing on the pitch che”). More illuminating for us are modern Western techniques like note-weighting, including the cadential notes of individual phrases (cf. my detailed analysis of a shawm-band suite). While neither ancient theorists or modern folk musicians shared such concerns, at least we can identify their use of the term shasheng.

As the great Yang Yinliu explains (Zhongguo  gudai yinyue shigao, pp.554–60), in the zaju drama of the Yuan dynasty the sha 煞 may be a series of final sections within a suite.

qin cadence

Qin melody Yuqiao wenda 漁樵問答, end of §4,
from Guqin quji 古琴曲集 (1982).
Among many recordings, this piece opens Lin Youren’s wonderful CD for Nimbus.

Some related topics come to mind. Decorated cadential patterns on the qin zither, with the left thumb repeatedly striking the soundboard to voice the upper note, rather remind me of early baroque cadences in Italy. In ensemble, extended ostinato cadential patterns  are used as punctuation between melodic phrases (see my Folk music of China, pp.126–9). And in the shengguan ensemble of northern temple and folk ritual (see under Three baldies and a mouth-organ), 4-bar ostinatos on two adjacent notes are common:

JZJ

Gongche score, 1947, West An’gezhuang village, Xiongxian, Hebei.

The gongche score above shows versions of Jinzi jing and Wusheng fo in fandiao scale, a whole tone below the “basic scale”. Ostinato cadential patterns appear in lines 2 (wu wu yi wu wu yi wu) and 3 (che che gong che che gong che) of Jinzi jing; and in the following Wusheng fo, in lines 1 and 2. For more, see my “The Golden-character scripture”, Asian music XX-2 (1989).

One might go on to consider the ostinato-based peiqu 配曲 “supporting pieces” of northern ritual groups, and the “tassels” (suizi 穗子), a more popular style used by northern wind bands (Folk music of China, pp.146–8; cf. #8–9 on the first CD of China: folk instrumental traditions).

suizi

A separate theme is the sha 煞 baneful influences in Daoist exorcistic ritual, which are to be exorcised by means of talismans and visualisation techniques (see e.g. here)—“but”, digressing still further from pineapples, “that’s not important right now” (see under Solfeggio, again).

Daoist sha

Guest post: Tag, licht—fumée

Mozart opera anagrams 3: The magic flute

Nicolas Robertson

For a general introduction to the series, see here.

Hot on the heels of Don Giovanni and Così fan tutte came

THE MAGIC FLUTE
Opera/Singspiel by Mozart and Schikaneder; soloists, English Baroque Soloists and Monteverdi Choir, directed by John Eliot Gardiner. Rehearsals and staged performances in Parma, and then several other European cities, 1995. (Archiv recording.)

 
TMF cover

157 thirteen-letter anagrams, at the latest count—I made it 158 in 1995, perhaps I included the title (The Magic Flute is of course an anagram of The Magic Flute—I would have said an isogram, or an autogram, or even a tautogram, but these words are all taken for something slightly different—so I’ll go for a pleonogram ), interlarded with 16 of Wolfgang Amadeus Mozart—twenty-one letters, grouped as 1-2-3-4-3-2-1, and picked out in red; preceded by their parallel ‘story’ giving as close an account (sticking slavishly to the anagram text) as I could manage of what might be supposed to be going on, as follows:

It had been, lucky me, a wonderful meal: Prosciutto di Parma, with fresh green figs, rucola salad. Just at the finish, though, something seemed to go wrong: I asked for a coffee, and was met by a stony-faced silence, the ass—great, I thought. You do something so well, and then you wreck it by a small idiocy at the end. It was the same with the digestif I tried to order—thinking to please by asking for that Duchess of a liquor they make on the coast across from Capri—which received a frankly rude “What?” in reply. That was enough: I told the chap to clear off. I was still smoking inside, of course, and as happens, another diner observed my mood and tried to cheer me up with gastronomic small-talk. I thought him rather like a household ferret, but he asked a curious question “D’you think he ever worked for Cahiers du Cinéma?”—which set me thinking. Imagine this film scenario:

DAYLIGHT SMOKE
In a certain country, gastropods are brought as offerings (let’s say, Trojan snails): it appears there’s a war on, and the anti-haemorrhagic qualities of figs are in demand. The inhabitants subsist, amid gastric suffering, on the odd mollusc, superannuated Oriental fruit, even deep slices from their own calves. They feel their own facial bones poking through (it’s easy to show this, and it’ll have an impressive effect), and to pass the time race the only thing left which (presumably) is not edible, a local flightless bird. (This is also very picturesque, as a sort of parasite on this bird’s fruit-eating parts is the salamander, or baby newt Gila monster, a lizard without vocal chords which features in runic mysteries. I’m wondering if there’s something about this in The White Goddess, and if so, was Robert Graves making it up?) There’s a backdrop of the Three Kings by a star of the Venetian C15 school, that’s fine, if somewhat immediate in its brutal realism… A contrasting scene is set in the leafy self-catering avenues of southwest London, where a Jewish patriarch is walking his dog: a clubbable, diplomatic man and a talented animal. The link between these two extremes is a scurrilous publication of the sort you wouldn’t be seen extracting from your own letterbox, which deals in (again extreme) totemic obsessions involving girls, guilt, glamour, gore and galactic glory—

I’m just fantasising, without great success, about how the breaking of the sound barrier can take its place in this yarn, when my interlocutor disturbs me again, now changing his tack:
   “I’m thinking it’s the cook who should be cut in pieces… You do receive some money, you know, for Euro-movies.”
I reply that I’m glad to hear it, appropriately in German (which is also intended to deter him from further conversation, but in vain: …)
   “What about capturing the start of the Open Championships? You could have a side from the opera, they love golf, then there’s people smoking, plenty of incidents – ” I interrupt this nonsense by inquiring if he’d like nutmeg, but he refuses violently and reckons rather that lilies are best to banish the odour of seafood. Almost too late, I realise that under cover of this table-talk he is surreptitiously removing my artificial limb…

* * *

It’s international conductor time, and someone has the gall to stop Riccardo Muti, to correct a (simple, diatonic enough) motif. A Japanese executive objects on the grounds of Muti’s grandeur, at which a German ripostes by asking with evident scorn whether you would entrust the peak of intellectual art to a twilit dreamer: to which the conclusive reply is that Muti turns canonic imitation into a thing of liquid beauty. The metronome meanwhile marches on. Sudden strife in the brass section: Jeffrey Tate, whose turn it is, is unhappy, but a suggestion that the players felt even more estranged from Zubin Mehta only brings a sharp rebuke, and instructions that if they don’t like the Méhul passage which seems weirdly prescient of Beethoven’s Fifth, they don’t play it.

Do you think that’s right? While I’m contemplating it, the image of a little salamander snout pops beaming into my mind as I turn on the tap—a tap of which I remember now I swore I’d replace the washer… Why do I always feel so bad about such small failures? Why not come out and say, no, I’ve had enough of pan-Europeanism, I like my souvenir of Scotland. Furthermore, it’s official now that you can’t believe anything they say: there’s a song about Tarzan, that apart from being a bit short in the brain department he was actually a carnivorous predator—or, a mythological snake-haired fiend, or – a shenior shivil shervant of the shixtiesh * (a.k.a. a former editor of ‘The Times’)!

Phew. Quite enough of that. But then a whole pile of people turned up, whose names are self-explanatory (he says going on to explain them, as in ‘I hardly need say…’): a prairie millionaire, an Israeli ditto who’s made his killing in fish oil and is intent on founding a dynasty; the late Timothy Leach; a representative of an English recording company (the only one who’s not permitted to arrive by taxi, with resulting pedal angst, he’ll always remember this day), a Euro-censor, and not quite an honest one at that; two women of whom the second is—what? you? look, can I, hang on—and a born-again pop-star.

Naturally, there’s a call for light, to which the enigmatic reply seems to recall an exchange from The Magic Flute. Well: let there be light, then. This however doesn’t please a chess expert who amongst other signs of irritation lights up (sic) for four minutes and thirty-three seconds, impassively. You got out fast, but I felt as if embedded in glue and got stuck (though with my money) in a throng from which the only escape was to play my magic glockenspiel—in whatever key came to hand—

– and it worked! But even then, being under the weather, my maxillary workings told me I needed a tisane, if a tacky enough one could be found. The Boss asks if I want milk—with a tisane?? Bah, I round on him, wondering if he continues to have interests in American military dependencies, at which he tells me to – leave off. He implies I’m small, too, which irks, I’m just slightly built, but still I make to placate him with a present of an English renaissance instrument, embracing a Welsh friend to celebrate this outbreak of reconciliation. Hah! all the Boss can do is to tell me to pick up a nasty illness, the brute. Even now, I mollify him: introduce, with sycophantic adulation, a German girl. True to form, he insults her immediately, asking her an unlikely question about Belgian football—but Ute’s a match for him, with her knowledge of London equivalents. Naturally this rebounds against me , I’m accused of stealing the theorbo I bought for him, damn it, and am asked to procure a less challenging woman.

I can’t do this, you miserable German person, I’ve only one leg for a start. My luck, if that’s what it is, is in, this time, in that Helmut is distracted (you may have noticed this propensity) on to another tack: he sees there is an American veterans’ baseball game on TV. (This is one of his recurring obsessions.) I tease him by saying playfully that a certain distinguished British philosopher was also a US infantryman; but for once Helmut is not taken in, perhaps because his stomach has more urgent calls on his attention—now he wants ewe’s milk cheese. Really, will this never end? One solution, arguably, is to call in a heavyweight but lighthearted Belgian-Ceylonese-Breton wrestler (frightened of nothing except spiders, hence his nickname Muffet), whose but moderately loud voice announces the octave firebrand which breaks through the hefty trellis decorating this scene, and thus introduces –

(in an undertone, please,
                                             like a somnolent guard-dog)

– Lazy days in Cyprus, a honeymoon couple discovering Indo-Portuguese culture and dancing innocently into the bewitched apocalyptic sunset…

* * *

The river of forgetfulness runs through Cambridge, as you, old fruit, must know, having picked up enough tabs there. Stick to engraving, Dark Lady.

Alf is asking the President of Poland to bring a barrel for his French co-pilot, but Wałesa is at the back of the plane, and suggests Alf try instead, why not, a Fabergé jewel—as well as giving him his cue to start skydiving. Ah, crazy great West Country turnips, that sums up the enchantment of Cambridge days! But even an inhabitant of Paradise had to admire the way the Chinese could synthesize two quite distinct sports in one computer programme, at the same time recounting every last detail of an unedifying modern military campaign in the style of a spiritual. (The original ‘naming of the beasts’ in Eden had a more charmingly reticent, throaty quality).

Alec is no more, alas, but another philosopher can be found to fill the gap. Fichte was a man, which is important, but Hegel was a feline in disguise, which made him fit only to instruct clever asses, and play (very well, admittedly) on children’s slides, if one can tell after so many years have elapsed. I’d rather he’d have got the creator of M. Hulot’s Holiday to work on a remake of La Grande Bouffe

Why’s everything gone terribly quiet all of a sudden? Welch’ furchtbare Stille! **

– but the Melbourne newspapers called the project off, preferring some totally spurious local paparazzi farce called, I think, ‘Newt Dundee’, involving a Scottish idiot astounding everybody, chewing straws, and dancing his balls off in a cloud of smoke. Ah, Margaret, surely you knew that a crowd of South American football administrators (we call them the Ferret Fanciers, but don’t let on) are going back to the land? Yes, to the Portuguese horse-breeding centre Muge, where they serve fish soup every day and wear braided Hebridean headgear.

   “Are you cigarette monitor? You know mucus build-up goes a horrible colour…”
It’s enough to make one, as an urban guerrilla, want to scratch below the surface of this sweet, playful Zauberflöte. Were you, Amadeus, really a demented music-loving aristocrat who commissioned your own works, thought it would be a laugh to dance with a keeper of the portal, jive with Mephistopheles himself…?

Would you compare this with Graham Greene’s Vienna? God forbid. Would you entrust the mission to an American who refuses to believe his emblematic eagle is bald, and forgets to look at t’ petrol gauge?—but I’d better be quiet. It’s just another flight.

BUT it’s different in summer, when you want to spread your wings and mount to the treetops, make a(n-H-) bomb from your in ( off)-sur (shore )-ance tragacanth/okra policy. Or, follow the example of Joseph Beuys, saved from perishing (in the) cold by being wrapped in felt and fat—we who live in more humid climes can hardly appreciate such extreme needs, but raise our glasses all the same.

For we all suffer from the cold. For, truism as it may be, we can be protected by a present of a nest-egg, a lucky jewel (this could also read, ‘thing of value’, it could be, thus, a musical instrument of rare quality, a flute for example), especially if given to you personally by a freedom-fighter. Where the highest church spire in the world reaches octagonally (Ulm = elm = Ely?) to the sky , a cross-section might tell you that in 1500 AD, this was but a caper, a chamois’ vortex; and that here too your man Sarastro casts his labyrinthine lettery spell.

* * *

TAG, LICHT—FUMÉE
Ham, fig, lettuce—I felt much gâté.
   “Café?” Mute. Light, tight mule-face; cute.
   “Malt.” If he get Malfi, gut.
   “Chè?”
   “Leg it!” Fume. Chat:
   “Ultimate chef! Glug…” Tame fitch! “ ’E taught EEC film?” Lumache, gift, etc. Emulate fight: heal cut fig met. Get ache if tum lug clam, if teeth fug matt lichee, cut leg (ham), tief. Teeth, gum, facile gulf, thematic éclat, emu fight—cute glam if the emu fig chattel fetch mute Gila eft—Thule magic. Thule game, fictif? The mage-cult—Cima, fleet thug—felt gut. Micah, E. Cheam gîte luft—“Agile mut—fetch!” – fit chum, legate. “Geh, mutt!” Facile! Ult. fétiche mag (e.g. tu fetch mail), female chit tug echt guilt. Fame? Fame! Glitch—tué!! Tué, acme, flight! Mach 1 Flug et – et…
   “Mutilate chef… Get aught, EC film.”
   “Ach, gut.”
   “Film tee, ‘Flute’ team, cig—hazardous game, golf.”
   “Want mace?”
   “Filth. Muget fumigate the clam.”
   “Leg thief!”

– CUT –

FUGAL THEME
Tic.
   “Halt, Muti – GFECE…”
   “Muti g‘l’eat chef!”
   “Ha? Fuge mit Celt?”
   “He melt fuga!”
Tic. Cue metal fight: Tate, chief, glum; cite Mehta gulf –
   “Calm huge fit! Et tacet Méhul, if G-G-C thema futile.” Ethical? Eft mug light me faucet—facet hem guilt. Guilt? Face them! Glut EEC faith, me Leith mug.
Fact: ‘Tarzan’s gaga, mum’, flow ode—a wolf? Tarzan? Medusa?? MOGG!

– CUT –

Agh. Me, I left. Mitchel A. Gufet, Chaim T. Gefült (Gulf Cham tête) I, Tim Leach (feu), G.T. Futt (Gimel)—ache, feet, caul might time fate gulch—Emil Guthaft, EC cheat (“Get film ‘U’!”), Thea, Meg (tu!), Cliff—“Luce !”—“– tätig?” Hm. Fiat luce. The GM Michael Tuft, e.g., fumeth, lit Cage (he flegmatic). Tu fleet; I’m caught, gum feet, I latch fee (tight maul)—C chime E FLAT –
   “Gut, magic.” Flu, teeth felt each gum, it mulch ‘tea!’ if get matt glue.
Chief: “Tee? Milch? Gut fate.” Ich: “Left Guam?”
   “Guam? Flee, titch.”
Ému, light: “Facet gift: Cheam lute.” Melt ice, hug Taf.
   “Get Thai flu, mec.” Thug.
   “Calif, meet Ute.”
   “Camel! Fight Liège fut-match?”
   “Fulham.”
   “Get cité! Mac, lute-thief, get Mica.”
Heft, lug: lame. Cute fight, Helmut Git-face.
   “Teufel! GI match.” (Helmut GI facet.)
   “T.E. Hulme GI—fact.” Emit laugh, etc.
   “Fie! Fetta, milch!” Gag, hit, elect Muffet, huge Tamil-cum-Celt, the gai Flem (if huge).
   “Acht”—eight—“flame—cut huge lattice” ( mf—hemi-flat, e.g….)

– CUT –

GROWL, MAN, DOZE
Famagusta: “Emma, Goan rugs!” Fado?”
   “Waltz?”
Waltz, Magus of Armagedon.

* * *

LETHE? CAM?
Tu, fig, feel chit gamut. Etch glue, Fatima.
   “Get Michel fût, Lech!”
   “I’m aft—get, uh, multi-facet egg, Alf. ’Chute time!”

Lethe magic fut a mad fatso mangl-wurzel, o! Sumo golf Wang art amazed Adam: ‘De Gulf War A to Z Song.’ (‘A to Zed’ Adam sang—low, gruff…)

   “Alec!”
   “Tué! might Hume…?”
   “Legit?”
   “Fact. Fichte male – ”
   “ – Gut. Hegel?”
   “Mufti cat.”
   “Teach mule gift, lift chute game—time gulf? Teach Tati ‘Le Mug Chef’ film – ”

– HUGE TACET –

‘The Age’ cut film: Wagga zoom lens fraud, Tam O’Douglas (fart), amaze, gnaw, fume, a gonad orgasm waltz. Tut, Meg, Chile FA (Fitch™ League) face tilth. Muge, täglich fumet, Gaelic hem-tuft helmet.
   “I/c fag, tu? Flegm hue…”
Città flea might cute flute game itch. O Mozart! a mad Walsegg? (fun—Armed Man walz, Faust go-go…)
   “Lime?”
   “Faugh!” (etc.)
   “Tuft eagle, Mitch? MITCH—T’ FUELAGE!”
Mute. “Ach, fliegt.”

Été macht flug if huge elm—(aitch) ’uge theft claim—mucilage theft?? – felt heat. Mug, i/c the fug climate, lift them.

Ague. Cliché, fat gem, tu Che amulet gift, Ulm eight-facet:

TMF pic 3

A fat Magus’ long word maze.


* I actually heard William Rees-Mogg say this of himself during his address at Peter Goldman’s memorial service—where I was singing—at St Martin in the Fields, in the 1980s.

** In the original 1995 MS of this introduction, lost in our 2009 fire, these words of Pamina’s were written in the hand of Christiane Oelze, who sang (and spoke) the role, and whom I asked to insert them—I can see them still, but technology doesn’t yet allow us to translate inner visions into outer reproductions.

Nicolas Robertson
Parma – Ferrara, May 1995 / Outurela, Portugal, May 2020

TMF urtext

From early draft, Parma 1995.

Get a proper speech impediment, FFS

 

BoJo

Brandishing Bendy Banana, Bumbling Boris,
Bombastic Bonking Buffoon, Blusters Brazenly

I have the greatest admiration for people who learn to manage their speech impediment to speak in public. Not among them is Bumbling Boris (for his full title, see Stewart Lee—since “Boris” and “BoJo” seem too generous in their familiarity, Lee’s solution “Turds” seems suitable; “Spaffer” also has a certain ring to it).

Along with the tousled hair and shambling walk, his disjointed speech—seeking to convey a spontaneous happy-go-lucky image, making it up as he goes along—seems a public-school affectation. Mystifyingly, in some quarters this is apparently considered attractive, like Hugh Grant’s “Posh Twat” persona, or Jacob Tree-Frog eternally trapped in the ridiculous fancy-dress outfit that he once wore for a laugh at a school party.

Or is his stumbling a recognition that if he does somehow manage to string more than two words together consecutively, the result will inevitably consist of fatuous offensive clichés, or is it a cunning attempt to dissociate himself from them?

Er er er, bumble wumble, ow-ow-our [smirks] European friends [the AfD], the-the-the…, um, ipso facto [smugly], I-I-I, letterbox, i-i-s a… er, world-beating [Ha], um, roadmap, blah, [ruffles hair “endearingly”], Winston, er er… (what was his name again?pifflepafflewifflewaffle steady ship… um, um um, cavalry…

Here’s a real one:

Boris BS

In his distinctive shtick, I don’t think I’ve heard him stammer on initial consonants, only repeating whole monosyllables (the), often vowel sounds (I) (see also under stammering tag).

Say what you like about Donald Trump (“and I mean that sincerely“), at least his odious and incomprehensible gibberish had a certain, um (sic), fluency:

Well he said, you’ll be the greatest president in the history of, but you know what, I’ll take that also, but that you could be. But he said, will be the greatest president but I would also accept the other. In other words, if you do your job, but I accept that. Then I watched him interviewed and it was like he never even was here. It’s incredible. I watched him interviewed a week later and it’s like he was never in my office. And you can even say that.

Or perhaps the difference is that Tweety blundered on relentlessly [enjoy that past tense], whereas Spaffer peppers his own drivel with cute hesitancy. So much for oratory (and for fluent impromptu exposition in Indian raga, see here).

Created at a time when the idea of either of them being allowed anywhere near power seemed utterly ludicrous,

Paul Whitehouse’s character of Rowley Birkin QC combined the posh Spaffer mannerisms and the relentless Tweety gibberish:

Here’s Matt Lucas:

Recently a Spaffer–Birkin hybrid has emerged:

I might have a greater tolerance of such eccentricity for a politician not wallowing in a cesspit of opportunism, xenophobia, and duplicity. For a less-than-ringing endorsement from a former colleague (“a clown, a self-centred ego, an embarrassing buffoon, with an untidy mind and sub-zero diplomatic judgment”), see here.

What I can tell you is this“: on behalf of the, um, stammering “community”, I would like to dissociate myself from this kind of flummery—FFS, either get a proper speech impediment or just learn to engage mouth with “brain”. Ideally, go away.

