Something for Thursday

Someone asked on social media the other day, “What’s your favorite John Denver song?”

So, here’s my answer.

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Clarity from Mr. Gibson

America’s right wing is a lot of things. It’s impervious to facts, immune to empathy, and prone to conspiracy theory. It worships wealth and loathes its absence, and it is sexist and racist and homophobic and transphobic. All of these things inform the American right’s approach to everything, from how it manages its social lives to its approach to public policy. Writer Adam Serwer captured this notably when he said, “The cruelty is the point.”

But it’s not just the cruelty that’s the point. It’s the delight they feel in meting out that cruelty.

This was driven home for me twice in the last few days.

Actor-director Mel Gibson is a deeply talented man whose work I used to enjoy greatly, before he decided to out himself as a racist, a homophobe, and an anti-Semite. I remain gobsmacked that Gibson, who has made no secret of how much hate he’s carrying around in his heart, made a movie as empathetic as The Man Without a Face. But Gibson has been finding his voice welcomed again of late, as the rest of America’s right-wing has in general, with the victory of President 47*. Gibson has been sharing his thoughts on public health issues on the Joe Rogan podcast (because of course you should listen to a right-wing actor-director and a grifting podcaster for your health policy information), and then this weekend he popped up with more opinions about the wildfires in California.

It’s been an article of faith with Republicans that the wildfires have been particularly bad because the governor of California has been doing bad things and because the LA Fire Department is loaded with incompetent leaders who were all DEI hires**. Of course this is total nonsense, but whatever, it’s what they believe. And Gibson believes it too, and he’s been spouting it. But in one particular interview he said something that caught my eye because it crystalizes how America’s right-wing thinks in a very blunt and true way:

“It’s like Daddy arrive and he’s taking his belt off, you know?”

See, it’s not just that they want to craft public policy that’s mean. That’s a given. And it’s not just that their policy proposals aren’t backed by any factual information at all about how things work in the real world, because that’s also a given. It’s that not only do they know that their policies will hurt people, they want their policies to hurt people. And why?

Because they view their policies as punitive in nature.

They aren’t looking to reverse progressive policy because they disagree with it. They are looking to pass as much harmful policy as possible because they are angry with America for ever having passed it in the first place, and they want to punish Americans for it.

“Daddy’s home and he’s taking off his belt.”

Remember that metaphor. These are the people who want to be able to hit kids. These are the people who advocate for spanking. And this is why they join militias and pass “Stand your ground” laws and claim to “Back the Blue”: because not only do they not see progressive Americans as equal citizens, but as wrongdoers who need to be punished.

You see this everywhere. Every time some right-winger opens their mouth on social media, the desire to see people suffer comes through loud and clear. Check out this viral video from TikTok the other day, in which some woman openly states that people getting deported and families getting broken up by ICE agents “gives her great comfort”. (This woman has apparently been identified and let go by her employer, so there’s that.) She’s not just advocating for a policy that hurts people because she thinks that in the end it’s the best policy; she’s advocating for that policy because she likes the idea of hurting people who have somehow wronged her.

“Daddy’s home and he’s taking off his belt.”

They want to punish you for being American and not thinking the way they do. They want to punish you for thinking that your sexual orientation shouldn’t matter. They want to punish you for observing how awfully Black people have been treated. They want to punish you for advocating for the self-determination of women. They want to punish you for having advocated wearing a mask during a pandemic whose disease was conveyed by respiratory transmission. They want to punish you for admitting that climate change is a thing.

Not one policy of theirs is geared toward making anyone‘s life better, except for the rich. Their only policy goal is to punish you. Don’t ask for what. It doesn’t matter. Because ultimately they don’t care about that, either.

* His name will not appear on this site. If that’s a problem for you, bummer.

** “DEI” in this context always means, “non-white”.

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Tone Poem Tuesday

I’m thinking about renaming this weekly feature, in order to make it into a more broad focus on classical music, but more on that later when I’ve thought of a name that I like. Meanwhile, today I have a piece of chamber music by Marcel Tyberg.

Tyberg was an Austrian composer, born in 1893. He was not highly prolific, but he left behind several symphonies, some songs, and a few chamber and sacred works that survived when Tyberg gave his manuscripts to a friend while he was living in Northern Italy in 1943. How prescient he was: his mother, abiding by Nazi law, registered that she did, in fact, have Jewish blood. On that basis, Marcel Tyberg was deported to the camps. He died in Auschwitz, December 31, 1944.

His scores remained with a family who later settled in Buffalo, NY, where decades later a descendant found the music and brought it to Buffalo Philharmonic music director JoAnn Falletta. She describes what happened:

One day, maybe a couple of years after I became music director;  I remember it was a terribly rainy day in Buffalo, and I got off the stage after rehearsal and standing at the door of my dressing room was this older gentleman, just drenched, wearing a raincoat, dripping water, carrying a shopping bag. I had never met him before.

