It's the 76th anniversary of the beginning of Kristallnacht ("the night of broken glass"), in which a thousand synagogues and thousands of Jewish businesses were attacked, in what's considered to mark the beginning of the Holocaust. The New York Times reports:
When watershed Holocaust dates come up on the calendar, like the anniversary of Kristallnacht, the pogrom in Germany and Austria on Nov. 9 and 10 in 1938, Anne [Frank]’s surviving relatives and friends are invited to share tidbits as well as tell their own often harrowing stories. . . .
Eva Schloss, 85, is an elegant, articulate woman who worked as a photographer, ran an antiques shop, raised three daughters and wrote a 1988 book, “Eva’s Story: A Survivor’s Tale by the Stepsister of Anne Frank.” She was born Eva Geiringer in Vienna on May 11, 1929, a month before Anne. Hers was an assimilated family that owned a shoe factory. In school, children were separated for religious classes.
“Everybody knew who was a Jew,” she said. “So after the Nazis came, we were immediately attacked and beaten up and the teachers were watching it and not doing anything.”
Her family ended up in Amsterdam, also living in the Merwedeplein apartments across from the Franks. The two girls were in a loose gang that played together in the square. Anne, she said, had a leader’s personality; she was a “big know-it-all,” occasionally “domineering,” who demanded attention.
When the Nazis occupied Holland in May 1940, Jews were forbidden, among other things, to go to movies. “They showed the Disney film ‘Snow White and the Seven Dwarfs,’ and the Christian children talked about it,” Mrs. Schloss recalled. “For us it was already a tragedy.”
In July 1942, when the Nazis began calling up Jews like Margot and Eva’s brother, Heinz, for work assignments in Germany, the Frank and Geiringer families went into hiding, with the Geiringers splitting up among a succession of Dutch resistance families. In May 1944, Mrs. Schloss’s family was betrayed and wound up in Auschwitz. Only she and her mother survived.
Otto Frank, knowing his wife had died, was also liberated at Auschwitz and returned to Amsterdam to await news about his daughters. Mrs. Schloss’s mother and Otto became friends and eventually lovers.
“He looked like a ghost,” she said. “One day he came to us with a little parcel. It was a diary. It took him three weeks to read it, . . . and he said, ‘I didn’t really know my own child.'”
"My father came to visit me in Tehran with two relatives. They'd had a meeting to decide what to do about me... They told me: 'You need to either have your gender changed or we will kill you and will not let you live in this family.'" (via)
Speaking to a Rhode Island College group last week, the president uttered a gaffe that opened a window to his stale, doctrinaire thinking.
He was decrying the lack of “affordable, quality child care” in America. “Too often,” he said, “parents have no choice but to put their kids in cheaper day care that maybe doesn’t have the kinds of programming that makes a big difference in a child’s development . . . or the best programs may be too far away. And sometimes, someone, usually mom, leaves the workplace to stay home with the kids, which then leaves her earning a lower wage for the rest of her life as a result. And that’s not a choice we want Americans to make.”
Many commentators have given the president the benefit of the doubt and assumed that what he meant was that mothers shouldn’t be obliged to choose between staying home with their children and earning higher wages. Let’s assume that’s right; it’s still a nonsense statement. What will the government do — mandate that employers offer women who took perhaps years off to care for children the same pay and promotions they would have earned had they remained in the workforce? How would that be remotely possible?
You’d have to assume that the woman in question would have remained for all those years at the same firm, and would have been a good employee. You’d also have to assume that the employer remains in business, that the kind of work the mom did is still needed and hasn’t been superseded by technological or other changes. And what would become of the employee, male or female, who was doing the mom’s work while she stayed home with the kids? Besides, if firms were required to pay above the market value to returning mothers, wouldn’t that discourage hiring?
Liberals like Obama don’t think in those terms. They apply the “wave the magic wand” school of policy analysis, as in “If I could wave a magic wand, there would be no trade-offs in life. Child care would be plentiful, staffed by Ivy League graduates, convenient to everyone’s homes, and dirt-cheap. Moms would be able to work while their kids were young, and never feel a tug of regret. Or, they could choose to stay at home for a few years and return to the workforce without missing a step or a paycheck.”
This is the sort of talk that liberals and progressives have been feeding eager audiences for decades. It glides past economic realities without so much as a backward glance. How, for example, are you going to get those highly educated college grads to work in day-care centers when they expect large returns for their very expensive educations? Is the pay going to start at $100,000? Where will the money come from?