Guest post: Cite not Faust

Mozart opera anagrams 2: Così fan tutte

Nicolas Robertson

For a general introduction to the series, see here.

Note—SJ
Even before Don Giovanni (here, with general introduction), this was Nick’s very first anagram foray to have a story attached, whose arcane fantasies already emerge fully-fledged—as with

tinto faucets, cute Asti font, scant Fitou…,

explained as

the taps and church vessels are running with red and white from the great houses, and lesser French appellations don’t get much of a look in…

* * *

COSÌ FAN TUTTE
Opera by Mozart; soloists, English Baroque Soloists and Monteverdi Choir, directed by John Eliot Gardiner, 1992—staged performances (stage direction by JEG) and Archiv recording.

CFT

 

The earliest case of an accompanying parallel text—an attempt at describing what I felt might be going on, while adhering literally to the anagram results—composed immediately after the anagrams (here a sequence of the same 12 letters, 100 times).

CFT urtext

From Er, text Urtext, Parma 1994.

TUTTI FONSECA: tinto faucets, cute Asti font, scant Fitou; et Tunis café tot.
Tofu.
Incest at Eton.
   “Tusa? If C.T. Fancutt’s toe”—I infuse tact to feint Tusa cot—“isn’t out, ‘facet tu’.”
   “Fine! Scott, a tuft at cosine?”
   “Tofu! Sine.” Tact. If stout, enact a fit Scot, tune fustian octet, cite not Faust, taunt soft ice (if Tesco taunt fat Tucson tie—satin, tofu, etc.) coast net.
   “Fuit ut canto?”
   “Tief. Sit, foetus can’t. Tin cat-foetus.”
   “Titan foetus…”
   “Cist ocean”—Futt.
   “Nice oast, Futt”—Titus Fen-Cato, i/c font. “Astute. Situate font—cut Ascot! Feint toucan, if test cat oft unites (cat oft unties?) teat’s function: eat, suc’, fit to Nic’s tofu teat…”
   “Est, tunc fiat, o Tuscan foe!”
   “Tit.”
   “Tief?”—to Tuscan Tito (US fan, etc.)
   “Teutonic saft?”
   “Ficta’s Teuton.”
   “No ficta,” ’e tuts. Tut! Sit on face.

* * *

I oft tan scout, I, Cnut, feast to toast fun, cite Sufi, Tao. Tent? C’è scant outfit. I, fast-toe Cnut, cut station effect: saint out (Saint ‘tuft’ Coe—cat’s often ‘uit’). Cue soft taint. Et toi, cast fun? Et tu, sicofant?? Canute’s fit to taunt foe’s tic, stint Coe tufa factions. Têtu, FNAC, tote situ (Sufi tote can’t fuse antic tot—fuse Titan cot? Tunic not safe). Ate soft… Cnut, I… I taste of… Cnut… nice, soft, taut…

* * *

   “SNCF—têtu, toi? Astute faction, SNCF: Tati et/ou fat Teuton (sic). Caution: test ‘f’—suf’ocate! Tint Sufi tent-coat, nice…”
Fast ‘tu’ to Count East, fit, cute stain, oft fist not acute.
   “Aft, tits! Ounce” (o fuc) “sent a tit faint. Suet cot, soutane-fit.” Ct.—COUNT—T. Fiesta, ictus often at coitus… “Fatten e’static futon!”

   “Sofa, Nutt. Cite Cato.”
   “Fuit. Sent soft Utica net …”
Fun Cato test! “It’s…”
   “… Tout fiancé!”
   “TU? Ott’s fiancé, of ice stunt? At?”
   “Tate. Stoic fun.”

ET TU, TOSCA?

– FIN –


It’s monopoly time in Italy and Portugal, the taps and church vessels are running with red and white from the great houses, and lesser French appellations don’t get much of a look in. On the other hand, an espresso and a chaser in North Africa follows naturally; there’s vegan food, and an atmosphere which reminds one partaker of goings-on at an English public school. He recalls the typical, bright-schoolboy talk in which he took part, with its characteristic blend of inside jargon, Latin and modern languages, higher maths and frank vulgarity:
   “Tusa?”—pretending charm to lull the well-known spark to sleep—“if Fancutt doesn’t pull his finger out, will you do it for him?”
   “Of course. Scott, will you do my maths prep for me? It’s cosines.”
   “Put your head in a bowl of quark. I can do without.”
More charm is needed. I’m a bit overweight, but pretend to be a tough caber-tosser , give an ‘A’ to the pompous house band, who’re making a fist at Mendelssohn, am careful not to show off my Goethe, and make fun of melting polar ice-caps—it seemed an ok thing to do, the supermarket heir in my dorm used to mock the kitsch dress-clothes of Arizona oil moguls who come visiting, as well as vegetarian protein and lots of other things too—and the huge nets they have to erect to stop the resulting icebergs.
   “Did I sing it right?”
   “A bit low. Sit down, you might as well, you’re not an embryo. Correction, yes you are, you’re a cheap feline embryo.”
   “A giant embryo, at least…”
Another boy, Futt, puts in: “And you’ve got thousands of spots!”
   “It’s a jolly nice oast-house your parents have got, Futt,” tactfully interposes a well-brought up boy who’s a server in chapel. “Really smart. If you get the church on your side, you don’t need to show off at the races! Pretend to be a South American bird, you’ll find pumas regularly give them milk—or is it takes it away? – ” (Fen-Cato’s going off the rails rather here) “ – you can get all the nourishment you need from the soya fountain in Nic’s health-food store – ”
   “Yeah, yeah. That’s the way it is, so that’s the way it’s gotta be, enemy of the Roman people.”
   “Idiot.”
   “Was it really too low?”—this to the ‘Roman enemy’, who’s a great supporter of the United States and all that entails—“Like some German fruit juice?”
   “The Germans invented the idea of putting in sharps at cadences.”
   “I d-don’t like that ’abit,” stammers a junior. The stammer is pathetic, and he drops his aitches, so we sit on his face.

* * *

[A stream of consciousness from a sometime Prince of Denmark]

I regularly used to give my Balliol cleaner a hiding, I hold a party just to raise a glass to the holding of parties, I quote from the Rubaiyat, Zhuangzi. I don’t like camping, there’s not enough protection. I’m a good runner, and I don’t like stopping, and none of this sportsmanship like you get from Seb, so holy and with his Tintin haircut, but I can tell you his Dutch cat often clears off at night! I’m against currency fluctuations in the ERM—what, Frenchman? You make fun of me? And you, smarmy Latin brute?? A King of Denmark can mock his enemy’s nervous twitches, he can withdraw money from Seb’s divisive volcano altitude training.

French bookshops are headstrong, they run betting shops in them—not even a mystic gambling system can rekindle the primal child within us, or the hearth where Prometheus is born, and anyway modern artificial fibres are such a fire hazard…

I once had a lovely yielding… Yes, me… I can still taste it… yummee… Just right, yielding and resisting at the same time, the perfect [crême brulée].

Count East is speaking, Government transport minister:
   “Take on French railways? Off your head, are you? They’re a canny bunch, French railways. They’re M. Hulot and/or Helmut Kohl in one (yep, that’s what they are). A word of warning: try ‘loud’ first, you’ll find you won’t be able even to semi-breathe down there! Why don’t you go back to dyeing Persian desert robes, that was harmless, at least.”
This is too much for me. In an instant I irredeemably offend his noble lordship by using the familiar form of address, he becomes apoplectic and bang, there’s a nice mess, sometimes I don’t know where my blows are landing.
   “Get back, you fools! Pint-size here” (I wince at this description) “has knocked the old twit” (where’s the ‘w’ from? a childhood memory?) “out. Make him up a bed of veal marrow, clad him in a cardinal’s robes,”—I recognise the voice of Ct. (yes, another Count) T. Party, the one they say suffers a paroxysm as like as not at any suggestion of sex—“plump his mattress with kapok and let ’m sleep in seventh heaven…”

* * *

   “Fall on your futon, Nutt. Or have you done your Latin prep?”
   “I have. ‘Given this sweet Carthage entanglement…’ ”
I enjoy these Latin exercises. “Go on…”
   “… I’m engaged to be married.”
   “WHAT? You?? Engaged—to the daughter of the best wine-maker in Provence? Who does such fantastic ice-skating? Where’s the party?”
   “The Tate Gallery Restaurant. Rotten luck, eh?”

Which begs the question, was Tosca setting him up? (Did she, in fact, bounce back?)

For if so, it is

The End.

Nicolas Robertson
Lisbon – Paris – Ferrara, 1992 (– Parma, 1994) / Outurela, Portugal, May 2020

The reinvention of humanity: the Boas circle

Like the societies that it studies, anthropology is in constant flux.

On Franz Boas (1858–1942) and his circle, a most engaging book is

  • Charles KingThe reinvention of humanity: how a circle of renegade anthropologists remade race, sex, and gender (2020)—main title of 2019 US edition Gods of the upper air (“Discuss”). Reviewed e.g. herehereand here.

Immensely readable, it surveys how ways of making sense of the diverse cultures of the world have changed since the beginnings of formal anthropology.

Cover, showing Margaret Mead with Fa’amatu in American Samoa, c1926.

Reaching beyond the confines of drier academic treatments, it’s a real gift to write like this for a general audience. King really brings to life what might seem like abstruse theoretical debates.

Alongside Boas himself, he focuses on four female scholars: Margaret Mead, Ruth Benedict, Ella Cara Deloria, and Zora Neale Hurston. [1] As Francis Gooding comments,

It’s not a coincidence that Boas and his collaborators, variously Jewish, Black, Indigenous, female and queer, were all outsiders of one kind or another to the mainstream of American society. That their ideas were found radical and strange is an indictment of their culture; that King’s book seems timely is an indictment of our own.

The work of the Boas circle set forth from fieldwork on “exotic” cultures to the lessons it might provide on issues in American society, as they challenged the entrenched notion of linear progress from “primitive” to advanced societies, and the narrow categories of race and gender.

More than anyone in his day, Boas understood that his own society’s deepest prejudices were grounded not in moral arguments but rather in allegedly scientific ones. Disenfranchised African Americans were intellectually inferior because the latest research said so. Women could not hold positions of influence because their weaknesses and peculiar dispositions were well proven. The feebleminded should be kept to themselves because the key to social betterment lay in reducing their number in the general population. Immigrants carried with them the afflictions of their benighted homelands, from disease to crime to social disorder.

Thus

the core message of the Boas circle was that, in order to live intelligently in the world, we should view the lives of others through an empathetic lens. We ought to suspend our judgment about other ways of seeing social reality until we really understand them, and in turn we should look at our own society with the same dispassion and skepticism with which we study far-flung peoples. […]
In time these shifts would inform how sociologists understand immigrant integration or exclusion; how public health officials think about endemic illnesses from diabetes to drug addiction; how police and criminologists seek out the root causes of crime; and how economists model the seemingly irrational actions of buyers and sellers.

Such insights, I confess, do look like progress to me. Still, even as they have gained widespread currency, King notes the resistance from the political right, where

some of these changes are said to constrict a community’s ability to determine its own social mores. A new form of state-sanctioned intolerance, protected in “safe spaces” and monitored by “language police” from schools to workplaces, insists that we should all agree on what constitutes marriage, a good joke, or a flourishing society. The narrative is one of overreach, of unreasonableness, of an overweening state’s infringing on individual speech, thought, and sincerely held values.

King also pays suitable attention to the personalities, their struggles, and complicated love lives of the group.

The members of the Boas circle fought and argued, wrote thousands of pages of letters, spent countless nights under mosquito nets and in rain-soaked lodges, and fell in and out of love with one another. For each of them, fame, if it ever arrived, was edged with infamy—their careers became bywords for licentiousness and crudity, or for the batty idea that Americans might not have created the greatest country that had ever existed. They were dismissed from jobs, monitored by the FBI, and hounded in the press, all for making the simple suggestion that the only scientific way to study human societies was to treat them all as part of one undivided humanity.

* * *

Franz Boas was born in 1858 in Minden, Westphalia—where my orchestral colleague Hildi was to find refuge after fleeing invasive regimes. After studying physics in Heidelberg and Kiel, Boas was drawn to Arctic adventure; in 1883, taking a servant, he embarked for Baffin Island.

The Inuit there had been known to European explorers since the 16th century; in 1577 four of them were captured and displayed as objects of curiosity in England before dying of disease and injuries sustained during their capture.

During Boas’s stay he was assisted by a local man:

Signa was no timeless native simply struggling for survival on an unchanging shore. He had a past, with wanderings and movement, a family lineage, and remembered moments of hardship and joy.

While studying Inuit lifestyles, Boas documented stories and transcribed songs, made maps and sketches. The blood from a raw seal liver is still visible on the paper of his notebooks. But the population soon began succumbing to diphtheria.

Here among the Inuit, a person with the title of “doctor” couldn’t cure an ailing child. A university graduate knew nothing of snow and wind. An explorer was dependent on the whims of a dog team. He had seen it himself—the disorientation that comes with staring at one’s own ignorance, as plain as a brown seal on white ice. Being smart was relative to one’s own circumstances and surroundings.

In late 1884 Boas made his way to New York and then to Washington DC, where he visited the “backwoods intellectual” John Wesley Powell, head of the new Bureau of Ethnology at the Smithsonian. Its researchers were currently engaged in major projects on Native American cultures; but with no position available for Boas there, he returned to Germany.

The scientific field that he had been circling since his voyage to Baffin Island was on the brink of an explosion, one that he was now well placed to miss.

The study of people was becoming known as ethnology, the word anthropology, at first referring mainly to the study of anatomy or natural history, only gradually came into vogue. The journal American anthropologist was founded in 1888. Whereas works like Frazer’s The golden bough (1890) were based on classical written texts, the new discipline sought “to go beyond what was written and ancient into what was observable and alive right now” (cf. Daoist ritual, where the driving force for most fieldwork has been the Ancient Wisdom of written texts, rather than change in modern social practice).

Powell’s mentor Lewis Henry Morgan specialised in the study of the former Iroquois Confederacy, his projects based on the widespread “spiritual renewal” of the day. But they still subscribed to the linear model from savagery to barbarism to civilisation. King gives an instance of this way of thinking:

Music, too, differed from one stage to the next. Savages might beat out a rhythm on a log or a stone, but barbarians sang a melodic line, while civilisation added counterpoint and harmony.

Hmm…

Boas was keen to get back to the USA, and in 1886 he returned to New York. King notes that almost 1.8 million German speakers settled in the States between 1850 and 1900; New York seemed as much German as American.

While seeking an academic position, Boas embarked on new fieldwork among the indigenous groups of the Pacific Northwest. Returning to New York, he found himself at odds with the Powell circle and the classification system then in vogue at the Smithsonian as well as for collections such as the British Museum, the Royal Ethnological Museum in Berlin, and the Pitt Rivers Museum.

The organisation of the collections seemed to reflect the collector’s sense of what the object was for, as opposed to the worldview of the artisan who had originally made it. […]
The only people who could really say whether something that looked like a bow was a weapon, a child’s toy, or an instrument for making fire were the true experts—that is, those who actually used it, in a given place, at a given time. This bone rattle might make music. That one might drive away evil spirits. Yet another might distract a wailing child. It all depended on where you were in the world, not when you happened to be on some linear path of social evolution.

With his shaky English and his disputes with senior figures in the field, Boas took some time to establish himself. In 1889 the psychologist Granville Stanley Hall invited Boas to take up a post at Clarke University in Massachusetts, but the atmosphere there soon became unproductive. He continued spending his summers doing fieldwork in British Columbia. (Alongside personalities, King pays attention to institutions and funding bodies.)

Now an American citizen, Boas moved on to Chicago, where a World Fair was to be held in 1893. The Harvard archeologist Frederic Ward Putnam invited Boas to design a display.

The Midway Plaisance featured exhibits on the peculiar ways of the world’s peoples, from a Bedouin encampment to a Viennese café, most of them thin disguises for hawkers of merchandise and cheap entertainment. An entire building was devoted to the lives and progress of women, while others highlighted advances in agriculture, electrification, and the plastic arts. A new fastener called a zipper made its debut over the six months of the fair’s operation, as did a chewable gum called Juicy Fruit, a tall circular ride presented by a Mr Ferris, and…

Next to the ethnological area, with wigwams, totem poles, and so on, on display, was the Anthropological Building. Boas’s contribution, in eight rooms, was a display of anthropometry, a vogue to which he had subscribed; but the exhibits revealed his increasing reluctance to regard it as a useful method.

Measurements of North American mulattoes showed them to be roughly the same height as white people. […] The distribution of people by stature in the city of Paris varied widely, just as it did for a study of Civil War veterans (although it was found that those from western states were in general taller than the easterners). An attempt to show the heights of Italians ended up finding no obvious pattern from northern Italy to the south. […] The peoples of “Old Europe” were, perhaps surprisingly, shown to be even more physically mixed than the population of the avowedly immigrant United States.

Boas was coming to perceive that

What counted as social scientific data—the specific observations that researchers jotted down in their field notes—was relative to the world view, skill sets, and preexisting categories of the researchers themselves. […] Theories were neither true nor false. They might better be described as successful or unsuccessful: they either fit the observable data or they didn’t. When observation bumped up against the walls of an existing theory, the theory was the thing that had to be changed. The first step was to get good data and then let the theory follow, which was the entire point of all those confusing tables and graphs in his Chicago anthropometry lab.

Meanwhile Chicago suffered a smallpox epidemic, followed by a round of influenza; the mayor was assassinated, and much of the exhibition was destroyed by fire. Still without a regular post, Boas returned to New York, where he began to work for the American Museum of Natural History, whose anthropology section was now directed by Putnam; there he continued his work on the American Northwest. In 1899 he oversaw the launch of a new series of American Anthropologist. At last in 1902 he gained a professorship at Columbia. By 1902 he had five children.

The issue of race now assumes centre stage. King introduces theories current at the time. Blumenbach (1775) had adopted a fivefold classification: Ethiopians (Africans), Americans (!), Mongolians (Asians), Malay (Pacific) and Caucasian (European), but by 1871 Darwin was questioning such basic schema.

As racial theories sought to justify the assertion of power by people of European descent (the term Aryan was in use from the mid-19th century), in the USA the Jim Crow system of segregation came into force. The theories of social scientists could have deep, often destructive, ramifications for people’s lives.

In 1899 William Z. Ripley divided European peoples into Teutonic, Alpine, and Mediterranean types, the first of which he claimed were at the forefront of the achievements of world civilisation. The term eugenics came into use.

Over the two decades spanning the turn of the century the foreign-born population had swollen:

Nearly a third more people were foreign-born in 1910 than in 1900. (It would take another century, into the 2010s, before immigration figures would ever approach similar levels. At the time Donald J. Trump announced his campaign for president by denouncing Mexican “rapists”, for example, the foreign-born figure was within a little more than a percentage point of the 1910 level.)

Madison Grant turned from zoology to human species, and “the preservation of his own race against an onslaught of immigration”; no longer could the USA remain an “asylum for the oppressed”. Hitler later expressed his approval of Grant’s work, considering the US to be showing the way toward a brighter, more scientific way of building a political community.

In 1907 the US Congress established a commission to study the rise in immigration; representatives, “decked out in straw boaters and linen suits”, visited the squalid detention camps of ports like Naples, Marseilles, and Hamburg. The following year they invited Boas to lead a team researching physical changes in the immigrants of the neighbourhoods of lower Manhattan. His 1911 report found them to be remarkably adaptable to their new surroundings; races were unstable.

There was no reason to believe that a person of one racial or national category was more of a drain on society, more prone to criminality, or more difficult to assimilate than any other. What people did, rather than who they were, ought to be the starting point for a legitimate science of society and, by extension, the basis for government policy on immigration.

Still, Boas’s findings were largely ignored in the Commission’s final report.

Also in 1911, he published his first book for a popular audience, The mind of primitive man, dismantling the whole concept of racial hierarchy. Disputing the idea that the successes of one’s own society today were due to some inherent superiority of “civilised” peoples over lesser-achieving “primitives”, he summarised:

Historical events appear to have been much more potent in leading races to civilisation than their faculty, and it follows that achievements of races do not warrant us in assuming that one race is more highly gifted than the other. […]
Race was how Europeans explained to themselves their own sense of privilege and achievement. Insofar as races existed, at least as Europeans typically understood them, it was through an act of cultural conjuring, not biological destiny.

And he stressed the subjective responses of fieldworkers:

Tribal people were often said to be indolent, but what if they were only lazy when it came to things that they didn’t happen to care about? Why should we expect that every people everywhere should necessarily attend to the same things with equal zeal or approach the same projects with diligence and commitment? Primitive people were sometimes said to be quick to anger and to lash out wildly according to their emotions. To be civilised, after all, was to be coolheaded and rational. But didn’t it take coolheadedness and logical thought to follow a seal pod across a featureless ice floe, or to track a whale in an oared canoe to the point of its, and your own, exhaustion? “The proper way to compare the fickleness of the savage and that of the white,” he wrote, “is to compare their behaviour in undertakings which are equally important to each.”

His work pointed towards a “higher tolerance”. But despite the relatively prestigious position of German immigrants in US society, with the outbreak of World War One Boas found himself a member of a feared minority. Already a critic of expansionist American foreign policy, by 1917 he denounced US involvement in the war. After the war, disillusioned with rising nationalism, he continued to encounter professional problems. Immigration laws tightened.

Again in 1911, Alfred Kroeber had “discovered” Ishi, “the last of the Yahi” in California. Despite the media circus,

The Yahi were not in fact a lost tribe. Their reduced condition was the product of modern history, not a relic of some mist-shrouded past. […] They were not holdovers from prehistory but rather refugees from a brutal present.