It was Dr. Enrico Mihich [the son of Milan Mihich, the friend to whom Tyberg entrusted his scores]. He said, “I have to speak to you. It’s very important.” He was the kind of person, when he said it was very important, you listened to him.

We went into my dressing room.  He told me that story. He said, I know this is wonderful music. It’s great music.  It needs to be played.  I’ve tried with every music director and they haven’t been able to do it.

I looked at the music and I knew why they said no. It was almost illegible. The score had been handwritten, the pages were frayed, pieces were missing. It was almost impossible to read this European handwriting.

I realized this was going to be a daunting project but there was something about his urgency. He said to me, “I’m not going to live much longer.  This is my life’s mission to bring this music to life.”

And I thought, how could you not be moved by the belief in this composer that this man had?

Marcel Tyberg is a musical voice that maybe would have flourished in the 20th century had other impulses not included his in the millions of voices that were marked for silence. Listening to music from artists like this is important, I think, for a number of reasons. First, those voices should never have been silenced and if we can hear them now, even many decades later, I think that’s a worthy thing. And second? It’s just plain good music.

This is Tyberg’s Piano Trio in F major. A piano trio typically involves a piano, a violin, and a cello, and that’s the case here. The work is energetic and lyrical with a middle movement that puts me in mind of Borodin, with its songful introspection and its insistent drive. And it can only be heard now because a man took his friend’s music and fled Europe with it.

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The Saxhole of Chestnut Ridge (a repost)

This is a repost of a piece I wrote in 2015. I dig it up now because there’s been some discussion in social media lately of what appropriate punishment should be meted out against people who play their music, headphoneless, while on hiking trails in nature parks. This discussion made me remember a particularly odd instance of someone displaying a staggering degree of situational inappropriateness….

Every Sunday I take the dee-oh-gee on a nature walk. We go to a local park, usually one of our local county or state parks; our most common destinations are Knox Farm State Park in East Aurora and Chestnut Ridge Park (a county park) in southern Orchard Park. Chestnut Ridge is a big park, set amidst several hillsides, with lots of hiking trails and old roads and ravines with babbling brooks along with shelters for families to rent for picnics and a huge hill that’s the region’s best place for sledding in winter and a noted disc-golf course. We like Chestnut Ridge a lot. We’ve been going there regularly ever since Cane became a member of the family, and we still haven’t seen all it has to offer.

In addition to nature, Chestnut Ridge also offers some interesting people watching on occasion. When we go on Sunday mornings, there are often large groups of young people jogging through the park, and a lot of them don’t restrict their jogging to the roads, but also to the off-road hiking trails. This is always fun to watch, and Cane enjoys seeing the runners go by. There are also always lots of people with other dogs, which can make Cane either happy or nervous, depending on the dog. There was one fat brown dog who just kind of waddled around, once; this dog’s name turned out to be “Ammo”, which led me to advance my Law Of Dog Names: The more bad-ass a name a dog has, the less bad-ass the dog actually is. So a dog named, oh, Crusher will be a big whimpering softie, while a dog named, oh, Frankie will be an ass-biting menace. It’s just the way things are.

This Sunday past, we saw several groups of joggers, including one older group and one younger group. We also walked past two middle-aged women who were talking very loudly about their own medical problems, and then we took a side road that led past a small playground where two teenagers, figuring they were alone, were making out quite nicely. (They stopped when they realized Cane and I were approaching, and I turned my gaze aside and left them to their youthful hormonal fun-having.)

People watching is fun, but the main reason I love these nature walks is the nature — especially the sounds. I love hearing the knocking of woodpeckers at work upon the trees. I love the sudden flutter in the air when a bird I didn’t even realize was there takes wing. I love the whispering as the trees rub against each other in the wind, and I love the rushing of the streams, even as by this time of year they have mostly dried up to little more than a few trickles, here and there. Aside from the occasional passing car or truck engine — and sometimes not even those, if we’re far enough from the roads — there are no man-made sounds at all, save my own footfalls and the soft jingling of the tags on Cane’s collar.

But today…we were on another road, heading back in the direction of the parking lot, when I heard…music.

Somewhere in the distance, music.

I couldn’t tell where or why, but as we kept walking, I realized we were getting closer to the source of the music. I recognized the tune first: “Amazing Grace”. And then, moving forward, I recognized the instrument. It was a saxophone. And the person playing it finished “Amazing Grace” and moved right on to “Onward Christian Soldiers”. And then followed several more hymns and other bits of Americana. “The Battle Hymn of the Republic,” “When Johnny Comes Marching Home,” and eventually, “The Star Spangled Banner”. We came around a corner, and there he was, standing next to his parked car across the road. He had a music stand set up and everything. This guy was actually playing his saxophone in the middle of Chestnut Ridge Park, on a Sunday morning. And he was playing it loudly. His sound carried.