President Obama, faithful foot soldier of the Left, is eager to free women from child-care responsibilities. “That’s not a choice we want Americans to make.” It’s odd, isn’t it, that the Left, always hostile to business and money, elevates marketplace participation above family life so consistently? Nancy Pelosi thinks Obamacare is wonderful because it will supposedly free people from work so that they can be artists, but God forbid that women voluntarily take time off to nurture children.
Most mothers want to be able to raise their own children. Some even believe that the fanciest child-care center in the world can’t compete with a parent’s love. A Pew Survey found that among parents who had taken significant time off from work to care for children, 94 percent said they were glad they did.
It was a horrible night for the Democrats. They lost control of the Senate, which was to be expected. But they lost nearly all of the close races and appear to have held onto seats in New Hampshire and Virginia only by the thinnest of margins. Democrats also failed to oust Governor Rick Scott in Florida and Scott Walker in Wisconsin. More troubling still: Democratic candidates lost governor’s races in Illinois and Maryland. In Vermont, land of Ben and Jerry's, the Democrat barely edged his GOP counterpart but couldn't get 50 percent of the vote, sending the contest to the State Legislature. He should get elected anyway, but when Democrats are struggling in deeply blue states like Vermont, you know it's a really bad night.
Oh, and Republicans padded their majority in the House. They should have around 250 seats when final results are in everywhere.
What the heck happened? Everything that was true 24 hours ago is true now. The states with Senate races tended to be Republican-leaning, yielding an electorate substantially more conservative than the country as a whole. And turnout was lower than in presidential elections, with participation disproportionately lower among groups that vote Democratic. In 2012, as John Judis points out, voters between 18 and 44 made up nearly half the electorate. In Tuesday's elections, they were less than one-third of the electorate. Don't let anybody tell you that these two factors, geography and turnout, weren't a huge part of the story.
But they're not the whole story, as Judis also notes. Turnout among young people [was] low even by midterm standards. That suggests the Democrats, and particularly the president, failed to rally them. More generally, Obama’s approval rating is in the low 40s—better than George W. Bush in his sixth year, but worse than President Clinton’s or President Reagan’s. With those kinds of ratings, the president’s party is not going to fare well, even in states where Democrats are typically more competitive. . . .
Republicans can’t honestly claim a mandate tonight. They can’t even claim a mandate to undo Obamacare, the program that they claim to hate most. No, all Republicans did was say they were opposed to the president. On Tuesday night, that was enough to win.
Let me make my position clear: In situations with a generic singular antecedent, "they" is not OK. It is preferable. The attempted abolition of singular "they" was a hypercolossal blunder by 18th- and 19th-century fusspots who thought grammar should follow the same sort of simple rules as a steam engine, that Latin and Greek grammars were a good model for English diction, and that in public-facing activity, men absorbed the women in their circle like a sort of social sponge. We should stop perpetuating their error. We should rip this rule from our grammar texts and obliterate it from our stylebooks. We should fling it down and dance upon it.
In 2012, two massive storms pounded the United States, leaving hundreds of thousands of people homeless, hungry or without power for days and weeks.
Americans did what they so often do after disasters. They sent hundreds of millions of dollars to the Red Cross, confident their money would ease the suffering left behind by Superstorm Sandy and Hurricane Isaac. They believed the charity was up to the job. They were wrong. . . .
During Isaac, Red Cross supervisors ordered dozens of trucks usually deployed to deliver aid to be driven around nearly empty instead, “just to be seen,” one of the drivers, Jim Dunham, recalls.
“We were sent way down on the Gulf with nothing to give,” Dunham says. The Red Cross’ relief effort was “worse than the storm.”
During Sandy, emergency vehicles were taken away from relief work and assigned to serve as backdrops for press conferences, angering disaster responders on the ground.
After both storms, the charity’s problems left some victims in dire circumstances or vulnerable to harm, the organization’s internal assessments acknowledge. Handicapped victims “slept in their wheelchairs for days” because the charity had not secured proper cots. In one shelter, sex offenders were “all over including playing in children’s area” because Red Cross staff “didn’t know/follow procedures.”
According to interviews and documents, the Red Cross lacked basic supplies like food, blankets and batteries to distribute to victims in the days just after the storms. Sometimes, even when supplies were plentiful, they went to waste. In one case, the Red Cross had to throw out tens of thousands of meals because it couldn’t find the people who needed them.
The Red Cross marshalled an army of volunteers, but many were misdirected by the charity’s managers. Some were ordered to stay in Tampa long after it became clear that Isaac would bypass the city. After Sandy, volunteers wandered the streets of New York in search of stricken neighborhoods, lost because they had not been given GPS equipment to guide them.