* * *

So far the story of American anthropology has been dominated, like the society of the time, by entitled white men. But now the younger generation whom Boas nurtured at Columbia began to include some talented female scholars.

Ruth Benedict (1887–1948, right) studied first with Elsie Clews Parsons. She began studying with Boas in 1921. In 1924, embarking on fieldwork among the Zuni in New Mexico (already a well-established research topic), she learned of their cross-gender custom of “berdache”.

In New York, she met Margaret Mead (1901–78), who was to be her life-long soulmate, and encouraged her to come to Columbia to study with Boas.

The London-based Polish émigré Bronislaw Malinowski had already published his landmark study of the Trobriand Islanders in 1922, introducing the notion of “participant observation”, and Mead was now drawn to the study of Polynesian peoples.

As she grew ever closer to Benedict, she began an affair with Edward Sapir, whose own work focused on Native American linguistics. The complicated amorous entanglements of the circle, complementing their explorations into the diverse relationships of the peoples they studied, form one theme of King’s book.

In 1925 Mead set sail for American Samoa to do fieldwork. Undeterred by the razzmatazz that accompanied her arrival in Pago Pago, the US Navy’s main station in the South Pacific, she soon “went down to the countryside”, as the Chinese say. She was made an “honorary virgin”—a useful concept for fieldworkers.

A hurricane gave her an opportunity to engage with the locals in their immediate practical concerns. With her studies focusing on the lives of women and girls, she learned that adolescent angst was not necessarily the prerogative of American teenagers.

On the seven-week return voyage to the States in 1926, her own love life became even more complicated when she met the British-trained New Zealander Reo Fortune. Back in New York she became assistant curator at the Museum of Natural History.

Also in 1926, following Nanook of the North, Robert J. Flaherty released his silent film Moana—again offering prurient glimpses of bare female breasts, by then largely a fantasy:

Mead’s book Coming of age in Samoa was published in 1928, to great acclaim—apart from a few men in the Boas circle like Alfred Kroeber, and later Derek Freeman.

In October, again parting reluctantly with Benedict, she married Fortune in Auckland, and they set off for Melanesia together. As Boas took issue with the growing esteem in the USA for eugenics, Mead’s work bore on ways in which a more flexible society might absorb its deviants to lead healthy lives. The result was her book Growing up in New Guinea (1930). She was already a celebrity.

Two other female pupils of Boas went on to work largely outside academia. The African American Zora Neale Hurston (1891–1960) had grown up in Florida in rather comfortable surroundings, but her mother’s early death plunged her into the harsh realities of segregation. Even later in Washington, the integrated university of Howard was an oasis: the racial divide was no less flagrant. She began to write stories, essays, and poetry, and in 1925 she set off for New York, where she gained a place as a mature student at Barnard and became a popular member of the “Harlem Renaissance”.

Still, she bridled at the genteel image expected of black people to gain favour in the eyes of the white cultural establishment.

Having enrolled in English, Hurston now studied with Gladys Reichard, who was working on Navajo culture; soon she gravitated to the Boas circle. In 1927 Boas arranged for her to do fieldwork back in Florida. There she was to collect folk tales around Eatonville—not far from Ocoee, where protests over voter suppression had led to a pogrom against the black population in 1920, first of a series (Tulsa, Rosewood, Little Rock).

Convict leasing had been abolished in 1923, but private chain gangs persisted: as late as 1960, a farmer commented, “We used to own our slaves—now we just rent them.”

Hurston’s brief fell under the rubric of folklore, a term that went back to the 1840s. Among such collections among African Americans, King adduces the Uncle Remus stories (1880)—“a white person gazing at an allegedly black world, uncomplicated, tricksterish, full of wily creativity”.

Back in New York, Hurston struggled to transform her notes into a coherent ethnographic narrative. She took odd jobs, and worked on a novel, Jonah’s gourd vine (1934). But in 1935 she enrolled as a doctoral student at Columbia under Boas, and managed to publish Mules and men, described by King as

the first serious attempt to send the reader deep inside southern black towns and work camps. […] … not a holdover from Africa, or a social blight to be eliminated, or a corrupted version of whiteness in need of correction, but something vibrantly, chaotically, brilliantly alive.

Here’s a excerpt from Hurston’s 1928 film footage, with her voiceover:

Boas was now eminent yet frail. His wife Marie died in 1929.

Another talented student of his was Ella Cara Deloria (1889–1971). On the Northern plains, the Omaha had been removed to reservations since the 1850s. They were early subjects for research; James Owen Dorsey’s Omaha sociology (1885) became a standard reference in anthropology.

Refreshingly, Dorsey also noted contradictory accounts, notably when some gem he had gleaned on ritual practice was then denied by the chieftain Two Crows, “nagging naysayer, an ethnographical balloon deflator”. Assessing thee value of conflicting sources is indeed a common issue that fieldworkers (not to mention textual historians) have to confront. Even what seemed to be a consensus of opinion could be thrown into doubt. Again, informants might have their own agendas; and “perhaps [Two Crows] simply misunderstood the question, or maybe you misunderstood his answer”. As King puts it,

What you needed was repeated and respectful conversations with the real human beings whose worlds you were straining, as best you could, to comprehend.

Ella Cara Deloria, also called Aŋpétu Wašté Wiŋ, grew up in Standing Rock. Her mother was of mainly European descent; her father’s heritage was the Lakota/Dakota subgroup of the Sioux. She spoke both English and Dakota, attending an Episcopalian boarding school. Having managed to gain admission to college in Oberlin, joining the provincial elite, in 1912 she entered Columbia’s Teaching College, whose mission was to shape “civilised aboriginals who would become credits to their race and help elevate their charges out of poverty and paganism”.

For Deloria,

the end of the western frontier was still a recent memory. Her father had been among those who had tried to mediate between reservation authorities and Sitting Bull.

She was two years old when agency police killed Sitting Bull on the very reservation where she grew up, followed by the Wounded Knee massacre.

Deloria was living at a time when American views of Indians were shaped not only by the recent experience of violent conquest but also by the refashioned memory of it: a world of dime novels, cigar-store statues, and Buffalo Bill’s Wild West Show.

On graduation she taught first at her old home in Sioux Falls and then in Lawrence, Kansas. Having met Boas at Columbia, in 1927 they met again when he visited Lawrence, and he invited her back to New York, recognising her rare qualification to participate in various projects. In the summer of 1928, while Hurston was collecting in Florida, Deloria returned to the Plains. Her first project was to check the reliability of James Walker’s 1917 study of the Sun Dance. She was guided by Ruth Benedict as well as Boas. But her local knowledge was invaluable:

I cannot tell you how essential it is for me to take beef or some other food each time I go to an informant. The moment I don’t, I take myself right out of the Dakota side and class myself with outsiders.

King goes on,

You had to know precisely how to make a gift, how to make the right kind, how to eat properly with people, how to call them by the correct kinship terms…

Deloria led an itinerant life; to eke out an income she led pageants of indigenous music and dance. In 1933 Boas again enlisted her in a project for the revived Handbook of American Indian languages. As Benedict recalled, “In all his work with American Indians Professor Boas never found another woman of her caliber”.

Deloria was a native speaker of Dakota and its dialects, with little education as a linguist apart from the informal sessions that Boas or Benedict might provide. But her instincts and on-the-spot grasp of field methods, Benedict said, probably amounted to more expertise than many doctoral students had at their disposal.

By the time that Margaret Mead paid a visit to the Omaha, she found their conditions disturbing: “It’s just nothing at all. A thing like this isn’t a culture, hardly even the remains of one.” But if she thought anything of interest had been killed off by poverty and white invasion, for Deloria

a better method was to give up trying to identify the dying embers of an older civilisation and instead get to know the living, right-now culture of the people you were actually surrounded by—women and men who weren’t stuck in history, but, like Deloria herself, were feeling their way through it. There was no need for nostalgia about the past if you could uncover the kaleidoscopic richness of the present. It was just that the present might take forms that you found surprising or frustrating, even disappointing.

I quite agree—although in cases like Grassy Narrows, Identifying cultural riches must surely give way to concerns over healthy drinking water and a reasonable life expectancy.

Deloria also resisted inert depiction by documenting linguistic change. But by 1938 she was again without work. Her Dakota grammar, published in 1941,

provided a glimpse of a deeper America, one obscured by its obsessions with racial fitness and linear cultural evolution. If you wanted to know what Sioux chiefs had said after the Battle of Little Bighorn or to understand the anguished wail of mothers when their sons’ bodies were brought home from Wounded Knee—if you wanted to discover, in other words, the inverse of American history as it was normally taught in schoolrooms and summer camps—Boas and Deloria were showing the way.

When Boas retired from teaching in 1936, Columbia, still prone to sexism, overlooked Benedict in favour of Ralph Linton. But the Boas circle were still involved in a wide range of projects.

Some differences of approach festered. Mead met Sapir’s attacks on her work in kind: in her experience, she wrote, jealousy was frequently found among old men with small endowments.

Pressed to derive a general conclusion from his decades of study, Boas came up with “People don’t use anything they haven’t got”.

In the USA, the related discipline of sociology was making headway, with studies such as Robert and Helen Lynd’s Middletown (1929).

Mead and Fortune returned to New Guinea in 1931. Their trip turned out to be traumatic, with Gregory Bateson now entering into the equation. [2] Their studies of local cultures informed reflections on their own tangled relationships. As things came to a head in 1933, Mead returned to Benedict in New York. The latter’s Patterns of culture (1934) would become most influential; in the next year Mead followed it with Sex and temperament, linking up Boas’s ideas on race with her own on sex and gender, based on her work among the Arapesh, Mundugumor, and Tchambuli.

Yet the price of such methods

was a kind of intentional madness. If your sense of reality was shaped by a particular time and place, the only way to free yourself was to go out of your mind: to step outside the mental frameworks that you knew to be real, true, and obvious.

* * *

The publication of Mead’s Sex and temperament coincided with that of Hurston’s Mules and men. Yet

volumes on Samoans or New Guineans were hailed as commentaries on the universal features of human society. One about African Americans was a quaint bit of storytelling.

Hurston had done more collecting in the south with the young Alan Lomax, recording stories, work songs, spirituals, and blues for the Library of Congress (catalogue here). [3] Here’s an excerpt with Lomax recording Hurston herself:

Hurston now set off for Haiti, just recovering from US military occupation. First in Kingston she observed the Jamaicans’ ability to take on the airs of the English, noting that “passing” from one racial category to the next almost always took place towards the direction of social power.

Culture wasn’t just a set of rules or rituals, she realised. It could also be a set of chains that individuals dragged around with them after the prison wardens more or less fled the scene.

After making expeditions inland, attending a boar hunt and a nine-night mortuary ritual, in autumn 1936 she moved on to Haiti, where the African influence was even clearer. Parallel with the work of Melville Herskovits on rural religious life there, she entered into the practices of voodoo, already covered in the patina of the sensationalist depictions of travellers.

One challenge to our categories of living and dead was Hurston’s meeting with the zombie Felicia Felix-Mentor, said to have died in 1907.

Put away, disregarded, institutionalised, forgotten, willed by others to be effectively dead—her condition was very much like that of many people Hurston knew, the black women and men she had met from Florida labour camps to whites-only universities. It was just that Haitians had invented a word for it.

She now planned two books, “one for anthro, and one for the way I want to write it”. The latter, the novel Their eyes were watching God, was published on her return to New York in 1937, combining “a coming-of-age story, a meditation on the inner lives of women and the men they loved, a literary ethnography of the Gulf Coast”.

Though by now Hurston had no thoughts of an academic career, she still returned to the American South for more fieldwork. Tell my horse (aka Voodoo gods), her field report from Jamaica and Haiti was published in 1938.

From 1936 to 1938 Mead and Bateson lived in Bali, working on trance there—they eventually released a short film in 1952:

And then they returned to New Guinea. But war loomed.

* * *

The theories that Boas and his circle had developed so scrupulously were now in opposition to state-sanctioned dogma, which bore a remarkably close resemblance to Nazism. Boas had been expressing his anxieties about the rise of Nazism in Germany since 1933. But the tide of intolerance there was just as evident in the USA; racial segregation and eugenics were already well established there, inspiring Hitler. Despite the US sense of moral superiority, as King observes,

None of America’s enemies saw themselves as opponents of American values. Not even Adolf Hitler claimed to be against freedom, justice, or prosperity. Rather, they saw themselves as better, more advanced versions of what they believed America had been trying to achieve. Real freedom would mean the subjugation of the racially inferior. Real justice would mean allowing the fittest individuals and countries to take their rightful place on the world stage. Real progress would mean cleansing and separating, pushing forward the able and advanced while sweeping away the primitive and retrograde.

Franz Boas on the cover of Time, 1936.

Boas died in 1942. Here’s the 1986 documentary The shackles of tradition, again by Andre Singer:

With the outbreak of war, the team’s original fieldsites became inaccessible. As many social scientists were recruited to the war effort, Bateson and Mead joined an advisory group to President Roosevelt. Benedict later joined them in Washington. By June 1944 she was charged with assembling material on Japanese society, gathering a group of scholars. In the USA the Japanese were seen as utterly alien and subhuman; internment camps for Japanese Americans were harsh. But Benedict sought the kind of understanding that would provide enlightened guidance for the eventual occupation of Japan. The resulting book The chrysanthemum and the sword, published in 1946, was widely read.

While working to keep afloat the school at Standing Rock that her father had founded, Deloria continued with her studies and writing, much of it still unpublished at the time of her death in 1971. Hurston, shocked by the Detroit massacre of 1943, was deeply ambivalent about the US victory. She continued to write while working in a succession of odd jobs. Since her death in 1960 her work has belatedly been appreciated, with tributes by such figures as Alice Walker. Here’s a documentary:

Back in New York after the war, Mead and Benedict resumed their bond. Benedict was at last promoted to the rank of full professor, and elected president of the American Anthropological Association. She died in 1948. Mead, the most renowned heir to Boas, died in 1978; on her career, here’s Andre Singer’s 1986 documentary Coming of age:

* * *

King begins his conclusion by citing Allan Bloom, who in his attack on the trend for cultural relativism in The closing of the American mind (1987) found few women worthy of note: he grouped Mead and Benedict alongside Hannah Arendt, Yoko Ono, Erica Jong, and Marlene Dietrich—all “negative teaching examples”, as the Chinese say. As King observes, the Boas circle would have surprised to learn that their views had triumphed, their struggles against prejudice having been met with such resistance.

Conversely, Clifford Geertz, pillar of the later generation of anthropologists, praised the insistence

that the world does not divide into the pious and the superstitious; that there are sculptures in jungles and paintings in deserts; […] that the norms of reason were not fixed in Greece, the evolution of morality was not consummated in England. Most important, we were the first to insist that we see the lives of others through lenses of our own grinding and that they look back on ours through ones of their own.

If readers today take all this as self-evident, that’s because they too have been infected with the bug. But as is only too evident in our news today, resisting bigotry still remains a constant struggle.

Of course, anthropology, like the societies it studies, continues to change; the work of these scholars from the 1880s to the 1940s may have been refined since, but it remains seminal. King brings this story to life, combining a vivid feel for period detail with reflections on fieldwork methods and perceptive comments on ideological trends. He makes a fine advocate for the enlightened values of the Boas circle.


[1] Besides folklore and sociology, ethnomusicology is a strongly related discipline (under Society and soundscape, see e.g. Michelle Bigenho’s observations). Bruno Nettl surveyed the prominent contributions of women in Native American studies during the same period, including Alice C. Fletcher, Frances Densmore, Natalie Curtis, and Helen Roberts, on to Gertrude Kurath, Ida Halpern, Charlotte Frisbie, Judith Vander, Charlotte Heth, Victoria Levine, Beverley Diamond, and Tara Browner. But he goes on,

Considerable female participation may generally have been characteristic of new yet unestablished fields; ethnomusicology was not taken as seriously as ancient history and Latin philology, for example, thus permitting women easier access. The fact that American and English women are particularly well represented in this group may also be related to the common relegation of music in Anglophone cultures to women, and thus to the fact that music departments in North America were first introduced at women’s colleges.

Like the Boas circle, ethnomusicologists extend their purvey to fieldwork “at home”

[2] Here I’d like to put in a word for Peter Crowe (1932–2004), such a lively, alternative presence at gatherings of the European Seminar for Ethnomusicology, who underwent his own transformation in Melanesia. See e.g. his “After the ethnomusicological salvage operation—what?” (1981) and his Musical traditions in the South Pacific (1984).

[3] This leads me to remind you of the work of Bruce Jackson among southern convicts, and his fine manual on fieldwork.

Some German mouthfuls

German

Source.

Long German compound nouns (Bandwurmwörter “tapeworm words”) have been a popular source of merriment since Mark Twain’s satirical comments (cf. gender).

After making her home in London, my orchestral colleague Hildi reflected:

The English ear can be quite overwhelmed by all the composite nouns of German, like Brückenbauingeneuranwärter, “engineer apprentice for building bridges”! Of course, it sounds absurd out of context; but German poetry also has some exquisite creations that touch me every time I hear them, such as Richard Strauss’s Morgen:

… inmitten dieser sonnenatmenden (sun-breathing)
zu dem Strand, dem weiten wogenblauen (wave-blue).

Sometimes I would try and invent such words in English, only to be told, “You can’t say that—it’s not in the dictionary!

In his comments on language learning David Sedaris pondered the expression Lebensabschnittpartner “partner”!

Many of the most ponderous terms belong to the language of bureaucracy, such as

  • Kraftfahrzeug-Haftpflichtversicherung “motor vehicle indemnity insurance”
  • Bezirksschornsteinfegermeister “head district chimney sweep”
  • Rindfleischetikettierungsüberwachungsaufgabenübertragungsgesetz (helpfully abbreviated as RkReÜAÜG—out of the frying pan…) “law concerning the delegation of duties for the supervision of cattle marking and the labelling of beef”
  • Rinder­kennzeichnungs- und Rindfleisch­etikettierungs­überwachungs­aufgaben­übertragungs­gesetz “Cattle marking and beef labeling supervision duties delegation law”
  • Grundstücksverkehrsgenehmigungszuständigkeitsübertragungsverordnung “regulation governing the delegation of authority pertaining to land conveyance permission”
  • Kraftfahrzeughaftpflichtversicherung “regulation governing the delegation of authority pertaining to land conveyance permissions”
  • Donaudampfschiffahrtselektrizitätenhauptbetriebswerkbauunterbeamtengesellschaft “association for subordinate officials of the head office management of the Danube steamboat electrical services” 

The device took on an sinister new slant under the GDR with euphemisms like Geschichtsaufarbeitung and Vergangenheitsbewältigung—“treating”, “working through”, “coming to terms with”, or even “overcoming” the past—as well as Partieüberprüfungsgesprach, “scrutinising session”.

Of course, all this is a question of orthography: such terms are written in English with spaces, whereas German writes them without; it’s not that German has longer words than English, just that it has different formatting conventions.

I also think of Molvania:

The Church of the Blessed Holy Sisters of the Discalced Flower of the Immaculate Virgin Incarnate is a pretty Baroque chapel, which can be a little hard to find as all signs bearing its name have long ago collapsed under the weight of their own letters.

Guest post: Noon? Gad—vini!

Mozart opera anagrams 1: Don Giovanni

Nicolas Robertson

For a general introduction to the series, see here.

Prelude—SJ
Nicolas Robertson, tenor in the Monteverdi choir, litterateur and pinball wizard, has long been based in Lisbon, where he was my guide in 2018. On our Mozart opera tours with John Eliot Gardiner in the 1990s, he and the choir put their leisure to creative use by composing anagrams of the titles, whereupon Nick combined and elevated them into a whole series of delightfully gnomic stories, complete with his own elaborate, arcane exegeses. Aficionados will detect an affinity with Oulipo and Mots d’heures, gousses, rames. For his own reflections, see his introduction to Nubile gorilla.

The series went on to extend beyond Mozart into other projects that the Monteverdi and other choirs were involved in—including Die Schoepfung (“Nice fudge shop”), Missa Solemnis (“Mimesis salons”), Lili Boulanger (“Nubile gorilla”), and Igor Stravinsky (“Gran visits York”, my all-time favourite anagram).

I’ve been cajoling Nick for ages to share these extraordinary creations with the world. After various setbacks, he continues to work on them. I hope this fantasia on Don Giovanni is just an aperitivo for publication of the whole series in a more illustrious organ.

Generously lubricated by lashings of vino and gin (as indeed were we), the motley cast alone is delightful, including Ivan, Godiva, Onan, Gavin D. Onion, Nin, Giono, Dino Vaginno, Donovan, and the splendid Idi von Goa. Just to give a flavour of the story and its interpretation: for the opening text

“Noon? Gad—vini!”
“No inn, Godiva.”
“Dog Inn, Avon?”
“I…”
“Don, go in van.”
I nod, I go in van. DINGO ON VAN—

Nick provides this commentary:
 
Somewhere, between Australia and western England, Godiva wakes up, thirsty. It’s already time for wine, but there’s nowhere to find it—or so Don, the narrator, thinks. Godiva knows better, and Don knows better than to resist. No sooner inside the camper, however, than an unexpected peril appears: a large yellow wild dog is on the roof…
 
As the plot unfolds you’ll soon become immersed—enjoy!

Don Giovanni urtext

From Er, text Urtext, Parma 1994.

DON GIOVANNI
Opera by Mozart; soloists, English Baroque Soloists and Monteverdi Choir, directed by John Eliot Gardiner. Staged performances in various European cities, 1994, and Archiv recording.

DG

A sequence of 69 (if you exclude the title, which is repeated as a variant later on in the text) 11-letter anagrams, followed by an ‘explanatory’ parallel text.