Now, I must admit that the sax has never been my favorite instrument, but like all instruments, it’s a pleasure when played well. This guy, unfortunately, was not very good. He wasn’t “rank beginner” awful, but he played a lot of wrong notes and…oh, the hell with it. It doesn’t matter how well he played. If Thelonius Monk himself decided to set up a solo show in the middle of Chestnut Ridge on a Sunday morning, it would have been every bit as annoying and inappropriate. I found myself finishing our walk in some disbelief that there exists some asshole who is sufficiently narcissistic to decide that what people going to one of our area’s finest nature parks really need is to listen to his not-very-good saxophone playing. Who on Earth possibly comes to that conclusion?

By the time his playing was finally fading from my ears as I and the dog achieved sufficient distance from him, he was playing “Over the Rainbow”. I got Cane back in the car, but instead of leaving the park, I drove back in. I wanted to see this clown closer up. I wasn’t going to yell out the window or throw garbage at him (though both were tempting prospects), but I wanted to see what kind of asshole does this. When I drove by his space, he had evidently decided that it was time to move on. His stand was gone, and he was leaning into the hatch of his little red car, putting away his horn after his presumably self-booked gig. Older guy. Skinny. Had his shorts pulled up oddly high, and socks up to his knees. There he was, evidently quite satisfied. He’d accomplished his mission, see, forcing himself upon everyone in earshot in a place where “in earshot” is a pretty large area.

As I drove home, I thought about the saxophone playing asshole…the sax asshole…the Saxhole. The Saxhole of Chestnut Ridge.

I’m not sure I’ll take Cane to Chestnut Ridge next week or not. We might, because I really do love that park, but I love others, too. High are my hopes, though, that I have heard forever the last of the Saxhole of Chestnut Ridge.

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Scenes from a Winter’s Week

Looking up my street.
Same view as above, but with the ice on my windshield in focus
Snow on the deck, with reflected candlelight
In winter, the world is your beer cooler!

It was a very cold and somewhat snowy week here. Nothing we couldn’t handle on either front–the lake effect produced probably 18 inches or so, maybe a little more, over several days–but nevertheless, I’m seeing reports that the first week of February may bring higher-than-normal temperatures. Here’s hoping. I wouldn’t mind melting some of this off.

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Something for Thursday

Well, my mood hasn’t been great this week, for what are probably obvious reasons. But there is still music to fall back on and to remind oneself what is good in the world.

Like, punching Nazis.

Punching Nazis is good.

Punching Nazis is very good.

Here’s the theme music for a character who punched a lot of Nazis.

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Tone Poem Tuesday

I could also title this post “I listened to it, so now I’m gonna make you listen to it too!” Because it’s a piece whose existence I learned about after I watched a video on YouTube called “Reacting to One of the Worst Pieces of Classical Music Ever“.

“Ooooh!” thought I. “He’s gonna rip on Ravel’s Bolero!”

Erp…no. He did not.

What did he rip on?

A piece called The Battle of Prague by Frantisek Kotzwara.

You are now no doubt wondering just who on earth Frantisek Kotzwara is or was. And I’m here to help! Kotzwara was an itinerant musician who played viola and double bass in addition to composing, and he traveled all over Europe after being born in Prague. He eventually settled in England, where he lived out the rest of his life before dying peacefully in 1791, either 60 or 61 years of age.

When I say “died peacefully”, I’m being nice. I’ll leave the details to the reader to search out, but according to Wikipedia, Kotzwara was “one of the first recorded instances of death by erotic asphyxiation”.

And you thought the folks of the “powdered wig” era were a bunch of no-fun types.

The Battle of Prague was originally written for piano primarily, but apparently it includes secondary parts for violin, cello, and percussion. The work memorializes a battle that took place near Prague (obviously), and it falls into a kind of mini-genre of “battle music”, not unlike Wellington’s Victory, a fairly silly potboiler of a piece that gains almost all of whatever cachet it has by virtue of its having been composed by Ludwig van Beethoven. Well, Kotzwara was no Beethoven, and I have to admit that I found this work (it’s been orchestrated here) entertainingly silly in a way that the Beethoven work also possesses. It’s hard to describe. The tunes are relatively catchy, and there’s some surprisingly impressionistic work here for a piece written in Mozart’s day.

Could it actually be good?

Well…no. Not to me, anyway. But it’s also not bad in the worst way, either. Apparently, from what I’ve sussed out online, The Battle of Prague was quite a popular piece in its day and after, and it’s got a certain crowd-pleasing weirdness to it. It’s a weirdly fun little listen. Here, you be the judge!