The problems stand in stark contrast to the Red Cross’ standing in the realm of disaster relief. President Obama, who is the charity’s honorary chairman, vouched for the group after Sandy, telling Americans to donate. “The Red Cross knows what they’re doing,” he said.
Two weeks after Sandy hit, Red Cross Chief Executive Gail McGovern declared that the group’s relief efforts had been “near flawless.”
The group’s self-assessments, drawn together just weeks later, were far less congratulatory.
“Multiple systems failed,” say minutes from a closed-door meeting of top officials in December 2012, referring to logistics. “We didn’t have the kind of sophistication needed for this size job,” noted a Red Cross vice president in the same meeting, the minutes say. . . .
[Isaac] lingered over Mississippi and Louisiana, causing major flooding and more than $2 billion in damage. In some low-lying areas, residents had to be rescued from the rooftops of their submerged homes.
The Red Cross mobilized hundreds of volunteers, equipment, emergency vehicles and supplies. But it couldn’t marshal them promptly enough to help many Isaac victims.
When Rieckenberg arrived in Mississippi to help coordinate victim care, he witnessed the incident that so troubled Dunham, the emergency vehicle driver. An official gave the order to send out 80 trucks and emergency response vehicles — normally full of meals or supplies like diapers, bleach and paper towels — entirely empty or carrying a few snacks.
The volunteers “were told to drive around and look like you’re giving disaster relief,” Rieckenberg says.
I know this can't be right, because I've been told private initiative is always better than government initiative.
Yeah, except . . . the Red Cross was created by the government, and it has a government mandate to work with the government (FEMA). So it's not exactly a case study in unbounded private enterprise.
Folks from President Obama to swearing 5-year-olds princesses have been citing a statistic that 20 percent of women on college campuses, or one in five, will be sexually assaulted while there—a stat that has also been routinely debunked. However, a new sexual assault survey from the Massachusetts Institute of Technology (MIT)—one of the first schools to release broad data on campus sex crimes—seems to corroborate everyone's favorite sketchy stat. . . .
But students are confused about how alcohol and intoxication affect consent, which perhaps speaks to increasing progressive activism around the idea that drunk people can't give consent. Only about three-quarters of respondents said they feel confident in their own ability to judge whether someone is too intoxicated to consent to sex. And more than half agreed that "rape and sexual assault can happen unintentionally, especially if alcohol is involved."
I just want to repeat that one more time: Half of the MIT students surveyed think it's possible to "accidently" rape someone. When you consider undergraduates alone, this rises to 67 percent.
This is what we get when people push an idea that rape is really often a matter of consent confusion or a drunken misunderstanding and not something that one person (the rapist) intentionally does to another. This is exactly what those of us opposed to affirmative consent standards mean when we worry about it muddying the waters of consent and confusing the definition of rape. About a fifth of female undergraduates and a quarter of male undergraduates surveyed agreed that "when someone is raped or sexually assaulted, it’s often because the way they said 'no' was unclear or there was some miscommunication."
The supposedly progressive new law may actually cause us to retrogress.
As for the spelling: an adverb is based on an adjective, not a noun. Thus, "accidentally," the adverb, is based on "accidental," the adjective, not the noun "accident."
Saying that Muslim extremists comprise only a minority of Muslims is factually accurate. Suggesting that the minority of extremists does not mean that there is a problem with Islam for the West is wrong.
There is a commonly used chestnut that "Hitler was democratically elected." In reality, the Nazis only got ~1/3 of the vote. The Nazis were a minority in Germany leading up to WWII. That didn't mean the world didn't have a Germany problem.
Marxist rebels were a minority in Russia before the October Revolution, that didn't mean the Tsar didn't have a Marxism problem.
Less than 50% of the white population of the original 13 colonies that formed the US supported independence, but Britain certainly had a revolutionary problem.
Just because an agitating group is a minority within a larger group does not insulate the larger group from blame. If the larger group does not actively work against the minority agitators then it only takes a minority to effect change. . . .
The majority is harder to organize than a minority. It is easier to find agreement in a minority. And an organized minority is stronger than a disorganized majority. . . .
If we want to stop ISIS and other groups of that ilk from gaining power we need to be able to talk about why they are able to rise to power. We can't get there if we treat Islam as anathema to our society. We also can't get there if we are stuck on politically correct evasions.