NO GO, V. INDIAN
   “Noon? Gad—vini!”
   “No inn, Godiva.”
   “Dog Inn, Avon?”
   “I…”
   “Don, go in van.”
I nod, I go in van. DINGO ON VAN—
   “Ivan? On dingo!”
   “I… No, Ivan doing a don in Oving.”
   “Dino, Gavin?” No. V. good: Ninian. Nin—diva, goon, Onan voiding vain god.
   “Nino! Nino, Vi, go and —”
   “No.”
   “No ??”—“Gin?”
(Avid.) “Non… avoid gin.”
   “Gin and vino?”
   “O… Gin and I’ ? Novo! Go on! Divina! N –”
(‘N’ in vain? Good. No avoiding ‘N’. Non-gain: void.)
   “ – Non gin? AVOID!”

* * *

Dago vino inn: gonad in vino. “Ovid anno—gin?”
Non-Ovidian Gavin in ‘Dog’: “No.” (Gavin D. Onion.)
   “N., avid ongoing divan onion, dining on ova?”
   “Non.”
I go, “Viand?”
   “Viand, oignon…”
   “—Vian, Nin.”
   “O God—”
   “—and Giono! VIN!!”
Din. “Goa vino? n Goan von Indi’ ?” (Idi von Goa.)
   “NN…” (Io and I go “VNN…”)
   “Indian Gov. on aid: vin-nog—”
   “No vin!” And I go on: “Iogi, V Dan—non. V. Indian—no go.

* * *

On, I : “Avon” (ding) (dong) “Avon!” I, in.
   “Nova? In G?” I nod.
   “ ‘Don’ in G— o, Ivan!”

* * *

Ogni novi. And oo, Ann diving, goadin’ Ivonn, in Govan; o dining, ovoid Ann, Govan ondini… Digno? Vain? No, no invading o’ Dinan, no Vigo, avion non (dig?).

* * *

Dino Vaginno, Inigo Vandon, Donna Vigion—Donna v. Inigo, Donovan (“Gini!‟), Ian ‘Dong’ Voin, Dion Ganinov, Gavin (no!), Odin,

do,

in

Avignon


Somewhere, between Australia and western England, Godiva wakes up, thirsty. It’s already time for wine, but there’s nowhere to find it—or so Don, the narrator, thinks. Godiva knows better, and Don knows better than to resist. No sooner inside the camper, however, than an unexpected peril appears: a large yellow wild dog is on the roof. Normally Ivan deals with tricky situations like this, but he’s away near Chichester pretending to be a university teacher. Dino and Gavin can’t, or won’t, be found, so the only resort is Ninian, a feckless but gifted character, of whom Don seems to be fond despite a clinical evaluation of his dubious qualities.

Ninian, even with Vi to help, needs persuading. His weak spot, deny it as he try, is a cocktail, and Don—not without a glancing reference to the literature of constraints and the title of a prospective translation of a novel by Georges Perec—plays on this faiblesse with results which might be considered extravagant, though Ninian prefers to mix his gin and Italian with wine rather than vermouth.

The pub is reached, but is not a great success: it seems somehow unEnglish, and there’s a foreign body in the wine. Carried away by his earlier success in winning round Ninian, and remembering that it was the twentieth centenary of an event in the life of the Roman poet Ovid, author of the Metamorphoses—and that the most sought-after juniper berries grow in northern Italy—Don proposes gin; but Gavin is in the pub too, and Gavin’s categorically no classicist, and Gavin vetoes gin. Refusing to be discouraged, Don changes the subject to food and asks Ninian, with a bit of chaff about being a couch potato, if he would like eggs for supper. Ninian, with his irritating penchant for dropping into French, declines but with a bit of prompting dreamily goes for filet mignon with shallot confit. Don however is a stickler, reminding Ninian that he’s just suggested the favourite dish of Boris Vian and Anaïs Nin—neither a writer, it turns out, of whom Ninian is much fond—not to mention that earthy lyrical novelist Jean Giono, which inescapably entails ordering wine; as Don duly and loudly, casting caution to the winds, does.

Alas, with a terrible clashing of glasses the landlord, an Afro-Indian tyrant, marches in bearing the only wine available, an unspeakable brew from a Portuguese ex-colony stuffed with additives provided gratis by the EC, which is greeted with strangulated cries from the assembled diners—none more so than Don and Io, a Greek girl who here makes her first and only appearance in the story and seems if anything more in tune with Don than was Godiva, whose fault it is that they all ended up in this shifty joint anyway… Whether because emboldened by this sympathy, or because his patience just snaps, Don, as he finally rules out any wine-drinking, signs off with a frankly xenophobic, not to say indiscriminate, tirade linking Buddhism, Judo/Karate and the entire sub-continent in intransigent opprobrium.

We join Ivan, it’s unclear if still in West Sussex, but adopting an unusual line in popular scholarship. Using the doorbell-and-bright-cry technique beloved of generations of cosmetic salespersons, he is peddling Italian operas. There’s a gimmick, of course: as a novelty, he’s transposing them into peoples’ favourite keys. At least one member of the public is thrilled to receive Don Giovanni a 4th higher—or, maybe, a 5th lower—and falls swooning into Ivan’s arms.

Everything’s got to be new, Ivan reflects with a weary cynicism, and he’s as fickle as the rest, for now we find him in Glasgow, appreciatively eying, as she cleaves the blue sky at the deep end, the rounded curves of Ann—which so filled with jealous pain the breast of Ivonn (whose parents had a good ear but rather shaky spelling). Curves brought on, it must be said, not only by natural curviness but by serious eating, especially at night which as we know is the worst time. But still, there are nymphs in them thar Glasgow hills…, thinks Ivan, reflecting also, “Am I worthy? Is this search for beauty just personal vanity? I could be worse, at least I don’t go on armed incursions to places where they cultivate mussels, and above all I don’t let the silver ball roll unchecked down the field and between the uselessly flicking flippers, if you understand my reference.‟ *

And who should understand the reference, if not the heterodox party gathered round a pinball machine in the south of France, consisting of an Italian wide-boy, an English architect and his American girlfriend, always at each other’s throat, a superannuated balladeer, who insists on ordering sickly, gassy soft drinks, and his aging roadie with such a nose as one suspects would shine in the dark, a Ukrainian ballet dancer, Gavin D. Onion—how did he get here? Perhaps we underrated him on the grounds of his lack of Latin (and disapproval of gin, quite apart from his still unexplained failure to rise to the challenge of the dingo—but I note that Dino, equally and signally absent at the hour of need, is here too, so one can assume they’re in cahoots)—and an imperious if flawed character with an eye-patch and broad-brimmed hat, who asks disquieting questions and likes to be known, three-quarters of the way through the session at least, as “the Wanderer‟ –

– and where are they, then? Why, the city of the anti-popes, Durrell’s Gnostic capital, a short drive from the Marquis de Sade’s country estate (or the Deller Consort’s, if you prefer), perhaps dropping in to the cool calm space of La Poésie dans un Jardin, to visit (as I did) the Perec exposition in the ’88 Festival; and I hope still congregating on pinball tables whenever they can, escaping the sun, seeking a Lazarus, ** dwelling always on the words of the Wanderer, that the only one who can break the chain of fire and bring freedom must be freer than the god, but he (or she) then has the power to remake the word, sorry, world.


* The reference: Angus Smith and I were told in a bar in Lyon in the late 80s by a French girl who’d done a ‘stage’ in Southampton that avion is the popular term for when the cue-ball goes hopelessly down and out the length of the centre of the pinball table, lost without even being able to be touched by the flippers—a smartingly shameful occurrence.

** Lazarus: when the ball, already past the last pair of flippers and on its way to oblivion, bounces miraculously—or, to the cool (yes, I’m thinking of you, Chris Purves), foreseeably—off the hind wall back into possible play.

Nicolas Robertson
Parma, May 1994 / Outurela, Portugal, May 2020

The ritual calendar: cycles and seasons

Bach

In my page on Bach—and Daoist ritual, I cited John Eliot Gardiner’s brilliant Music in the castle of heaven. For Easter Week, I’ve been re-reading Chapter 9, “Cycles and seasons”. At least in an increasingly secularised north Europe, our awareness of the rich annual programme has been severely diluted—but it does remind me of the continuing calendrical rituals of Chinese temple fairs.

Bach’s church cantatas were performed not for “concerts” but as part of religious services. As in Chinese ritual, elements within them could be recycled. However, whereas minimal change—both conscious and unconscious—was doubtless a feature of the Daoist soundscape (as in much of the world), Bach’s congregation grew used to hearing new music every week.

Gardiner places the Passions within the cycle of cantatas (note also the vast database on bachcantatas.com).

On the face of it, there is little reason to bother about Bach’s cantatas today. Never intended to be performed or listened to other than as part of a lengthy church service, they were composed (and rehearsed) each week at great speed to act as a foretaste of the Sunday sermon. *

Whereas Charles Rosen disputed the “fashionable” placing of the cantatas as Bach’s principle achievement, seeking to return to the conception of the keyboard works as central to his oeuvre, Gardiner cites John Butt (see Passion at the Proms, and Playing with history):

Cyclic time is essential to a liturgical, ritualistic approach to religion, in which important events and aspects of dogma are celebrated within a yearly cycle.

Bach devoted himself to such cycles, first at Weimar (with twenty-two extant church cantatas) and then in Leipzig, notably in his first few years there from 1723. Even in the “closed” seasons of Advent and Lent, when no figural music was allowed in church, he was busy preparing new works.

Following his cantatas in their seasonal context also allows us to notice how Bach, like Janâček two centuries later, often brings to the surface pre-Christian rituals and forgotten connections that reflect the turning of the agricultural year—the certainty of the land, its rhythms and rituals, the unerring pace of its calendar and the vagaries of rural weather. Saxony in the 18th century was still a predominantly agrarian society in which these seasonal events and happenings were closely linked to the concerns of religion—reminding us how, in today’s predominantly urban society, many of us tend to lose contact with the rhythms and patterns of the farming calendar and even with perceptions of the basic, cyclical round of life and death which feature prominently in so many of Bach’s cantatas. […] For Bach to remind his urban audience of Leipzig burghers of the patterns of seed-time and harvesting existing just beyond their city walls was nothing unusual, and the rhythms and rituals of the agrarian year frequently seep through into his music, giving it topicality and currency as well as a layer of simple rusticity.

Among their doctrinal messages, the cantatas allude to sowing, corn-flattening summer storms, bird damage, crop-failure. Rediscovering this seasonal basis on the Bach Cantata Pilgrimage of 2000

was markedly different from the conventional practices of music-making we were used to in concert halls, which, however persuasive, cannot help but carry resonances foreign to the intrinsic purpose of the music.

Through his hectic first Leipzig cycle, Bach’s self-imposed task was to keep pace with the weekly demand:

There was the copying out of parts and guiding his (as yet) untried group of young musicians in how to negotiate the hazards of his startling and challenging music with a bare minimum of rehearsal. […] Come the day, there was first a long, cold wait in an unheated church, then a single shot at a daunting target. Then, without a backward glance, on to the next, maintaining a relentless rhythm. […]

One marvels at how he and his performers could have met these challenges. We shall of course never know how well they acquitted themselves and just how well the music was performed under such pressure.

As Gardiner notes,

The underlying theology is at times unappetising [to us today, that is—SJ]—mankind portrayed as wallowing in degradation and sinfulness, the world a hospital peopled by sick souls whose sins fester like suppurating boils and yellow excrement.

Here I can only sample Gardiner’s vivid commentaries on individual cantatas. In BWV 25, Es ist nichts Gesundes an meinem Leibe, the dark text (such as “The whole world is but a hospital”; Adam’s Fall “has defiled us all and infected us with leprous sin”) is somehow healed by Bach’s setting:

For another of many doom-laden cantatas, see Lukewarm Laodiceans and puffed-up Pharisees.

As autumn passes into winter the themes of the week become steadily grimmer as the faithful are urged to reject the world, its lures and snares, and to focus on eventual union with God—or risk the horror of permanent exclusion.

Cantata schedule

After Advent the mood is lightened by the glorious explosion of festive music for the Christmas season (for the Christmas oratorio, see under Weimar here). Christum wir sollen loben schon (BWV 121), for the Feast of St Stephen, is “one of the oldest-feeling of all Bach’s cantatas”, adding cornett and trombones to the orchestration.

Replacing the portrayals of dancing seraphim are images of those angular, earnest faces that 15th-century Flemish painters use to depict the shepherds gazing into the manger-stall. […] Bach’s design for this cantata mirrors the change from darkness to light and shows how the moment when Christians celebrate the coming of God’s light into the world coincides with the turning of the sun at the winter solstice.

For a change, here’s Ton Koopman directing:

But there was no respite: Bach composed six new cantatas for the period between Epiphany to the beginning of Lent—including the operatic Jesus schläft, was soll ich hoffen? (BWV 81), with Jesus calming the storm at sea. Here’s Koopman again:

Always pushing the boundaries of the Leipzig councilmen’s warnings about excessive theatricality, such music leads to Holy Week and Bach’s Passions.

Bach opened his second Leipzig cantata cycle on 11th June 1724 with another setting of O Ewigkeit, du Donnerwort (BWV 20), again evocatively described by Gardiner. Time for some Sigiswald Kuijken:

The opening chorus of Nimm von uns, Herr, du treuer Gott (BWV 101, for the tenth Sunday after Trinity) features a trio of oboes, the voices doubled by archaic cornetto and trombones, and dissonances for the “grave punishment and great distress” of the hymn text. In the “rage” aria for bass the oboes become “a kind of latter-day [sic] saxophone trio”; and the pairing of flute and oboe da caccia that complements the soprano and alto duet foretells Ausliebe in the Matthew Passion. Here’s Nikolaus Harnoncourt:

Gardiner contrasts Sie werden aus Saba alle kommen (BWV 65) and Liebster Immanuel, Herzog der Frommen (BWV 123), written for Epiphany in successive years. The first is “oriental and pageant-like”; getting a bit carried away, he describes

high horns to convey majesty and antiquity, recorders to represent the high pitches traditionally associated with oriental music, and still more, oboes da caccia so redolent—to the modern ear—of the Macedonian zurla, the salmai of Hindustan and the nadaswaram from Tamil Nadu. […] With their haunting sonority these “hunting oboes” seem to belong the world of Marco Polo—of caravans traversing the Silk Route—and it remains something of a mystery how a specialist wind-instrument-maker, Herr Johann Eichentopf of Leipzig, could have invented this magnificent modern tenor oboe with its curved tube and flared brass bell around 1722 unless he had heard one of those oriental prototypes played by visitors to one of Leipzig’s trade fairs.

(Cf. my fantasy of Bach on the erhu.) Indeed, the riches of Bach’s writing for the oboe are inexhaustible—as are those of world shawms! Returning to Gardiner’s own performances, here’s the Saba cantata:

Liebster Immanuel, Herzog der Frommen “opens with a graceful chorus in 9/8, a little reminiscent of an Elizabethan dance”. But as Gardiner reminds us, the central arias are just as captivating as the opening choruses:

In accord with the brief of ethnomusicology (e.g. works like Enemy Way music, or Thinking in jazz; cf. Pomodoro!), Gardiner’s study integrates social life, sound object, and doctrine, which lesser scholars often consider separately.

* * *

Mouldering away somewhere in the attics of [Leipzig] citizens there could still be letters holding what we so sorely lack—direct testimony to the varied responses by members of Bach’s listening public to the music he put in front of them.

Whatever their responses, I never cease to envy them as they dutifully turned up every Sunday to be regaled with such extraordinary new music. And the musicians—imagine Bach’s oboist Johann Caspar Gleditsch when he got home after rehearsal:

“Good day at the office, dear?”
“You’ll never believe it when you hear what our new Kantor has given me to play this Sunday! God knows how I’m going to manage it—but it’s amazing…”

For the cantatas, Passions, and much more, see under A Bach retrospective.


* A cantata might even be punctuated by the sermon—bear this in mind when you find your listening on YouTube cruelly disrupted by a smarmy ad for funeral care, a latter-day vision of the torments of hell. On the other hand, the Leipzig congregegation couldn’t click on “Skip sermon”, so Thanks Be to God.

You say tomato

penne

The apparent ambiguity of the Englischgruss (see under Mahler 4, and for Brahms, in The Annunciation in art and music) reminds me of Antonio Cesti’s spectacular opera Il pomo d’oro (1668). *

You may be disappointed to learn that the plot concerns not a tomato but the Judgment of Paris, with the prize of the Golden Apple. Still, I can’t help wondering if early performances prompted giggling (I’m like, “Hey guys, Cesti’s gone and written an opera about a tomato!”).

Pomodoro cover

The opera is mentioned in the fascinating, mouth-watering

  • David Gentilcore, Pomodoro!: a history of the tomato in Italy (2010),

whose basic culinary ingredients are liberally seasoned with wise observations on social and economic change.

The tomato’s uses were continually subject to change, from production to exchange, distribution, and production. […] The tomato is an ideal basis for examining the prevailing values, beliefs, conditions, and structures in the society of which it was a part and how they changed over several centuries.

In Chapter 1, “Strange and horrible things”, Gentilcore dates the recorded history of the tomato in Italy from 31st October 1548, when Cosimo de’ Medici presented a basketful to the excellencies of Pisa—who seem to have been bemused:

And the basket was opened and they looked at one another with much thoughtfulness.

Remarkably, it would be well over 300 years before the tomato gained widespread favour among the Italian population in the pasta sauces we now know and love, belatedly becoming a national symbol—for Italian emigrants abroad, during the Fascist period, and later. Other New World imports (such as maize, potatoes, tobacco, American beans, chillies, cocoa, vanilla) gained acceptance more quickly.

Cesti titleCesti’s opera was premiered in Vienna; the composer died the following year, and I haven’t yet seen evidence of further performances—staging it would have been a massive undertaking. So audiences in Italy may even have been denied the opportunity of a good giggle, although word must have spread. Still, in Italy, over a century after the tomato was first recorded there, one might suppose that the word pomodoro (the pomo referring generally to fruit, not to the apple) at least had become part of the vocabulary of the elite who were the audience for such spectacles. But then, they would also be familiar with the ancient story—although from the simple synopsis one might not imagine that it called for elaborate stage machinery to depict tableaus like shipwrecks and collapsing towers:

The gods ask the Trojan prince Paris to decide which of the goddesses Venus, Juno, and Pallas (Minerva) is the most beautiful and thus deserving of the Golden Apple. Paris gives the prize to Venus. The spurned goddesses try to get their revenge until Jupiter decides to end the confusion, turns to the audience and awards the golden apple to the Empress Margaret Theresa [“Typical!”].

An early Miss World contest, then, with Paris in the role of Bob Hope.

The tomato had been introduced to Europe by Cortés, reaching Italy by way of Spain, as a botanical specimen. The physician-botanist Mattioli described it in 1544, using the name pomo d’oro in his 1554 revision. But confusingly, the term also continued to denote the fruit in the ancient myth of the Hesperides.

Gentilcore notes the early association of tomato and eggplant (or aubergine, splendidly advertised by British greengrocers as OBOS). The latter, incidentally, reached Europe from Persia by way of Andalucia.

In 1628 the Paduan physician Sala regarded tomatoes as “strange and horrible things”, following

a description of locust-eating in Ethiopia, spider- and cricket-eating in Padua, and ant- and worm-eating in India.

Indeed, to eat them was still commonly regarded as harmful, even poisonous.

Yet, as both Durante and Sala inadvertently suggest, someone was eating tomatoes, regardless of the dietary advice. Costante Felice, a physician near Urbino, tells us who: “gluttons and those eager for new things”.

Left, Arcimboldo, Vertumnus, c1590; right, door frieze, Cathedral of Pisa, 1600/1601.
Artistic depictions of tomatoes were very rare before the mid-18th century; the emperor’s mouth is more likely to contain cherries than cherry tomatoes.

In Chapter 2 Gentilcore broadens the theme to consider Renaissance Europe’s apparent aversion to fruit and vegetables—based on the advice of physicians of the time (cf. Sleeper!). Consumption of vegetables increased through the 17th and 18th centuries, but an Italian culinary manual from 1590 contains not a single reference to them.

Still, health warnings were not necessarily heeded by either princes and courtiers or the common folk—as we’ve been noticing recently… Other treatises attest to a great variety of common vegetables and plants being consumed. In 1596 the English courtier Robert Dallington wrote:

Herbage is the most generall food of the Tuscan, at whose table a sallet is as ordinary as salt at ours; for being eaten of all sorts of persons, and at all times of the yeare: of the rich because they love to spare; of the poore because they cannot choose; of many Religious because of their vow, of most others because of their want. It remaineth to believe that which themselves confesse; namely, that for every horse-load of flesh eaten, there is ten cart-loads of hearbes and rootes; which also their open markets and private tables doe witnesse.

Indeed, the religious institutions made a virtue of a diet rich in vegetables. And Gentilcore notes the importance of markets; the ortolani market gardeners of Turin had their own religious confraternity. He offers an aside on what was described as the “incomprehensible predilection” in Rome for broccoli, later to become “le vainquer de macaroni“. To the consternation of English observers, salad (“the mixing of diverse and various things”) came into vogue. Olive oil was still used more for lighting lamps than for cooking.

As he comments, historians always have difficulty finding information regarding the diet of the poor. From an early-18th-century French report on the dietary habits of Naples, it’s clear that much of the population not only ate vegetables but subsisted on them—along with bread rather than pasta; and tomatoes were part of this regime.

Methods of preparation remained basic because the kitchen utensils remained basic. The peasant kitchen thus was basic, with only a few clay or wooden implements.

Pom 54

Recipe, 1705.

Chapter 3, “They are to be enjoyed”, explores the acculturation of the tomato in 18th-century Italy. By 1759 a survey of farming in Tuscany included it among the “fruits prized by men [sic: see below] as foodstuffs or as condiments for them”. Gentilcore surveys the different varieties of tomato.