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Never forget:

Everything that is to come is what we wanted.

That is all.

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Under the hood (and above it)

I’ve been doing a bit of tinkering with things on the site the last couple of days, first tidying up the sidebar and finally updating the photo gallery. I’ll probably do a bit more tweaking over the next few days. Nothing major, but updating a lot of stuff that’s been in need of updating. Stay tuned!

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No, John Williams did not rip off Dvorak! (a repost)

NOTE: This is a repost of an old item from the BlogSpot days of this site. For whatever reason, I’ve seen a rather dispiriting resurgence on social media the last few days of the old chestnut that John Williams is basically a hack of a composer who steals his melodies from anywhere and everywhere, and that he recycles his own music, and so on. Every time I hear this I wonder about the listening skills of the people involved. And do give the Bernstein lecture below a listen! It’s a very enlightening look at how superficial similarities between works are often just that: entirely superficial.

Comments are turned off on this one, for the reason stated below.

UPDATE 2/18/2022: Broken link fixed.

REPOSTING 2/16/2022 because…see addendum to text.

UPDATE 2/7/19: This post, for some reason, must rank highly on some Google search index or something, because it’s been a relatively consistent driver of traffic to this blog ever since I posted it, nearly four years ago. I have closed off commenting for this post because the only discussion that has ever really occurred here has been people showing up to assure me that yes, John Williams really does rip off everybody under the sun, and in all honesty I’m not interested in entertaining those discussions anymore. That said, it does strike me as interesting how many different composers of wildly varying background and voice Williams is accused of “blatantly stealing”, and how many times a specific piece by Williams is said to be a clear rip from half a dozen specific earlier works. It’s a heck of a composer who can clearly steal four or five different pieces (or so I’m told) just to craft one theme for a Harry Potter movie, innit? Anyhow, here’s the post.

This is one of the trustiest of annoying old chestnuts. What happens is someone hears Dvorak’s Symphony No. 9 (titled “From the New World”) for the first time, encounters the opening bars of the fourth movement, and immediately races to the computer to post the revelation for the ages that “OMG! John Williams totally ripped off Dvorak’s “New World Symphony” for the theme from JAWS!” This is the most common example of a thing that John Williams has ripped off, but there are a lot of them. A partial list of composers from whom Williams is obviously a plagiarist includes Tchaikovsky, Mahler, Wagner, Korngold, Steiner, Prokofiev, and Penderecki — in addition to the afore-mentioned Dvorak.

By comparison, here’s the Dvorak, and here’s the Williams. The similarities between the two are, to put it kindly, extremely superficial. Both start with low strings intoning a note, and then the note a half-step above it, and then the motif is repeated a few times. But Dvorak repeats it loudly and uses all the lower strings and goes at a quick tempo, building quickly and bringing in the rest of the orchestra before getting to his main theme. He also stays quite clearly in the same time signature.

Williams, however, starts off with similar notes…but slower, and much softer, and lower — I’m not even sure if he uses the cellos at all. It might be just the double basses at first. And then his insistent rhythm starts with those punching chords at off moments, so you’re not even sure what the time signature of the piece is. Williams’s sound is insistent and mysterious and somehow both mechanical and not — pretty much the opposite of what Dvorak does. And yet, “Williams ripped off Dvorak!” is one of those zombie nonsense notions that always comes back, despite being complete nonsense to anyone who bothers to pay attention.

ADDENDUM: I just saw this on YouTube. Clearly Williams was actually stealing the JAWS theme from Beethoven!

In cases like this, for years I’ve been recommending a wonderful essay by Leonard Bernstein called “The Infinite Variety of Music”, which appears in the book of the same title. The essay is actually the script of one of the wonderful episodes he used to do for the educational teevee program Omnibus. In this particular episode, Bernstein described how composers are able to create an astonishing variety of musical works from just thirteen notes of the Western tuning system, by reducing things even further and showing how a number of great composers wrote amazing pieces, many of which are very familiar, by using as their main motif the exact same four-note melody. It’s a worthy reminder that there’s a lot more to music than just what the notes are, and I’ve always found that essay to be a good remedy against the over-used canard that this composer or that composer ripped someone else off.

Of course, the problem with recommending an essay like that is that it’s in a book that isn’t always readily available…but I’ve recently discovered that the audio of that very program is on YouTube, with the musical examples helpfully included so you can see what’s going on as Bernstein speaks. I can’t recommend this highly enough. It’s certainly worth the 48 minutes to listen through. No, Bernstein doesn’t specifically address Dvorak or Williams (in fact, this program was likely recorded while Williams was still a studio musician and Steven Spielberg was a kid), but it does suggest a good way of listening to music to evaluate such silly claims.

Here’s the video:


Really, give it a listen. It’ll make you better at listening to music!

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