Sardinia was a Spanish possession until 1720, and the Sardinians, at all social levels, may have been “the first [in ‘Italy’] to take the tomato seriously”. Disappointingly for those of us who supposed that sun-dried tomatoes were invented in 1970s’ Hampstead, they appear in a Sardinian recipe from the mid-18th century.

By the 1830s, but probably earlier too, enterprising peasant women in the Cagliari area were selling sun-dried tomatoes. This is an important reminder of the role of gender in agrarian change. Indeed, women frequently were responsible for the cultivation, preparation, and sale of foodstuffs, and tomatoes were becoming an important element of domestic production, if not consumption.

Pom 61

Recipes, 1773.

We now find tomatoes not only eaten cooked and raw, but preserved in a thick paste, and in sauces. Still, their appreciation was regional: for southern peasants they were a major ingredient of their ordinary food, but they played only an occasional role in northern cuisine—and this remains true today. **

Tomatoes were now becoming so common that people were throwing them away—or at least were throwing them. In Italy, tomatoes were the missile of choice to show disapproval of public performers, and the activity came to be known as a pomodorata.

An 1863 report refers to the poor of Naples eating something called pizza, “seasoned on the top with an abundance or oil or pork fat, with cheese, oregano, garlic, parsley, mint leaves, with tomato especially in summer, and finally sometimes even with small fresh fish”. As Gentilcore observes, tomato was not yet a basic element of pizza, but only one possibility among several.

Moreover, that report may also contain the earliest reference to pasta as a staple food accompanied by tomato sauce—the subject of Chapter 4. It coincided with the movement to unify the different states and islands into a single nation.

Indeed, the triumph of pasta was also remarkably late. Types such as lasagne, vermicelli, and maccheroni were already established by the 16th century (spaghetti was a latecomer), but pasta was eaten soft, cooked for long periods, and thus accompanied by dry condiments; it was still a side dish. The two best-known regions for production were the Ligurian coast and the Bay of Naples. 

Pom 73

By the mid-19th century the Neapolitans commonly ate pasta in taverns and as street food. It was now served slightly hard (vierd vierd: the expression al dente only became common after World War One)—a novelty that soon spread.

Making the preserve for the sauce (conserva, passata, salsa) was still largely a small-scale, local activity. Towards the end of the 19th century a French traveller in Calabria commented:

We are, in effect, in the season in which, in every Calabrian house, tomato preserve is made for use during the rest of the year. It is a solemn occasion in the popular life of these lands, a kind of festive celebration, an excuse for get-togethers and gatherings… Neighbours, and especially the neighbourhood women, get together in different houses one after the other for the making of conserva di pomi d’or, a procedure that culminates with a large meal; and they gossip as much as they can while crushing and cooking the tomatoes. It is here that for several months the locale’s chronicle of scandal is identified and commented on; it is here that those old rustic songs, which are today so avidly collected by scholars keen on folklore, are repeated from generation to generation.

By the 1880s tomato paste began to be exported to the USA. Its industrialisation was concentrated (sic, as Gentilore notes!) in Liguria, Emilia Romagna, and Campania. Tomatoes were first canned in the USA and Britain; in Italy, Parma took a leading role in both cultivation and preservation. Tomato ketchup was already becoming the national condiment of the USA.

The marriage between pasta and the tomato is usually said to have taken place in Naples around the 1830s. Pasta al pomodoro only gradually became a national stereotype from the late 19th century—just as millions of Italians started crossing the ocean to the New World, where the tomato had originated. It was to make repeated crossings.

So while I find it a challenge to imagine Botticelli and Michelangelo not tucking into a plate of penne arrabiata, such dishes would have been hardly more familiar to Verdi as they were to Monteverdi. Even as late as the 1930s when Umberto Saba met Gabriele D’Annunzio, he was more impressed by the novelty of the plate of pasta with tomato sauce (“a crimson marvel”) than by the Fascist celebrity himself.

The first acclaimed pizza was cooked for Queen Margherita in Naples in 1889; of three pizzas prepared for her, one was seasoned with tomato, mozzarella, and basil—the red, white, and green of the new national flag. In fact, its history goes back considerably earlier.

Above we saw a folk version of pizza in 1863 (for much earlier antecedents, see wiki). Pizzas were publicly made and sold in Naples by late in the 17th century. During his stay there in 1835, Alexandre Dumas described it as the staple diet of the city’s poor—with pasta eaten only on Sundays. By the middle of the century the city had over eighty pizzerie. In the 1880s Carlo Collodi, writing for a young audience, was underwhelmed:

Do you want to know what pizza is? It is a flat bread of leavened dough, toasted in the oven, with a sauce of a little bit of everything on it. The black of the toasted bread, the off-white of the garlic and anchovies, the greeny yellow of the oil and the lightly fried greens, and the red bits of the tomatoes scattered here and there give the pizza an air of messy grime very much in keeping with that of the man selling it.

The juxtaposition of hunger and gluttony is one theme of Collodi’s Pinocchio, first published in book form in 1883.

Pinocchio jumps into the sea, only to find himself in a fisherman’s net. Pinocchio explains to the fisherman that he is not a fish to be eaten, but a puppet. The fisherman replies that he has never caught a “puppet fish”, and asks how he would prefer to be cooked: “Would you like to be fried in the frying pan, or would you prefer to be stewed with tomato sauce?”

Meanwhile bread, often eaten stale, remained a basic foodstuff. In Puglia there was a popular proverb Ce mange paene e pomedaore nan ve me’ o dattaore (“He who eats bread and tomato, to the doctor will never go”).

In Chapter 5, “Authentic Italian gravy”, the scene shifts to the USA, along with successive waves of migrants. From 1876 to 1945 over nine million Italians crossed the Atlantic in search of a new life, most of them arriving between the 1890s and 1920s (cf. Accordion crimes).

Left, making tomato paste the Sicilian way, Madison WI, mid-1920s;
right, supper on the Lower East Side, NYC, 1915.

Ventura’s 1886 short story “Peppino”, set in New York, describes pasta with tomato sauce, then still a novelty. Gentilcore goes on:

Making homemade tomato paste (conserva) was, for many immigrant families, partly a symbolic link to the town left behind, partly a matter of taste preference, and partly good economic sense.

Many immigrants also resorted to canned tomato paste. At first, such preserves were imported from Italy, but local production soon competed. The discussion subsumes the varieties of tomato, and the history of additives—including coal tar and formaldehyde.

In the early 20th century, the UK was the second main importer of Italian tomato preserves; meanwhile the British took to growing their own, with the growth of the suburbs and the increasing availability of greenhouses.

Ironically, American immigrants were often unaware of how much change was taking place as they strove to maintain continuity.

As emigrants, they had left Italy because of “hunger”, but as immigrants nostalgia and longing quickly set in. This was not nostalgia for the “land of poverty”, of course, but for the festive foods and the community to which they belonged. Consequently, they reproduced the food production and consumption patterns that were more dreamed of than actual in the world left behind. The “old country” became a mythologised place, which immigrant parents described to their children as a place where poverty and hunger coexisted with food that was good and natural and where they all ate together as a family.

The ritual of the Sunday dinner signified that the family was living the American dream, and

the focus for the transmission (or, if you prefer, the inculcation) of cultural mores and aspirations from parents to children. The place of origin that parents described to their children on these occasions was not so much a real place as a place remembered, a place imagined. The immigrants gradually filled it with idealised constructions, which had a very real function [for them]: to interpret, explain, criticise, and even deny the New World present, to both themselves and their children.

An account from 1940s’ America remains true today (note the typical use of the male pronoun!):

The Italian forced to live far away from his homeland, wherever in the world he sets his table, rejects every kind of cooking in order to establish his own, the simple but tasty cooking of his native land. And more than anything else he does not give up his traditional dish of macaroni with tomato sauce.

The new hybrid of the Italian-American restaurant too became stereotypical to the point of caricature—the “red-sauce joint, with its dishes smothered in tomato sauce, its red-checked tablecloths, and its candles stuck in Chianti bottles”.

By the 1930s the clientele of such restaurants had shifted from poor single immigrant bordanti to “bohemians” in search of an “Italian experience”.

Somewhat gleefully, Gentilcore also documents the invention of canned spaghetti in tomato sauce, dating from the early 20th century.

The sight of GIs opening cans of tomato spaghetti must have been a strange one to southern Italian peasants as the allied forces made their way up the peninsula in the latter stages of World War II. […]

It is easy to look down on such products, but it was a new way of eating food. After all, both spaghetti with tomato sauce and the invention of canning began about the same time, in the mid-19th century, so why shouldn’t they be united? It is just that we attribute different meanings, different values, and a different social status to pasta al pomodoro and canned spaghetti.

Returning to Italy, Chapter 6, “The autarchical tomato”, takes the story on to the Fascist era.

The mass migration of millions of Italians across the Atlantic had a positive effect on dietary practices in Italy in the form of remittances and return migration. […] For the first time, these remittances gave many Italians a chance to put aside money or goods.

Pom 144

Thus food preservation flourished as never before. But as economic prosperity grew, expectations and aspirations continued to change.

Gentilcore continues the story of the industrialisation of tomato processing—noting a company in Felino near Parma that rejoiced in the name Società anonima di coltivatori per la produzione delle conserve di pomodoro.

Changing patterns of organised labour had been giving rise to social unrest since early in the 20th century. Despite labour laws, even in the 1940s much of the burden for cultivation was borne by women and children. After World War One strikes and riots erupted. Mussolini’s Fascist Party sought to restore order—and to make Italy self-sufficient in food.

While the campaign of the Fascist Futurist Marinetti to abolish pasta was fruitless (indeed, Neapolitans came out onto the streets in protest), he didn’t extend his proscription to the “light and adaptable” tomato. Even ketchup survived the regime, though with their aversion to foreign words, it was renamed Rubra. Much Fascist food advertising was aimed at the resourceful housewife.

After 1924, when the USA restricted immigration, the Italian regime sought to replace it with Libya as a destination; as they proclaimed autarchia, or self-sufficiency, tomato cultivation was propounded there too. None of these projects bore much fruit.

Pom 182

For Faccetta nera, see here.

Pom 166

On the eve of Italy’s fateful entry into World War Two in 1940, it was exporting virtually all of its fresh tomato crop to Germany; Gentilcore observes that Italy’s “Pact of Steel” with Nazi Germany that year might as well have been called the “tomato pact”.

Chapter 7, “The tomato conquest”, opens with a reminder of the poverty of Italy (particularly the chronically afflicted rural south) in the 1950s, as depicted in the neo-realist films of the day. But industrialisation, urbanisation, refrigerators, and the rise of supermarkets further transformed people’s eating habits. In the two decades from 1950, Italians grew in height but not in weight, despite the ever greater popularity of pasta. As stereotype and reality began to fuse, Italians could now eat spaghetti al pomodoro to their heart’s content. It was increasingly popular in Britain and the USA too, although pundits like Elizabeth David resisted the cliché, stressing the regional variety of la cucina Italiana.

Gentilcore’s material is now supplemented by feature films, such as two scenes, both from 1954—Totò’s spaghetti scene in Miseria e nobiltà (1954):

and Alberto Sordi’s scene from Un Americano a Roma (also 1954):

The recipe for spaghetti with tomato sauce included in Sophia Loren’s In cucina con amore (1971) is a tribute to the earthy recipes of her grandmother.

The disparity between north and south persisted. In his song Siamo meridionali! (1980) Mimmo Cavallo referred back to the family bathtub of southern migrants, classic receptacle for the growing of tomatoes (coltiviamo pomodori ddint’e vasche ‘e bagno):

Such migration from the south influenced the eating habits of both the migrants and the hosts.

In the Hollywood “pasta paradigm” (see e.g. this 1978 article by Daniel Golden), “the tomato sauces prepared and consumed by gangsters echo the bloody acts they commit”. One thinks of two scenes from Goodfellas (1990)—at home:

and in prison:

Pomodoro! can’t quite find a place for one of the great spaghetti-eating scenes: in Tampopo, Japanese debutantes are strictly schooled in the etiquette of eating them properly (another failed project, like Mussolini’s Fascism):

Nor does Gentilcore mention the “pizza effect” of anthropology, whereby elements of a nation or people’s culture are transformed or at least more fully embraced elsewhere, then re-imported to their culture of origin (cf. Tibetan “singing bowls”). The tomato played a role in the dubious “Mediterranean diet”.

By the 1980s, EU subsidies were further transforming the food economy, with Puglia benefitting notably. The Epilogue surveys the current tomato scene in Italy and beyond. As multinationals service our demand for year-round supply of “fresh” foodstuffs by sending them on vast, irrational journeys, Gentilcore addresses the global problem of labour slavery, organised crime, and trafficking. As immigrants began performing the tasks that Italians now shunned, the organisation and exploitation of labour by gang bosses was already featured in Pummaro’ (Michele Placido, 1989). Heavily staffed by African immigrants, and more recently eastern Europeans, the labour force is more vulnerable than the giornatori of yesteryear. Polish gang bosses exploit the Poles who work for them.

In a justly nostalgic passage which will strike a chord in Britain and elsewhere,

Nowadays, tomatoes look the same everywhere in Italy. Whereas “the real tomato has different, complicated shapes, with splits and streaks, and often pronounced baroque features, which so pleased the Neapolitan painters of the 17th century” [actually not yet, as Gentilcore points out], tomatoes today taste of nothing; they are full of water.

EU subsidies were not only unwelcome to producers in California, but hit West African countries hard. In turn, Italian growers have been hostile to Chinese imports, with the term “yellow peril” rearing its ugly head again (cf. Fu Manchu).

Gentilcore notes the Chinese term fanqie 番茄, “foreign eggplant”—the tomato was introduced there quite early by European missionaries, but still remains quite niche. BTW, it’s also known as xihongshi 西红柿 (“Western red persimmmon”), which reminds me of yet another story that I heard from Tian Qing (e.g. here, and here): during a phase of reviving Maoist “red songs” in Xi’an, some wag suggested the city might be renamed Tomato (Xihongshi 西红市 “Western red city”). I must also put in a word for the succulent tomatoes grown by Li Manshan.

This book will make you hungry—not just for knowledge.

* * *

All this is yet another instance of how things we assume to be eternal and immutable, like harmony and democracy, turn out not to be so. Another reason why I’ve cited Pomodoro! at some length is because its integrative approach, while perhaps a hallmark of most research worth its (um) salt, bears an affinity with that of ethnomusicology, including reception history—as for musicking, so for tomato-ing.

We might follow this up with Gentilcore’s 2012 book Italy and the potato, 1550–2000 (on a rather different tack, see Music and the potato). See also In the kitchen, and this sequel on risotto, with yet more links—as well as an alternative interpretation of the famous song You say potato


* Not to be confused with his long-lost Russian cousin Cestikoff, whose opera Il trasporto del pompino, regrettably not about fire-engines, was banned in St Petersburg. Allegedly.

** Cf. The Monty Python cheeseshop sketch:
Cleese: “How about Cheddar?”
Palin: “Well, we don’t get much call for it around here, Sir.”
Cleese: “Not much call—it’s the single most popular cheese in the world!”
Palin (smugly): “Not round here, Sir.

All things considered

Bill Bailey

In her wonderful book Watching the English, Kate Fox analyses the rules for conducting an English conversation. She notes the stock response to “How are you?”—“Mustn’t grumble”.

Bill Bailey ponders the reply “Not too bad—all things considered” in his show Limboland (currently on BBC iPlayer):

We’ve dialed down our expectations to an acceptable level of disappointment.

As to the more expansive reply “Not too bad—all things considered”, Bill’s list of “things” to which these Brits must be referring includes

the Okovanga delta (the cradle of all life), the Alps, the genius of Mozart, the limpid minimalism of Arvo Pärt; those yogurts with a bit of fruit in the corner; all human artistic endeavour; pushing someone in a pond when they least expect it; wars, religion, ideology, a rose, the uncountable stars, the boundless universe; the opalescence that shimmers on the surface of a tear that wells up in a shepherd’s eye as he marvels at the beauty of yet another Patagonian sunrise…

“You considered that?”
“Yeah.”
“And how do you feel?”
“Not too bad.”

* * *

The variant “can’t complain” is the subject of a story in the Big red joke book:

Kovacs went to the police in Budapest and asked for a passport and permission to emigrate.
“And where do you want to emigrate to, Mr Kovacs?” asked the police superintendant.
“Holland.”
“Aren’t you happy in Budapest?”
“I can’t grumble.”
“Don’t you have a good job here?”
“Can’t grumble.”
“Don’t you have a pleasant enough life?”
“Can’t grumble.”
“In that case, why do you want to emigrate to Holland?”
“Because there I can grumble.”

Talking of complaints, 116 people wrote to the BBC to complain that it was making it too easy to complain about the blanket coverage of Prince Philip’s death.

Cf. Hammer and Tickle (here and here), as well as Stewart Lee’s analysis of All things bright and beautiful. See also under The English, home and abroad. Among my favourites in the Bailey tag in the sidebar are

Comely scone

Hirsch Mozart

Ever wondered what Mozart operas are on about? Rainer Hersch has provided a helpful translation of the aria Come scoglio from Cosi fan tutte, in the tradition of the mondegreen/soramimi:

His lyrics are almost haikuesque. Some highlights:

Comely scone
Immobile Vespa [cf. Monteverdi]
Tasteless goatee
And mattress tester
Pussy Galore, Trusthouse Forte
Chicken Korma, Onion Bhaji [cf. Berlioz]
Yamamoto’s vest
Tasteless goatee and mattress tester
Leprechauns are very naughty
I’m not waiting for Basil Fawlty
Now this opera’s nearly over
Can’t spin in out any more
No inferno
No veranda

For an even more fantastical story inspired by anagrams of Cosi fan tutte, see Cite not Faust. And for a suitable emporium whither to sally forth to negotiate the vending of such comestibles, see Nice fudge shop.

Illusion and reality: the painted wall

Huabi

Source here.

Around Yanggao in north Shanxi, home of the Li family Daoists, the common dialectal term for “chat” (liaotianr 聊天 in standard Chinese) is guada 呱嗒. Usually duplicated as guada guada, its wider etymology evokes the click of the clappers accompanying kuaishu 快书 story-telling, the smack of the lips while eating, or the thwack of the dough on the board—it’s also the name for a Shandong street-snack. Guada suggests just the kind of rapport to which fieldworkers aspire, rather than “interviewing” “informants”.

Knowing my fondness for the Yanggao term, as Hannibal Taubes was reading the “Painted wall” (Huabi 畫壁) story from the celebrated Liaozhai zhiyi 聊齋誌異 [Strange stories from a Chinese studio] by Pu Songling (1640–1715), he was soon beguiled by the expression guada 挂搭 there—which Chinese commentators had felt the need to explain. 

Alas, here it has nothing to do with the Yanggao term! My introduction has been a red herring! (For more wilful misreadings of the classics, see Fun with anachronisms).

Huabi guada textSo while our fleeting linguistic frisson soon became a wild goose chase (A really wild goose chase), at least it prompted me to read up on the story… It opens (in Judith Zeitlin’s translation):

Meng Longtan of Jiangxi was sojourning in the capital along with Zhu, a second-degree graduate. By chance they happened to pass through a Buddhist temple, none of whose buildings or rooms were very spacious and which were deserted except for an old monk temporarily residing [guada] there. When he caught sight of the visitors, he respectfully adjusted his robe, went to greet them, and then led them on a tour of the temple. In the main hall stood a statue of Lord Zhi, the Zen monk. Two walls were covered with paintings of such exceptionally wondrous skill that the figures seemed alive. On the eastern wall, in a painting of the Celestial Maiden scattering flowers, was a girl with her hair in two childish tufts. She was holding a flower and smiling; her cherry lips seemed about to move; her liquid gaze about to flow. Zhu fixed his eyes upon her for a long time until unconsciously his spirit wavered, his will was snatched away, and in a daze, he fell into deep contemplation. Suddenly his body floated up as though he were riding on a cloud, and he went into the wall.

Chinese commentators glossed guada there as 挂, “hanging his monkly robes”. I’m somewhat disturbed to find that even Qing-dynasty classical texts require such exegesis—yet despite our attachment to dialect, they are quite right! The radicals flanking the phonetic elements clearly matter. To some readers the term may even suggest guadan 掛單, the temporary enrolment of a wandering monk at a temple.

Judith Zeitlin reflects on the story’s blurring of the boundaries between reality and illusion. [1] Indeed, this is just the kind of topic that Hannibal explores on the basis of his rich archive of temple murals (see e.g. his Trompe l’oeil category).

Huabi monk

Source here.

Pu Songling added a final comment:

The Historian of the Strange remarks: “ ‘Illusion arises from oneself’—this saying seems to be the truth. If a man has a lustful mind, then filthy scenes will arise; if a man has a filthy mind, then terrifying scenes will arise. When a bodhisattva instructs the ignorant, a thousand illusions are created at once, but all are set in motion by the human mind itself. The monk was a bit too keen to see results. But it’s a pity that upon hearing his words, Zhu did not reach enlightenment, unfasten his hair, and withdraw to the mountains.”

Fahai si

Zeitlin illustrates the theme with murals from the Fahai si temple in the Beijing suburbs (for technical aspects, see Ritual artisans in 1950s’ Beijing):

Peering into the semi-darkness as the figures gradually emerge, we can almost visualize how the contemplation of such dazzling images sets the story into motion. […]
The small and deserted buildings of the real monastery are transformed into a large and bustling complex in the painted world.

* * *

The Liaozhai, and this story, are popular subjects for glossy Chinese film and TV adaptations. Here’s a trailer for the Hong Kong film Mural (Chan Ka-Seung 陳嘉上, 2008):

And the first episode of the 2011 mainland TV series:


[1] Historian of the strange: Pu Songling and the classical Chinese tale (1993), pp.183–99, with full translation 216–18. Cf. John Minford’s translation, and the old version by Giles; among other Western scholars who addressed the work were Jaroslav Průšek.

The liberation of US culture

By coincidence, I began composing this blog in late 2016—just as the poor ol’ USA was descending into a deep abyss, “waters deep, fires raging”. So it’s a great relief to be able to write free of that dark shadow, as sanity makes a welcome come-back gig after a four-year vacation, and grown-up-sounding comments re-emerge from the White House. Anyway, here I break the champagne over the bows of a new USA tag in the sidebar (these tags are useful, BTW, however rough and ready! Do consult them!).

It seems suitable to start with the series that I wrote on

and among numerous posts under the jazz tag (to which I’ve only awarded the USA tag sparingly), see e.g.

Bearing in mind the scars of genocide and slavery, conflict has never been absent; but many such posts pay homage to boundless creativity and energy. Some more examples:

On film,

On music, musicology, and fieldwork:

Note also

Other posts take the story on, such as

Considering daily language, some usages are charming:

So while one always wants to rejoice in all this, somehow such posts were always blemished by the Putrid Tang emanating from the White House; but now, with the renaissance following these traumatic four years, it finally seems suitable to celebrate again—even if the battle for social justice continues.

Phonophobia and s-s-s-syncopation

Porky

Further to my discussion of Covid and plosives (a recent addition to my stammering tag), a couple more articles catch my attention.

writes in a lyrical style reminscent of French philosophy, with examples of historical discussion from Galen and Francis Bacon to Freud. Some readers may be more amenable than I am to this kind of thing:

The voice is the vehicle and the arena of this agon between dissipation and replenishment. Our celebrations of the voice are too monotonously pitched in the register of fullness, richness, clarity and penetrativeness, the privilege is too regularly accorded to the energetic out-loud and the “haute voix”. The autumnal, deciduous voice, which is heard in illness, fatigue, ague and age, is not epically shredded by passion, but rather silted with lilting circumstance.

I would love to hear a group of stammerers, or indeed anyone, trying to get their tongues around “paradoxical polyphiloprogenitiveness”.

Call me superficial (You’re superficial—Ed.), but With All Due Respect to Ancient and Modern Sages, I’m intrigued by some of the asides. Connor notes Marc Shell’s observation that when animals were given human speech in animated film, they often, like Donald Duck, or Porky Pig, suffered from speech impediments. I see that Porky shared his stutter with the voice actor who originally played him; but because he couldn’t control his stutter, recording sessions took hours and production costs became too high (cf. my own attempts at voiceover). Here’s a helpful roundup:

which features the “That’s all folks!” sign-off:

There’s even a ten-hour version (WTF). But scholars don’t seem to agree that the word “Hottentot” is an onomatopoeic mockery of stuttering that early Dutch colonists in South Africa thought they heard in the speech of the local people.  I’m keen to read Robert Arthur’s 1964 story The Mystery of the Stuttering Parrot (cf. the truth-speaking parrot of Tibetan opera).

* * *

Less fantastical is this study, supplementing my More stammering songs:

Stammering’s material culture of the past lends itself to historical analysis and therefore allows us to gauge how medical and social attitudes toward the impediment have changed.

She notes:

The impediment not only provided (pseudo) medical actors with a lucrative market for various curative objects and practices, but also propelled the (sheet-) music business. Stammerers themselves appear in this story of materialisation and market as both agents and objects. The cheap self-cures, medical manuals, sheet music and (later) recordings that were produced not only for, but also by, them, show how easily the impediment was aligned with the modern consumer’s identity and how the persona of the stammerer was, ultimately, lodged in the Western collective memory in very material ways.

Writing of the “collusion between consumerism and stammering” in the late 19th century, she observes:

The cures targeted a middle-class audience that would presumably care most about speech impediments (they were in a profession requiring fluent speech), but—more importantly—would also have the means to afford a cure. Self-help manuals seem to have targeted a similar audience: they were relatively cheaply produced, but a book on stammering would necessarily have been a “luxury” item, requiring its owner to be literate. This image of the consumer of self-help manuals dovetailed conveniently with the image of what most scientists considered to be the typical stammerer: a white middle-class man, the victim of the modern “strenuous” life, but also autonomous and capable of curing himself.

It was often claimed that stammerers were typically found in the professional classes and characterized by an extraordinary intelligence. Hoegaerts cites an 1896 paper:

“Children of weak intellect rarely stutter because their thoughts are slow, and their speech always keeps pace with their thoughts.”

And she observes:

That the stammerer was “civilised” was shown by the fluent speech of “savages”. Travelers were called upon to show that no one had ever encountered speech impediments in the uncivilised world. “All travellers, who have long resided among uncultivated nations, maintain that they never met with any savages labouring under an impediment of speech”. This was because, according to scientists like Hunt, its inhabitants were not subjected to the stress and strain of civilisation: their fluent speech was owed to “their freedom from mental anxieties and nervous debility, the usual concomitants of refinement and civilization.” Likewise, the lower classes did not appear to seek the help of therapists and were considered to be relatively free of the impediment. […]

Women, on the other hand, were not so much thought of as uncivilised, but rather as more suited to civilisation and its rhythms of speech than men. Individual cases of female stammerers occasionally surfaced, but they were thought to represent a very small percentage of stammerers. According to Richard Faulkner, women expended less energy on speaking. “We have compared subsequently the energy developed in conversing by the voice of a man and that of a woman, and have found that women are fatigued, in talking, four times less than a man”. Others had already suggested that women were naturally good at speech. What made women’s speech so fluent, these theories surmised, was that most of it was idle chatter anyway.

So

Whereas “savages” could not speak of anything beyond the concrete and women did not move beyond the trivial, the (male, middle-class) stammerer’s laborious speech betrayed his intelligence.

Hoegaerts goes on,

That a woman could appear at her most attractive and intelligent by not talking at all would easily have been accepted by therapists and gentlemen-scientists of the period.

Women came to acquire the authority in the field of speech therapy—although I note that many of the most famous therapists have been men, while women comprise a majority of the work force—Typical!

The sound of stammering
Stammering became a popular theme for Tin Pan Alley songs, further popularised by sheet music. Yet

The popular representation of stammerers in songs, at the turn of the century and up until the 20s, seems very far removed from this image of the privileged, highly intelligent modern individual.

Composers treated stammering as a poetic and commercial opportunity, rather than as an impediment. It is no coincidence that almost all stammering songs were romantic and/or humorous in their content. The impediment was, in that sense, not the subject of the song, but merely a rhythmic device, the means to emotionally engage the audience, or the set-up for a joke. Sometimes, it was all three.

Of course, the rhythmic syncopation of stammering is an extrapolation by composers: the real sound is unpredictably non-metrical, aleatoric.

Following The stuttering coon (1898),

The connection of stammering to race allowed for rhythmic license. More specifically, the halting sound of stammering allowed composers to ride on the lucrative wave of ragtime music. Most explicit in the “use” of the sound of stammering was the 1913 song Stammering Sam, in which a young black boy’s stammer is presented as the “origin” of ragtime:

Then Stammering Sam sang,
and the company sang “babababa! Babababe!”
Singing his stuttering song with glee
and that was the very first ragtime melody.

Like the stammering girls, these stammering “coons” defied scientific knowledge: their ethnicity as well as their social class should have protected them from speech impediments. Yet there they are, imaginary creatures proudly claiming syncopated speech in order to entertain.

Of course, in many ways the “stammering coons” are images of manifold oppression: their almost clownish representation derided their ethnicity, the connection arguably degraded ragtime music as it refused to take it seriously as a style, and the depiction of their accented, lower-class speech placed them firmly at the bottom of the social ladder. Being put on show, after all, also meant being subjected to the harsh gaze of the audience, to become an object of consumption. Significantly, the songs would most likely be performed by non-stammerers for other non-stammerers (although those who did stammer could, of course, hear them as well). The stammerers in the songs were mere figments of their writer’s imagination, specifically created to be “performed”, “bought”, and “used” to serve the purposes of entertainment and consumption. Whereas stammerers were approached as agents on the market in therapeutic manuals, popular music banked on the characteristic sound of stammering in order to “sell” stammerers, rather than selling something to them. […]

In an ironic reversal of the therapeutic logic, [the stammering song] turned fluent speakers into stammerers (thus perhaps proving that speech could indeed be manipulated to a great extent). […]

The culture that emerged from this “modern” consumerist world was shaped by women, down-at-heel sailors, and young black boys as well. […] One could wonder if the worlds of the privileged stammerer and the imaginary one in songs coincided at all.

It’s good to see the factors of race, gender, and class featuring in the analysis of disfluency.

Caruso: the song

I’m grateful to Sophia Loren, well, for everything—but right now, for introducing me to Lucio Dalla’s song Caruso (1986), her own favourite among her excellent Desert island discs recently.

Over a slow pulse, the text is delivered in an urgent parlando-rubato style, the intensity of the melody highlighted by a vertiginously high register, suggesting flamenco deep song:

Lucio Dalla (who actually came from Bologna) was staying at the Excelsior Vittoria Hotel in Sorrento, coincidentally in the very same room where many years earlier Enrico Caruso had stayed shortly before his death. As the owners told him about Caruso’s last days and his turbulent love life, Dalla was inspired to compose the song—the melody and lyrics of whose refrain are based on the 1930 Neapolitan song Dicitencello Vuie. (As a foil to the male gaze, the background of Naples is a fine pretext to remind ourselves of the brilliant novels of Elena Ferrante.)

While in both its theme and its style Caruso clearly invites versions by tenors like Pavarotti and Bocelli, it makes a good instance of how such music is better heard without polished artifice (here Dalla sings it with Pavarotti).

Qui dove il mare luccica,
E tira forte il vento
Su una vecchia terrazza
Davanti al golfo di Surriento
Un uomo abbraccia una ragazza,
Dopo che aveva pianto
Poi si schiarisce la voce,
E ricomincia il canto.

Te voglio bene assaje,
Ma tanto tanto bene sai
è una catena ormai,
Che scioglie il sangue dint’ ‘e ‘vvene sai.

Vide le luci in mezzo al mare,
Pensò alle notti là in America
Ma erano solo le lampare
Nella bianca scia di un’elica
Sentì il dolore nella musica,
Si alzò dal pianoforte
Ma quando vide la luna uscire da una nuvola
Gli sembrò più dolce anche la morte
Guardò negli occhi la ragazza,
Quelli occhi verdi come il mare
Poi all’improvviso uscì una lacrima,
E lui credette di affogare.

Te voglio bene assaje,
Ma tanto tanto bene sai
è una catena ormai,
Che scioglie il sangue dint’ ‘e ‘vvene sai

Potenza della lirica,
Dove ogni dramma è un falso
Che con un po’ di trucco e con la mimica
Puoi diventare un altro
Ma due occhi che ti guardano
Così vicini e veri
Ti fan scordare le parole,
Confondono i pensieri
Così diventa tutto piccolo,
Anche le notti là in America
Ti volti e vedi la tua vita
Come la scia di un’elica
Ma sì, è la vita che finisce,
Ma lui non ci pensò poi tanto
Anzi si sentiva già felice,
E ricominciò il suo canto.

Te voglio bene assaje,
Ma tanto tanto bene sai
è una catena ormai,
Che scioglie il sangue dint’ ‘e ‘vvene sai

Here Dalla sings it live, for an audience who are clearly just as enraptured as Sophia Loren:

* * *

Two women

Source here.

So returning to Sophia Loren, in her Desert Island discs she discusses her most recent project working with her son Edoardo Ponti on The life ahead. And she recalls her illustrious early career, such as the filming of Two women (La Ciociara, Vittorio de Sica, 1960)—a story about the horrors of war, based on the book by Alberto Moravia (cf. The conformist). Here’s a trailer:

In her account of working with Charlie Chaplin on A countess from Hong Kong (1967), she is more discreet than her co-star Marlon Brando about the experience. Chaplin’s inspiration for the story was his encounters with down-at-heel Russian emigré aristocrats in 1930s’ Shanghai (for his 1936 visit, and his enthusiasm for Peking opera, see here); his own theme tune (cf. Smile) later made a hit song for Petula Clark.

The film ends with Loren and Brando dancing a tango—in the words of this review:

Chaplin was a sexual revolutionary long before the sexual revolution, and here, at the age of 77, he foresaw—even unto the film’s concluding tango, half a decade before Bertolucci’s—a world in which sex would break down the doors and come out of the closets.

Though the film wasn’t a great critical success, at least it was admired by John Betjeman and Jack Nicholson—more unlikely bedfellows

Back with Desert island discs, how delightful is Sophia Loren’s final greeting—making us staid Radio 4 listeners feel even more grey and reserved:

Ciao 💋💋💋💋💋 Baci baci baci!!! Ciao tesoro ciao!!!

* * *

For Italian song, try also Crêuza de mä (featured towards the end of Italy: folk musicking), the great Enza Pagliara, and Songs of Sicily. See also Italian cinema: a golden age; and Italy tag.

A guide for bemused rugby fans

scrum

“And I suppose you think I’m going to do your washing for you.”

While the language of rugby union may not be quite so elaborate as that of Daoist ritual, the list of arcane infringements is quaint, and subject to constant revision. Not only do players have to understand the distinction between a maul and a ruck, they can be penalized for such faux pas as

  • Not rolling away [Mick Jagger]
  • Entering from the side [don’t ask]
  • Bringing down a maul
  • Ball held up
  • Not releasing [Engelbert Humperdinck]
  • Forward pass [cheeky]
  • Blood replacement [Transylvania]
  • Not straight (at the lineout)
  • Not driving straight [Afterble, constanoon] *

And one admires the way the players meekly accept the ref’s decision, whatever it’s supposed to mean. And even while the game is flowing, the obliging ref is full of succint advice on How to Behave—like

 The best bit is TMO (Too Much Oratory), where we all get to watch dastardly behaviour in slowmo and from every angle, like viewing a burglary on CCTV, while the ref makes learned speeches. 

As to the basics (cf. snooker), the Irish column Ask Audrey offers a helpful explanation:

Guten Tag. I am in Cork for three months and see that everyone is watching the Rugby World Cup. Can you explain the rules? — Karl, Berlin

Here is my understanding of how it works. The fat guys all run into each other, while the slightly slimmer guys stand in a line watching them. Eventually the fat guys get tired and have a lie down on top of each other. The ball comes out the back of this lie down and the skinnier guys kick it back and forward to each other for half an hour. Then the fat guys wake up and start running into each other again. Every now and again the referee stops play because someone dropped the ball. That’s the only thing you are not allowed to do in rugby. Everything else would appear to be okay. Sometimes one group of fat guys pushes the other group over the line and there is some manly hugging, but no shifting like in soccer. After 80 minutes they add up the score and New Zealand wins.

Note also The haka, and suitable responses.


* As in
   “Excuse me sir, do you realise this is a one-way street?”
   “It’s all right officer, I’m only going one way.”

Can’t get you out of my head

Curtis title

Do watch the brilliant BBC TV series

Love, power, money, ghosts of empire, conspiracies, artificial intelligence—and You

The series, in six parts over some eight hours, is broadly chronological, with an ambitious coverage of major events and recurring themes—failed political revolutions amidst a widespread distrust and resentment of elites; radical movements, and their defeat; pessimism as old power structures remain intact and kleptocracy rages; racial antagonism (with sexism revealed less explicitly); anger, insecurity, and paralysis in the age of individualism, haunted by the malignant scars of the past, lacking a vision for the future, “free but alone”; personal expression, technology, psychology, consumerism, advertising, mass electronic surveillance and algorithms. You know the kind of thing…

While countercultural discontent has long been a much-discussed theme, Curtis’s take is virtuosic. The dystopian vision of his message, juxtaposing cultures, is conveyed as much through the collage of blending images and a sinister, psychedelic soundtrack (including pop and Chinese revolutionary opera) as through graphic newsreel footage, interviews, and his own voiceover.

Funnily enough, among interviews, this—with Diane Morgan (aka Philomena Cunk), no less—is rather good.

I think I get so sucked into the stories that you choose and the people you concentrate on. They’re not boring people. Like Jiang Qing! She could’ve been from Bolton.

As Ms Cunk, herself master of the deadpan delivery, notes:

It’s partly your calm, authoritative voice. I feel like you could be a cult leader. You could tell me that bananas were invented by the Polish secret service and I’d believe you. There’s something hypnotic about it.

Here’s the fine parody of Curtis’s style mentioned in their chat (“In a landmark new documentary produced for YouTube, Adam Curtis has not examined his career and laid bare his style in the light of some confused academic papers he stumbled across on the internet”):

Themes
In the USA, bastion of individualism through the Cold War, we are introduced to Richard Hofstadter (tracing suburban anxiety, fear, and hatred right back to the pilgrims), the John Birch Society and the Illuminati conspiracy theory; the CIA’s MK-Ultra mind-control experiments; Black Power, and infiltrators.

In Britain, the loss of empire also gave rise to insecurity and xenophobia. Curtis covers Kenya and the Mau Mau; and the disillusion of new arrivals from the former empire. In the wake of the slave trade, in the USA guilt mutated into fear and anger, along with deep resentments over racism and police violence. Featured are the Yellow Peril, and the KKK; the IRA, and MI6; Blair’s Britain.

In Germany the Red Army Faction (aided by the Stasi) responded to what they saw as the mutation of Nazism—with the far right indeed growing. But revolutionary chic also emerged.

Politicians gave up being our representatives who would challenge the powerful on our behalf, and began to tell us what to do on behalf of the powerful. But we didn’t notice because we were too busy shopping.

Alongside climate change and suburban alienation, Valium (and later OxyContin) submerged people’s disillusion at the false promises offered by material comfort—at first particularly for women. The blurring of reality and illusion is illustrated by The dream of the red chamber. Curtis surveys Nixon, the Vietnam war, his visit to China, and Watergate; ever more volatile money markets; US and British involvement in the Middle East, and oil; 9/11, Iraq, Syria, ISIS; USSR dissidents and prison songs; new despair in Russia after the fall of Communism; oligarchs, corruption; the Balkan wars, and the corrosive allure of nationalism, always connected with the past.

Democracies, subordinate to financial and bureaucratic interests, often seemed to be producing the wrong results (north Africa, the Middle East)—“What if the people are stupid?”. Meanwhile humanitarian aid arose from frustration with politicians, attempting to change the world by bypassing them; but it was vulnerable to being exploited by them, as in Ethiopia.

With technocrats ever more powerful over politicians, and constant global financial crises, a conservative nostalgia for empire re-emerged. Curtis notes the magical vision of Britain’s feudal past that had been created by artists and writers from the late 19th century; passing over socialist currents within the folk music and dance revival, he suggests they were

invented to create a kind of safe dream of the nation that could hide the violence and the horrors. The dream persisted under the surface of the 20th century. But as the fears and uncertainties and the chaos of the last few years rose up, millions of people started to believe that dream. That it was real.

Part 5 ends with a particularly disturbing montage, as How beautiful they are, the lordly ones accompanies images of Isis and Morris dancing.

What had begun a long time ago as a make-believe version of England, created in the deserts of Mesopotamia as the British Empire fell apart, had now turned into a terrifying nightmare.

This has led to the similar urge in the USA and UK to recreate the dream of a lost greatness—Trump and Brexit, the inevitable dénouement that Curtis’s whole project has sought to explain.

Part 6 takes in the rapper Tupac Shakur, son of Afeni, with civil rights an ever unresolved issue; Saudi Arabia, and jihad as a remedy for nihilism; Chaos theory and Complexity theory amidst growing paranoia; the 2008 economic crash and austerity, as resentment against elites grew further; the growing power of global corporations; AI, conspiracy theories, manipulation, “a world beyond freedom and dignity”.

China dolls

In Russia, Curtis shows post-Soviet unrest, with popular protest at corruption and chaos; Putin, Pussy Riot, Navalny. The 1997 British handover of Hong Kong; capitalist consumerism in reform China, Deng Xiaoping and the limits of democratic reform; Tiananmen 1989 and the disturbing figure of Chai Ling; land grabs and corruption, the downfall of Bo Xilai’s attempt to revive collective idealism, popular grievance; mass surveillance—and Xinjiang—under Xi Jinping.

And so to Trump, Bannon, QAnon; Cummings, and Farage—with Covid now compounding inequalities. Politicians have moved from espousing reprehensible visions to having no agendas beyond power itself. With liberalism in retreat, tech companies feed off paranoia.

Characters
Largely eschewing the Usual Suspects, Curtis’s choice of personalities and interviewees is most original, with a wealth of fascinating stories to follow up, making the viewer reach for wiki—including Peter Rachman and Michael X, Ethel Boole and Maya Plisetskaya, Edgar Mittelholzer, John L. Lewis and Harry Caudill representing the miners of Appalachia; Kerry Thornley, Operation Mindfuck, and Lee Harvey Oswald; Daniel Kahneman; the Russian criminals sent (along with Solzhenitsyn) to New York in 1974 who became the Potato Bag Gang, and Eduard Limonov; Horst Mahler, Afeni Shakur.

Jiang Qing and her psychological makeup feature (perhaps too) prominently:

In her operas, Jiang Qing had gone back into China’s past. Her aim had been to rework them, to express a new kind of revolution. But in reality, she had reawakened a dark and poisonous kind of violence that had lurked under the surface of China for hundreds of years. It was driven by a resentment of the rigid hierarchies that the revolution had not really changed. Mao had not given her or anyone else guidance about what to do with the fury that she had summoned up.

Curtis’s vision will doubtless be unwelcome to entrenched elites. So while he gives the revolutionaries a poor review, and rejects being labelled as a leftie, I guess we might settle for a definition based on having an enquiring mind prepared to challenge the status quo—precisely the fear of conservatives.

Despite all the endless pressures, he ends with the possibilities that the election of Biden may offer hope for a return to a former stability, and that people will be able to imagine genuinely new kinds of futures—dependant on their regaining confidence. We may need further encouragement. Some may recall the counter-intuitive optimism of Steven Pinker over the long sweep of human history. Others might suggest that paralysis and nihilism have not conquered all; while Curtis hardly broaches the more modest (but not necessarily less radical) advances of non-violent movements for social justice (cf. Hašek’s ironic “Party for Moderate and Peaceful Progress within the Bounds of the Law”!), progressives don’t necessarily seem doomed by the demons of the past, as young grassroots activists increasingly take up noble causes, holding power to account. 

Anyway, it’s an immensely stimulating series, whether “dazzling”, “terrifying”, or “incoherent”; perhaps Hugo Rifkind’s comment is apposite:

I feel I learnt a lot. I’m just not sure what it was—

which indeed encapsulates the very confusion that Curtis evokes.

Words and women

Words and women cover

 The war on sexism has to be waged on so many fronts that it’s worth recalling that language is a crucial element. I’ve been re-reading

  • Casey Miller and Kate Swift, Words and women: language and the sexes (1976)

—a rather early exploration of an important topic, that remains a concise, well-argued introduction, even if progress has since been made in the areas discussed. Based on North American usage, it focuses on English, with instances from early etymology and other European languages, whose greater linguistic differentiation gives rise to different issues.

The opening chapter explores Names, and their consequences. Under patronymic systems, with women foregoing their surnames on marriage, they “belong” to another family. Lucy Stone was a pioneer in keeping her name in 1855, but this is one area where most women seem to have remained curiously faithful to patriarchal convention (for dissenting views, see also here; cf. wiki on “maiden” and married names across cultures). The authors also note changing trends in given names, and introduce the ongoing campaign for the title “Ms”.

Who is man? opens by highlighting the title and images of Jacob Bronowski’s acclaimed TV series The Ascent of man, which follows a long representational tradition. Its creators

could hardly have intended to convey the message that males alone participated in the evolution of mankind, yet through the use of imagery limited to males they effectively negated an inclusive, generic interpretation of their title subject.

A 1972 study found that “man” tended to evoke men (particularly adult white men)—an image that seems to persist despite the challenges of recent decades. Such language also conditioned traditional teaching about prehistoric society.

Dr Spock was an advocate of counteracting the linguistic presumption of maleness: the use of the male pronoun

is one of many examples of discrimination, each of which may seem of small consequence in itself but, when added up, help to keep women at an enormous disadvantange—in employment, in the courts, in the universities, and in conventional social life.

While the standard remained “he”, an opposite trend emerged in education:

By the mid-1960s, […] some of the angry young men in teaching were claiming that references to the teacher as “she” were responsible in part for their poor public image and, consequently, in part for their low salaries. […] To be vital, it appears, a teacher’s image must be male.

In the Declaration of Independence, the “self-evident truth” that “all men are created equal”

did not apply to women any more than they did to men who were slaves or to those original inhabitants of the country referred to in the document as “the merciless Indian savages”.

The authors go on to clarify issues surrounding Sex and gender. In our common perception of animals too, “all creatures are assumed to be male until proven female”. Other European languages use “grammatical gender”, also affecting articles and adjectives. A fine quote from Mark Twain, from “The awful German language”:

In German, a young lady has no sex, while a turnip has. Think what overwrought reverence that shows for the turnip, and what callous disrespect for the girl. See how it looks in print—I translate this from a conversation in one of the best of the German Sunday-school books:

Gretchen—Wilhelm, where is the turnip?
Wilhelm—She has gone to the kitchen.
Gretchen—Where is the accomplished and beautiful English maiden?
Wilhelm—It has gone to the opera.

While most “agent nouns” (worker, farmer, doctor, clown) belong to the “common gender” category, some became more common in female versions (princess, lioness, sorceress, early imports from French). The evolution of “seamstress” is an interesting case. Some early feminists

prized the “female designations” because they felt women should be given credit, as women, for their accomplishments. More, however, objected.

Conversely, “spinster”

reverted to being an exclusively female designation—though with an additional pejorative meaning that has no male equivalent.

Miller and Swift summarise:

Throughout its history, as English made the gradual change from grammatical to natural gender, words denoting occupations and professions could be and from time to time were used for females and males without distinction. But because males are consciously or unconsciously considered the norm, new feminine designations were introduced and accepted whenever the need was felt to assert male prerogatives. As the language itself documents, once certain occupations ceased to be women’s work and became trades or vocations in which men predominated, the old feminine gender words were annexed by men and became appropriate male designations. Then new endings were assigned to women, quite possibly, in Fowler’s phrase, to keep a woman from “asserting her right” to a male’s name (or his job).

Some nouns like waitress and actress were still common, if waning, in the 1970s.

The distinction between actor and actress is not a distinction between male and female; it is the difference between the standard and a deviation.

Semantic polarisation examines the role of words in moulding cultural assumptions. The authors note the role of cultural anthropology in clarifying issues: across societies,

the extent to which roles are assigned on the basis of sex and the rigidity with which the sexes are categorised also varies greatly.

The authors unpack damaging dictionary definitions for words such as “manly” and “womanly”, whose 1960s’ portrayals—respectively positive (courage, strength, vigour) and negative (weak, fickle, superficial)—now look absurd. Such expectations were reinforced early in childhood.

Miller and Swift illustrate the “degeneration of meaning” with the words virago, shrew, and tomboy. And they cite Margaret Mead:

The potentialities which different societies label as either masculine or feminine are really potentialities of some members of each sex, and not sex-linked at all.

The language of religion is an important topic: even in modern north Europe, where religion is a lesser influence on society than in the USA, history bequeaths a heavy burden. Originating in patriarchal societies, the major Western religions inevitably contain abundant “semantic roadblocks to sexual equality”. God, father, son, king; spiritual men and sinful women; the virgin–whore dichotomy for women. Again, this whole edifice has come under increasing scrutiny (cf. Patricia Lockwood‘s fine definition of “tabernacle”!).

In The great male plot Miller and Swift ponder the backlash against feminism, with instances of male “humorists” going for cheap laughs in belittling sensible linguistic (and social) progress. As women’s access to education gradually increased, men were ever keener to act as guardians of the language. Fowler’s prescriptions again loom as a negative influence, railing against the now widely accepted formulation “as anybody can see for themselves”—no shocking “Women’s Lib” madness, but going back to Shakespeare. Others joined in denouncing descriptive grammarians’ apparent abandoning prescriptions for good and bad usage—“the King’s English and the fishwife’s”.

The male bias of English does not have to be fostered by a conspiracy.

The authors describe the growing use of “Ms” (the magazine Ms was first published in 1972)—becoming more popular not only as “a significant number of women began to object being labeled according to their (presumed) marital status” but also as an effective time and money saver with the growth of direct mail selling. And again it was fiercely contested by fatuous men. In an informed discussion, Ms Miller and Ms Swift trace the evolution of gendered titles further back in history. Meanwhile sexism “remained the only form of bigotry that still treated as good clean fun by the American Press” (cf. the neanderthal “Rear Admiral” Foley).

In What is woman? The authors explore the different speech habits and vocabularies of women and men. They cite the research of Robin Lakoff:

Discouraged from expressing herself forcefully, a girl may acquire speech habits that communicate uncertainty, hesitancy, indecisiveness, and subordination.

Women were still penalised for unseemly language (note the LRB article on a 1923 trial, linked here). In speech as well as behaviour, men have licence to behave badly. Of course, language taboos have been challenged generally, as in the 1933 Ulysses case. But women were among the vanguard in breaking the barriers; Iris Murdoch, Doris Lessing, and Carson McCullers all used the word “fuck” quite early in their books. At the same time, the language used to degrade females has been scrutinised.

sexist postcard

WTF: Alcoa Aluminum ad, 1953. Sexist ads have now been rumbled.

In The spectre of unisex Miller and Swift further discuss the spread of the ending “-person”, and the uncomprehending resistance to it. Meanwhile “they/their” to replace “he/his” was gaining ground, and has continued to make further progress.

Setting forth from kinship terminology in different cultures as an instance of how language reflects and shapes perception, Language and liberation discusses the recent concepts of racism (1950s) and sexism (late 1960s). Publishers and other bodies were producing non-sexist guidelines by the 1970s; since then, too, children’s books have gone on to make wonderful progress in correcting harmful stereotypes (links e.g. here).

Eliminating sexism need not result in graceless language, as many people fear. Sensitive speakers, writers, and editors have been doing it consciously and well for years. Language that does not depend on abstraction is superior, for it is forced to be specific.

In the Postscript the authors list some guidelines, including succinct summaries for –ess and –ette endings (remember usherettes?), * forms of address, job titles, and so on.

* * *

The powerful arguments of Miller and Swift cover most of the issues that have since gradually entered the mainstream, even if they continue to be distorted and trivialised by dinosaur men and the PC-gone-mad brigade. For the state of play nearly three decades later, the useful guide

Jennifer Mather Saul, Feminism: issues and arguments (2003)

devotes chapter 6 to feminism and language change, an issue that has come to attain increasing public prominence. With precise logic that reminds me of the great Janet Radcliffe Richards (The sceptical feminist, 1980), she gives concise sections on gender-neutrality and gender-specificity, and considers arguments against language reform.

Replacing gender-neutral usages (notably “man”; such terms are not actually gender-neutral at all) avoids confusion, and positively affects the way we think. Her solutions are modest (not in a “feminine” way, I may add), and adjustments easily made. But gender-specific words like manageress and waitress are also flawed, again assuming a male norm. Saul updates the story of the usage of “Ms”.

Ms Saul goes on to confront, and confound, arguments against reform. Language is important, but at the same time it is only one aspect of the wider campaign. And she provides a succinct list of further readings.

* * *

Meanwhile lexicographers and style guides continue to modify their definitions, as language and society keeps changing.

Fuckety

While Miller and Swift discussed “bitch”, more recently words like “slut” have come under the spotlight (see e.g. Jessica Valenti’s comments, here and here). Feminists are recasting “profane” language, such as the c-word, even extending their labours creatively to embroidery. And I’ve already noted other dodgy terms like femme fatale, diva, and “gamine elfin waif“. As I write, I see that the “governess” is making a comeback among wealthy British families—FFS.

Other sites include wiki (also broaching French, German, Swedish), and this BBC Radio 4 page; cf. my Gender roundup. For suitable listening, try You don’t own me.


I’ve been beaten to this, but cf. the latest article in my fantasy series, “The Fall of the House of Usherettes: changes in the structuring of cinema attendance”.  

In praise of Patricia Lockwood

Lockwood

I entirely share the universal delight in the intoxicating language of Patricia Lockwood, with her passion for the mind-expanding power of words.

Within her genre-bending oeuvre, the publication of a new article by her is always the occasion for fireworks and champagne. Just when we thought we couldn’t take any more analyses of the genius of Elena Ferrante, Lockwood makes the perfect commentator; so now we can delight in her own delight at Lila and Lenù.

Besides her pieces for organs such as The New Yorker and The Paris review, her LRB articles are virtuosic, perceptive, and exuberant in their language—such as her thoughts on Lucia BerlinVladimir NabokovCarson McCullers. Her review of John Updike (“Malfunctioning sex robot”) is a most thoughtful, informed critique, like a more wacky update of Henry Miller’s emasculation at the hands of Kate Millett:

I was hired as an assassin. You don’t bring in a 37-year-old woman to review John Updike in the year of our Lord 2019 unless you’re hoping to see blood on the ceiling.

See also Insane after Coronavirus?, and this piece on the US Elections, reminding us that her astute, enquiring mind takes wing way beyond mere lit crit.

* * *

Her essay The communal mind is a prelude to No one is talking about this, her new novel about living in the internet. Amidst a multitude of blazing fanfares (e.g. this review), this comes from an interview with Hadley Freeman:

“White people, who had the political educations of potatoes, were suddenly feeling compelled to speak about injustice. This happened once every forty years on average, usually after a period when folk music became popular again. When folk music became popular again, it reminded people that they had ancestors, and then, after a considerable delay, that their ancestors had done bad things.”

Lockwood is all too aware that books about the internet have a bad reputation: “[They] had the strong whiff of old white intellectuals being weird about the blues, with possible boner involvement.”

* * *

Lockwood’s memoir Priestdaddy (2017; reviewinterview) celebrates and bewails her eccentric family, in a style distantly akin to the stories of David Sedaris. The title refers to her father, a rare married Catholic priest; she wrote the book while staying back at the family home with her husband Jason during a period of adversity. I guess it’s “confessional”.

Priestdaddy cover

While her parents make hapless victims of her trenchant pen, it’s far from mere slapstick; it’s an affectionate, benign portrayal, becoming increasingly reflective.

She was deprived of college by her father’s inability to resist buying a guitar made for Paul McCartney:

Later, I would take a detached literary pleasure in the notion that higher education had unwittingly been robbed from me by a Beatle.

She observes family life with detachment:

The drama of the scene ought to have been tense and throbbing, but it was undercut somewhat by my mother’s decorating, which ran heavily to bowls of gold balls. Still, we played our parts: every once in a while my father would bang down his fist while looking patriarchal, and my mother would turn to stare out the window while looking powerless, which contributed to the impression that we were participating in a Tennessee Williams play where “the internet” was being used as a code for “homosexuality”.

And

The Don Pablo’s in Cincinatti was a large converted factory, so it looked vaguely like a nightclub where people went to have wrong ideas about Mexico. In the corner, a fake cactus threw up its helpless arms, as if my father were holding it at gunpoint.

Her relationship with her husband Jason is most endearing. As he wonders if her father is trying to kill him, she responds:

“Did you give him any indication that you were a pacifist or an intellectual, or that you liked abstract art?”

Pets are a bone of contention too:

My father hates cats. He believes them to be Democrats. He considers them to be little mean hillary clintons covered all over with feminist legfur. Cats would have abortions, given half a chance.

When Jason takes a job at a local newpaper, she muses:

There was a sign announcing how many days had passed since the last workplace accident, which made me think of the unlucky employee who had to climb up on a ladder the next morning to flip the number back to zero with a maimed hand.

As Tricia tries to watch old movies on TV, her father switches over without ceremony to

something like Bag of Guts: How Much Blood is in a Human Body? or Boom! A Toot from the Bum of the Apocalypse or Ragged Claws: Hideous Mutant Poem from the Deep.

She guesses the plots of his favorite movies based on the sounds coming through the walls:

A remake of The Ten Commandments where the lead actor is just an AK-47 wearing Moses robes. He parts the Red Sea by shooting it.

Indiana Jones flips through his dad’s diary and finds a map of the clitoris. “IT’S MINE”, he yells, but will the Nazis get there first?

God is a cop with a monkey sidekick, but the monkey sidekick is mankind.

She takes singing lessons with her sister:

We often sang together at church because our voices sounded related, though mine was obviously the hunchbacked insane relative who lived up in the attic and only descended for meals.

Her second teacher

looked like she knew where Prague was, which at that moment in time I did not.

But the chapter segues to her suicide attempt as a cloistered teenager.

Some of the most baroque passages come when she explains Catholicism to her bemused husband, suggesting a Martian ethnographer (indeed, she likens her notebook to that of an anthropologist):

“What did these people teach you?” he asked me one night, mystified. “What exactly do Catholics believe?”

I’d been preparing my whole life for this question. “First of all, blood. BLOOD. Second of all, thorns. Third of all, put dirt on your forehead. Do it right now. Fourth of all, Martin Luther was a pig in a cloak. Fifth of all, Jesus is alive, but he’s also dead, and he’s also immortal, but he’s also made of clouds, and his face is a picture of infinite peace, but he always looks like one of those men in a headache commercial, because you’re causing him such suffering whenever you cuss. He is so gentle that sheep seem like demented murderers in his presence, but also rays of light shoot out of his face so hard they can kill people. In fact they do kill people, and one day they will kill you. He has a tattoo of a daisy chain on his lower back and he gets his hair permed every eight weeks. He’s wearing a flowing white dress, but only because people didn’t know about jeans back then. He’s holding up two fingers because his dad won’t let him have a gun. If he lived on earth, he would have a white truck, plastered with bumper stickers of Calvin peeing on a smaller Calvin who is not a Catholic.”

See also under The Annunciation in art and music.

While reluctant to “harp on” (my garish phrase, sic!) about feminism, Lockwood reflects on her relationship with the seminarians who come to stay:

What else could I do but tease them? I had no real power; it was men like these who were in charge of my life. If they decided tomorrow I had to cover my hair or wear skirts or pray separately, or be barred from reading certain books, or take certain pills and not take others, or be silent in the presence of men, I would have to do it. To have that bald dynamic of power on display in your home every day, pretending to arch over and protect you—it does something to a person. The seminarian calls women “the tabernacle of life”. The tabernacle, if you do not know, is an ornamental box that is largely important for what it holds. It is shut up and locked when the men go away, so the consecrated elements inside cannot be stolen.

YAY! Hallelujah! The “indomitable human spirit”, demurely Renting Asunder the Chains of Bondage—not just surviving but thriving!!!

People do sometimes accuse me of blasphemy, which is understandable, and which is their right. But to me, it is not blasphemy, it is my idiom. It’s my way of still participating in the language I was raised inside, which despite all renunciation will always be mine.

So while she doesn’t give the church an easy ride, she describes her background of taking part ungrudgingly in its rituals. Merging emic and etic, she is altogether gentle in her lack of confrontation—as she observes in this review:

“But in a way, I am happy that I wrote it before all this [the US elections] went down because you can look at those things foreignly. There can be a sort of nostalgia looking back at it. Whereas now, it feels so urgent to excise all these conservative forms of thought as opposed to just seeing them as quirks—which they’re not just quirks, but they are that, especially when it’s your family.” She adds, “I always had the sense that running alongside this book was a book that was much angrier, or was expressed more as a sort of haranguing monologue against various things, but that’s not particularly natural to me as a writer.”

She describes the background and reactions to the publication of her poem Rape joke, and adds a note to her comments on motherhood:

The twinge you are feeling right now is the twinge of wondering whether I am really right-thinking, whether I am really on the right side when it comes to this subject. I put that twinge in because I sometimes feel it myself. But after all that, you must understand that I had to leave right-thinkingness behind.

She reflects on her family’s involvement in the “pro-life” movement (see also this, adapted from the book):

We patronised pro-life businesses, which in the Midwest, back then, was easy to do. It was possible to buy a pro-life pizza, despite the fact that a pizza is by its very definition made out of choices.

She perceives certain feminist credentials in her mother, who is ever alert to danger while not clearly subscribing to the notion of female suffrage. In a charming chapter rejoicing in the title “The Cum Queens of Hyatt Palace”, they bond over finding cum on a hotel bed. After a spirited exchange with the management (not of bodily fluids, I should add),

We join hands and set forth into the morning, united by that human glue which cannot be dissolved.

But amidst the hilarity her account addresses ever more serious topics—the church child-abuse scandal, pollution-induced disease, and her father’s roles in counselling the desperate and officiating for the bereaved.

Eventually he concedes to his errant daughter,

“I never thought it would be so much fun to have you home. It’s so nice when your kids grow up and you don’t have to kill them anymore.”

But while revelling in language she treasures its limitations:

The desire to describe voice, gesture, skin colour, is a desire to eat, take over, make into part of the pattern. I am happy every time I see a writer fail at this. I am happy every time to see real personhood resist our tricks. I am happy to see bodies insist that they are not shut up in this book, they are elsewhere. The tomb is empty, rejoice, he is not here.

Do bask in every enchanted word that Ms Lockwood writes! As a suitable soundtrack for such shots in the arm, I suggest You’re my thrill.

Life under Mussolini

Bosworth cover

With our unwelcome new sensitivity to the resurgence of unaccountable authoritarianism, and to complement my post on the resistance to Mussolini, I’ve been reading

  • Richard Bosworth, Mussolini’s Italy: life under the dictatorship (2005),

a thorough, nuanced study of the period (see e.g. this review).

Bosworth notes how our understanding is impeded by the popular image of Italians as “nice people” (brava gente), with their alluring cuisine, fashion, art and architecture (cf. the “three Fs” in Portugal). With revealing stories about provincial life, he explores why ordinary Italians were vulnerable to fascism, and how complicit they were.

Italian society, with its massive regional and class divides, was far from monolithic. Values can and do change, but in such a fragmented, unstable country, most people were “impervious to the cheap nationalist rhetoric about a homogeneous and united people”. Bosworth’s cast includes peasants, landowners, factory workers, industrialists, shopkeepers, doctors, teachers.

Within the “civilised” north and the “barbarous” south there were significant regional divides. Besides modern industrial Turin, disease-prone Venice, the south, Sicily, and Sardinia, Rome was a particular case. Even in the 1950s, peasants in Salento regarded “national roads” as foreign and alien. Poverty, starvation, and sickness were common.

Bosworth describes assaults on press freedom, the liquidation of non-Fascist trade unions, squadrism, and the secret police; the glorification of warfare, and ill-fated foreign colonial aggression (Libya, Ethiopia, Somalia, Albania, Greece, involvement in the Spanish Civil War), accompanied by camps, genocide, and chemical weapons.

During the Ethiopian campaign the authorities soon frowned upon the popular ditty Faccetta nera, with its suggestion of racial mingling. It’s disturbingly easy to find online:

Despite propaganda, such costly foreign ventures were not widely supported. Meanwhile at home the regime was constantly beset by economic troubles and corruption.

Amidst tensions between the state and the Catholic church, one area on which they agreed was the status of women, whose mission was to “breed, cook, and worship”.

In both rural and urban Italy, women could rarely detect anything that was modern in their lives.

Progress was painfully slow and patchy. Italy’s low birth rate in recent decades goes back to this period; despite exhortations from state and Church, and strict abortion laws, the birth rate fell through the 1930s. Even in some isolated rural paesi in the north, some women had never heard of Mussolini.

Fascist rhetoric found it hard to penetrate family values.

Italian homes may have contained images of the Duce but portraits of the Popes, Mary, Christ, and the holy saints, the King, the other royals and a slew of other not reliably Fascist lay saints, of whom Garibaldi was the most loved and widespread, could also be found on apartment walls.

The period from 1880 was marked by major waves of emigration, in particular to the USA. Although from the late 1920s it became much more difficult to leave, fascist and anti-fascist groups competed in the diverse foreign communities.

Bosworth 18

Bosworth qualifies the notion that the First World War led directly to Fascism. By 1917 “liberal and dynastic” motives gave way to a “popular and national” agenda. As in the Austro-Hungarian army, officers and ordinary troops literally spoke different languages. And as elsewhere, far from bringing peace, the end of the war brought renewed social conflicts and continuing violence. Among the “great powers”, Italy was most fragile.

Bosworth 13One important prelude to the Mussolini regime was Gabriele D’Annunzio’s regime at Fiume. Meanwhile violence became ever more common—as a means of asserting local power and advancing wealth, status, and authority, and to counter the spectre of Bolshevism. Bosworth looks at the uneven distribution of fascism in the provinces. The murder of Matteotti in 1924 was a turning point leading to dictatorship and the elimination of dissent. Opponents of the regime were sentenced to confino exile. During his exile on the island of Lipari, erstwhile fascist Leandro Arpinetti took up cooking, while lamenting that the locals were “somnolent poltroons”—a term that I must incorporate into my lexicon of invective (cf. Slonimsky).

The Balilla scout movement, along with “Fascistised” sport and leisure activities, made potent tools for the indoctrination of youth. Radio (and later, film) was recruited to the Fascist cause, but technology still lagged behind; even by 1940 there were still only half a million telephones (indeed, they were still rare in post-war Britain).

Among those flocking to the cause were the apiarists of Trentino. Their bees were “a superior breed (razza)”, “the best in the world”,

the natural model for Italians when they worked in perfect peace, harmony and fraternal love under the Duce.

The “purification” of language was another arena of contention. A campaign to replace the polite third-person usage Lei with the more “manly” second-person voi had mixed results. Zuppa inglese was renamed zuppa impero; hotel was replaced by albergo.

Qualifying the idea that Italian dictatorship may seem rather benign compared to those of Germany and the USSR, Bosworth reminds us of its brutality. Racial policy too was less extreme than under Nazism, but its ramifications were ugly.

Besides xenophobic assumptions about blacks, Arabs, and “Slavs”, and “border fascism” in the northeast, anti-semitism only became a major stain under the alliance with Nazi Germany. Indeed, Jews had played a role in the rise of Italian Fascism; yet racist laws accumulated after 1938. Under German rule, Jews were rounded up and deported from late 1943: among 7,495 deportees, 610 survived.

partisan 1944

Schoolteacher partisan, Val d’Aosta 1944.

Active partisan resistance grew, though numbers were was not so large as one may imagine.

Bosworth opens his account of the legacy with the 2004 visit of George W. Bush to the site of the 1944 massacre at the Ardeatine caves just outside Rome, where SS troops murdered 335 Italian men—one of a series of such reprisals (see also under The Ratline). He deflates the spin that the memorial represents a “virtuous nation as victim”.

Again, the end of the war didn’t bring peace (cf. Keith Lowe, Savage continent). After the partisan murders of 1945 (notably in the “triangle of death” in Emilia-Romagna), political fascism began to assume new forms. As elsewhere, commitment to an institutional purge of fascism soon faded. Revisionist accounts were widely read. Right- and left-wing terrorist violence grew alarmingly through the 1970s. Burlesque-only was keen to belittle the fascist heritage.

EUR

In architecture, a sadly fitting memorial to Fascism in Rome is the grandiose model suburb of EUR. Initiated in 1942 but only completed after Liberation, it became a soulless place, “a lesson in how not to foster urban vitality”.

The whole psyche of the era is effectively evoked in Alberto Moravia’s novel The conformist and Bernardo Bertolucci’s film.

Renewed alarm over the widespread resurgence of fascism has led to much analysis of the diverse forms in which it surfaces. Now I’m all for experts; in an era of groundless rants, I’m grateful for balanced presentations. I’m underwhelmed by erudite arguments that the current crisis in the USA does not make a totally identical parallel with past societies elsewhere. [1] With Trumpism sharing many themes with regimes like those of Hitler or Mussolini (themselves quite different)—xenophobia, hate speech, assaults on the media and the rule of law, manipulation of the electorate, support for violent militias, putting people in cages—there are clearly ample causes for anxiety.

Cf. posts under Life behind the Iron Curtain, and the Maoism tag. For the tomato under Mussolini, see here.


[1] In a theme that is sure to keep growing, good starters are
https://www.nytimes.com/2020/06/10/books/fascism-debate-donald-trump.html
and
https://www.theguardian.com/commentisfree/2018/oct/30/trump-borrows-tricks-of-fascism-pittsburgh
Taking the “he’s a right-wing populist, not a fascist” line,
https://www.vox.com/the-big-idea/2017/1/3/14154300/fascist-populist-trump-democracy
Expanding the discussion to Putin’s Russia:
https://www.irishtimes.com/culture/books/the-word-fascist-is-perfectly-accurate-when-applied-to-donald-trump-1.4286248
Less measured:
https://gen.medium.com/donald-trump-is-a-nazi-full-stop-393a50d80947
See also e.g.
https://www.theguardian.com/commentisfree/2019/jul/31/is-this-fascism-no-could-it-become-fascism-yes
and
https://www.theguardian.com/commentisfree/2020/jul/02/donald-trump-boris-johnson-fascism-us-uk-rightwing

Some Irish singing

Solas an lae

Pursuing my Irish theme (for music, see mainly under Carson tag, as well as this wonderful story), Songlines led me to the duo of Connemara singer Eoghan Ó Ceannabháin and County Clare fiddler Ultan O’Brien, with their splendid recent album Solas an lae. Here’s the playlist:

Such comfortable musicking! On a whimsical note, here’s Máirseáil Na Sióg:

But they present more disturbing songs too, like Tá Na Páipéir Dhá Saighneáil, tale of a bride-to-be mourning her beloved’s departure for war (cf. Soave sia il vento!):

And the harrowing All our lonely ghosts, a lament about the institutional abuse of women and children in Ireland—a topical theme:

Here they are with Jayne Pomplas:

Heaney

From 2017 film Song of granite: source here.

This led me to sean-nós singing of an earlier vintage, such as this wonderful playlist of Seosamh O hÉanaí (Joe Heaney):

Here’s his version of Tá Na Páipéir Á Saighneáil, rich in nasalisations:

Note from the Plain People of Ireland: if it’s intense solo monophonic singing you’re after, then dhrupad‘s your man too!

Le marteau sans maître

Marteau score

To follow Comment te dire adieu, a rather different kind of French chanson

Apart from the way that Pierre Boulez made us listen to 20th-century classics, his own works are remarkable. I’ve hardly listened to his Le marteau sans maître (1955) since my teens, but returning to it now, it remains a formative and beguiling aspect of a changing sound world (see e.g. these reflections by S-S-Simon Rattle).

The chamber ensemble comprises contralto with alto flute, viola, guitar (recalling Ravel and Debussy), xylorimba, vibraphone, and other percussion—whose varied combinations create a most exotic timbre.

Marteau sketch

Source here.

The xylorimba recalls the African balafon; the vibraphone, the Balinese gamelan; and the guitar, the Japanese koto. Boulez had long been attracted to non-European cultures. Over the winter of 1945–46 he immersed himself in Balinese and Japanese music and African drumming at the Musée Guimet and the Musée de l’Homme in Paris. “I almost chose the career of an ethnomusicologist because I was so fascinated by that music. It gives a different feeling of time.” Still, in Le marteau “neither the style nor the actual use of these instruments has any connection with these different musical civilisations”.

Boulez 1958

Pierre Boulez, 1958.

Indeed, the influence of world music (as it came to be called) is much less obvious in Boulez’s music than in that of his teacher Messiaen. The sound world of Le marteau even recalls jazz, a more unlikely influence.

Here’s Boulez with Hil​ary Sum​mers and the Ense​mble InterContemporain in 2002 (Le marteau avec maître!):

Indeed, Le marteau has generated a vast amount of agonised discussion about cerebral comprehension and sensuous engagement. As ever, notation is a double-edged sword—best not to let it distract us at first. Analysis, while unnecessary, can be instructive—for Mozart, Indian raga, Beatles, Chinese shawm suites, and any music; in this case, again, I find it rewarding to listen without such benefit.

Punctuating the instrumental sections, the challenging, vertiginous vocal movements are settings of poems by René Char:

L’Artisanat furieux
La roulotte rouge au bord du clou
Et cadavre dans le panier
Et chevaux de labours dans le fer à cheval
Je rêve la tête sur la pointe de mon couteau le Pérou.

Bourreaux de solitude
Le pas s’est éloigné le marcheur s’est tu
Sur le cadran de l’Imitation
Le Balancier lance sa charge de granit réflexe.

Bel Édifice et les pressentiments
J’écoute marcher dans mes jambes
La mer morte vagues par dessus tête
Enfant la jetée promenade sauvage
Homme l’illusion imitée
Des yeux purs dans les bois
Cherchent en pleurant la tête habitable

Within the niche of modern WAM, Le marteau was, and still sounds, revolutionary; yet it can hardly compare with The Rite of Spring, which has attained wider popularity even while retaining its power to shock.

* * *

By the 1970s many avant-garde performers were just as keen on exploring the new horizons of Historically Informed Performance (see e.g. here); but for Boulez the ideas of early music were a curious bête noire. Taking issue with Roger Norrington (cf. David Hurwitz!!!), he sought to refute the movement (in the early music sub-category, note Taruskin, Playing with history, and Alternative Bach):

When Le marteau sans maître was created in 1955 the German school of percussion was relatively weak. People were accustomed to playing with two sticks. Today, it is done with four and the playing is very much easier. Ought one, on the grounds of authenticity, to return to playing with two sticks? Certainly not. This example really does show us what absurdity there is in the notion of authenticity.

Much as I love Boulez, it really doesn’t. I’d like to read this debate. Boulez’s point is about technique, not choice of instruments or style; indeed, if the result sounds the same, then it’s an underwhelming argument. But supposing the instruments, mallets, and timbres have changed since the 1950s, surely it would be revealing to play the piece now using those earlier versions. If a time comes when performers are estranged from Boulez’s aesthetic world, then it would be interesting to hear the piece played taking account of his own vision.

Comment te dire adieu

Hardy 2

Like I say a little prayer, Back to black, Carminho (among many gems on my Playlist of songs!!!), and festive Bach, it makes me unbearably happy to hear the exquisite chanteuse * Françoise Hardy singing Comment te dire adieu (1968)—the nuances of her expression capturing the ambivalent mood, both in close-up:

and lounging languidly on a chaise longue:

Serge Gainsbourg’s drôle lyrics are brilliant:

Sous aucun prétexte je ne veux
Avoir de réflexes malheureux
Il faut que tu m’ex——pliques un peu mieux
Comment te dire adieu

Mon coeur de silex vite prend feu
Ton coeur de Pyrex résiste au feu
Je suis bien perplexe, je ne veux
Me résoudre aux adieux

(Je sais bien qu’un ex——amour n’a pas de chance, ou si peu
Mais pour moi un ex——plication voudrait mieux)

Sous aucun prétexte je ne veux
Devant toi surex——poser mes yeux
Derrière un Kleenex je saurais mieux
Comment te dire adieu
Comment te dire adieu

(Tu as mis à l’index nos nuits blanches, nos matins gris-bleu
Mais pour moi une ex——plication vaudrait mieux)

Sous aucun prétexte je ne veux
Devant toi surex—poser mes yeux
Derrière un Kleenex je saurais mieux
Comment te dire adieu
Comment te dire adieu
Comment te dire adieu

She sounds soooo cool, there doesn’t seem to be a lot of hurting going on here. Instead, she finds inner strength through a flurry of insouciant wordplay on “ex“—not least Pyrex (a niche hommage to kitchenware in French chanson) and Kleenex. Sex is just a sibilant away….

Nor does she let up in her gorgeous sprechstimme interludes (above a change to triple metre on strings), stressing ex——amour and ex­——plication (as in the sung ex——pliques and surex——poser) with an ecc——entric hiatus, negating the natural rhythm of speech—not so much a speech impediment as the kind of deliberate pause advocated by therapists to prepare the stammerer to approach the following syllable (especially plosives) with easy onset!

True, she would make the Paris phone directory sound irresistibly seductive (cf. the HP sauce label), but here her spoken sections further the dramatic effect, ex——punging, ex——orcising her ex——perience. They’re punctuated by a funky syncopated trumpet motif, courtesy of Caravelli, worthy of Hardy’s fellow-Parisian Messiaen—who three years previously had completed the Sept haïkaï

Then there’s the extra visual frisson of veux, malheureux, aux adieux, mieux. One even hopes to hear her pronouncing the x there (I wonder how this works: do native French speakers somehow hear it in their heads?).

À propos, like many men, Monsieur Pyrex, the passionless, fire-resistant subject of this nonchalent lament, clearly needs his head ex——amining.

The music is suitably minimalist, eschewing melodic or harmonic development—recalling more the theme tune of Soap than the ballads of Michel Legrand (see also Un homme et une femme).

Comment te dire adieu is actually a chic upbeat French recasting of the soupy ballad It hurts to say goodbye, which had recently been recorded by Margaret Whiting and then Vera Lynn—just the kind of ballad I’d love to have heard Dusty sing (cf. You don’t own me; see also How can I miss you when you won’t go away?).

Françoise Hardy subtly subverts both the melodrama and the “gamine elfin waif” trope (see also Feminine endings). Put this song on the British school syllabus and there’ll soon be a legion of fluent young Francophiles…

Her German version of the song works well too; while the lyrics are less detached, they make a bit of an effort to keep the “ex” theme going:

Nach zwei Cognacs ex bekamst du Mut
Deine Abschiedstexte waren gut [Das Lied von der Erde for generation X?]
Ratlos und perplex nur dachte ich
Was mach ich ohne dich

Stets war mein Komplex du bist zu schön
Charm hast du für sechs, ach was, für zehn **
Liebt denn so was exklusiv nur mich
Was mach ich ohne dich

(Ob du daran denkst
Wie einsam und verloren ich bin
Nein, du hast schon längst
Eine Andere im Sinn)

Gib mir keinen Extrakuss jetzt mehr
Der nur noch Reflexbewegung wäre
Ratlos und perplex nur frag ich mich
Was mach ich ohne dich
Was mach ich ohne dich

(All die Nächte mit dir
Voll von Glück bis zum Morgengrauen
Die und dich stahl mir
Eine andere Frau)

Diese Dame X, die dich mir nimmt
Fliegt auf deine Tricks wie ich, bestimmt
Dann als Dame ex sagt sie wie ich
Was mach ich ohne dich
Was mach ich ohne dich

 And she sings it in Italian, with yet another angle on the story:

Non voglio un pretesto per pietà
Sai che io detesto falsità
Sii un po’ più onesto quando vuoi
Finirla fra di noi

Non restar perplesso ad inventar
Scuse che del resto non van mai
Oltre ad un modesto rendez-vous
A cui non vieni più

(Io so bene che i castelli di carta
Con un soffio van giù
Non ne hai colpa tu)

Non voglio un pretesto per pietà
Sai che io detesto falsità
Dammi il fazzoletto quando vuoi
Finirla fra di noi
Finirla fra di noi

That first verse is good:

I don’t want an excuse for piety
Know that I detest falsity
Be a bit more honest when you want
To finish it between us.

One might think Spanish regional languages would offer potential for the exes too. Anyway, the nuances of mood in these various versions are intriguing. Possibly a multilingual EU directive to Brexit Britain? 

Françoise Hardy did a more melancholic version with her soul sister (twin?) Jane Birkin in 1976 (Comment lui dire adieu!):

Later Birkin gave an intense live arabesque rendition (1996/2002), with ex——emplary decorations on solo fiddle:

The 60s, eh?! Ex——traordinare! I am officially applying to be reincarnated as Serge Gainsbourg.

Hardy


* English pronunciation shontooz, as in A French letter, n.2.

** Cf. the classic

What comes between fear and sex?
Fünf.

Research on research

research

The pronunciation of “research” as a noun is one of my Pet Peeves, like “reaching a crescendo” and the rampant ascending cadence.

As a verb, a stress on the second syllable seems standard; more variable is the pronunciation of the noun. I was never aware of the stress on the first syllable (with a long “ee”) until the 1990s; now I often find myself bombarded by it on the radio.

Both forms may have been around for a long time, but I’m not sure the current state of play is entirely random. In the UK it seems to be largely generational—the first-syllable stress perhaps another of those more recent influences from the good ol’ US of A. Amongst all the research [gritted teeth] on stress patterning, someone must have tabulated this by age, period, region, and perhaps by class and even gender (“broken down by age and sex“, like Keith Richards). zzzzz…

So I suspect it’s just an index of my irrational elderly snobbery. For me, absurdly, the stress on the first syllable seems to suggest that the speaker is a callow upstart. The choice seems to distinguish serious study from messing around on the internet; Some Might Say that reSEARCH is what I used to do, while REsearch is what I do now… Hoisted with my own petard—whatever that is.

See also You say potatoSignoffs and other cross-pond drôlerieTo go: a parallel textMomentarily, and This and that.

Roundup for 2020!

Since part of my mission (whatever that is) is to vary the distribution of the diverse posts on this blog, keeping you guessing, this latest annual roundup (cf. 2018, 2019) is an occasion to group together some major themes from the last year (see also the tags and categories in the sidebar). This is just a selection (with apologies to the posts I’ve missed—do seek them out!):

For China, note

A substantial addition to my series on the ritual associations of Gaoluo:

Also new to the extensive Local ritual menu:

and on folk culture around Tianjin:

See also

Book reviews, mostly on religion and politics:

as well as

On modern Tibetan cultures, I’ve added a whole series, listed here:

—complementing my series on Uyghur culture in crisis, also with new input:

besides

* * *

For fieldwork and cultures elsewhere around the world—bearing in mind the important perspectives of

This year’s new posts on Indian raga, including some divine dhrupad singing:

* * *

On the travails of the 20th century:

* * *

On jazz:

and WAM:

On TV, film, popular culture:

* * *

Thanksgivings for liberation from tyranny:

And another sign of hope:

More jocular items include

as well as additions to The English, home and abroad:

and new entries under the headlines tag:

Further roundups:

And much much more, As They Say. Having grouped them together like this, I hope readers will scramble them all up again like a jigsaw, rather than retreating into their own little boxes… And do click on all the links within these posts! Happy, Happier New Year!

Covid: ex-plosives

plosives

Leaf Lalm And Larry On

Since Covid struck, there’s been considerable research on droplets launched by speech (e.g. here); singing, too, has been scrutinised for its risks to public health. Here I’d like to add speech therapy into the mix (see e.g. Modifying disfluency), a topic that such studies hardly take into account. *

The main culprits are plosives—both unvoiced (p, t, k) and voiced (b, d, g) plosives p-p-posing a p-p-particular p-p-problem for us stammerers.

On the languagelog site there’s been much arcane, erudite discussion of multi-lingual spoof health advice, including posts by Mark LibermanBen Zimmer, and Victor Mair. More pleasing to a general Anglophone audience is this drôle fantasy by Peter Prowse:

Since consonants project over a greater distance than vowels, a three-tier system will be introduced in an effort to slow the spread:

Replacing P with F: anyone speaking to other feofle in a fublic flace will have to stop using the flosive sound; failure to do so could lead to a fine—or even frison. The whole fofulation, even members of Farliament, will have to flay their fart in this.

Replacing T with N: although this may cause some initial confusion—for example, neachers in schools will face challenges when neaching the nen nimes nable—we are confident any froblems will be nemforary; and measures under nier noo will help nurn the nide of this fandemic.

Replacing K with L: after a further brief feriod, we will bring in Near Three. The rules under Nears One and Noo will conninue. We have lonsidered these measures larefully, in line with relommendations from frofessors at Lambridge Universiny.

These new rules will affly also to other languages sfolen in this cunnry, including Nerdish, Folish, Fortuguese, and Inalian. I urge feofle to Leaf Lalm And Larry On. Nogether, we will lonquer the Lovid fandemic and renurn noo normaliny in no nime an all.

To be fair, it’s stressed, especially initial, flosives that are farticularly frojectile—and the major hurdle for stammerers. But requesting PPE may still present a challenge.

Levity apart (and here’s my pretext for relaying the topic here), it makes a good reminder for us stammerers to approach words with light contacts (“easy onset”)—and for fluent speakers, to imagine our chronic tribulations.

* Separately, several sites offer guidance for stammerers during Covid; this one has many links, including a BBC video. Of course, stammering is part of general issues in communicating; communication via masks is a challenge for all (cf. Masked drama in Asia). With so little social contact, I haven’t had much experience of negotiating stammering in a mask. I seem to be more reluctant to stammer “openly”, even if it’s invisible. When encountering a (silent) block, I apparently need people to see that I’m at least making an effort (also a reason why sufferers find phone-calls difficult), even if it’s precisely the tension of the mouth that is my undoing.

Amidst the pandemic it’s been suggested that (fluent) people should take up ventriloquism. I wonder if there are any stammering ventriloquists—perhaps a cruel dummy mercilessly taking the p-p-mickey out of their stammering minder… That would be great therapy.

For more melodious public health advice, click here.