ADDED: Isn't it odd that so many people want to credit Islam with any good things that have been done by Muslims, like inventing algebra? Is that inherent in the religion? Is it to be found in the original texts? No, it's something that happens to have been done by a tiny minority of Muslims!
As election day approaches, many (not all are doing this) Democrats (and others) might want to stop denigrating ALL white males as though they are the reason for any and all woes of the nation. Any time you denigrate an entire group, regardless of what the group is, you are showing bigotry. . . .
It seems to me that white men – as a group – are getting slapped around unfairly. Many accuse white men — as a group — of having some sort of sinister motive against others. I think it has gotten to the point where some white men feel like that have to tip toe around some topics and issues in fear of being accused of being something awful. White men are not the enemy – to women or anyone else. Some may want to step back and ‘give them a break.’
I think she's obviously right. The kind of "reverse" sexism and racism she's describing is helpful to no one. (I'd actually be happy to omit that "reverse.") I wonder if someday in the future, this kind of thing will seem as shockingly backward as we now recognize our own history of misogyny and racism to be.
And why has this been happening? Here's my theory. (Just a theory!) A lot of people have an impulse to be prejudiced. But at the same time, they're like almost everyone in that they want to avoid being socially unacceptable. So they want to vent sexism and racism somehow — but only in ways that are considered socially acceptable. And how can one do that? It's obvious: by expressing sexism/racism against men and whites only. If they'd been born long ago, they might have vented against women or blacks instead. That's why when I hear people expressing shamelessly anti-man or anti-white views, it doesn't strike me as a dramatic improvement over the expression of anti-woman or anti-black views.
And no, that doesn't mean I "don't understand the nature of historic oppression and privilege." Everyone knows that men and whites have historically gotten a lot of unfair advantages, and it's a serious problem. I just think that if your solution to that problem is to endorse the concept of sexism and racism (as long as they're directed against the right people), you lose a bit of credibility to claim that you're fundamentally opposed to sexism and racism.
I sympathize with science-fiction writer Neal Stephenson and venture-capitalist Peter Thiel, whose new books lament the demise of grand 20th-century dreams and the optimistic culture they expressed. “I worry that our inability to match the achievements of the 1960s space program might be symptomatic of a general failure of our society to get big things done,” writes Stephenson in the preface to "Hieroglyph," a science-fiction anthology hoping “to rekindle grand technological ambitions through the power of storytelling.” ...
[W]e have plenty of big projects. The human genome has been sequenced. Enormous libraries of books and collections of paintings and drawings have been scanned and made searchable online. James Turrell is making great monumental art in the Arizona desert. Three -- three! -- billionaires are running their own space programs. Space is so popular among his peers that Bill Gates, whose own modest goals run to conquering malaria and other tropical scourges, finds himself telling interviewers that “it’s not an area that I’ll be putting money into.” If there’s public malaise about progress, it isn’t because nobody is doing anything bold....
The reason mid-20th-century Americans were optimistic about the future wasn’t that science-fiction writers told cool stories about space travel. Science-fiction glamour in fact worked on only a small slice of the public.... People believed the future would be better than the present because they believed the present was better than the past. They constantly heard stories -- not speculative, futuristic stories but news stories, fashion stories, real-estate stories, medical stories -- that reinforced this belief. They remembered epidemics and rejoiced in vaccines and wonder drugs. They looked back on crowded urban walk-ups and appreciated neat suburban homes. They recalled ironing on sweaty summer days and celebrated air conditioning and wash-and-wear fabrics. They marveled at tiny transistor radios and dreamed of going on airplane trips.
Then the stories changed. For good reasons and bad, more and more Americans stopped believing in what they had once viewed as progress. Plastics became a punch line, convenience foods ridiculous, nature the standard [warning: New York Times link] of all things right and good. Freeways destroyed neighborhoods. Urban renewal replaced them with forbidding Brutalist plazas. New subdivisions represented a threat to the landscape rather than the promise of the good life. Too-fast airplanes produced window-rattling sonic booms [NYT link]. Insecticides harmed eagles’ eggs. Exploration meant conquest and brutal exploitation. Little by little, the number of modern offenses grew until we found ourselves in a 21st century where some of the most educated, affluent and culturally influential people in the country are terrified of vaccinating their children. Nothing good, they’ve come to think, comes from disturbing nature.
So, everyone's trying to figure out why the Supreme Court decided not to decide the same-sex marriage cases. I can't believe the reason is that the court didn't consider the issue very important because almost all lower federal courts have agreed on the issue. Of course it would be important for the Supreme Court to have the authoritative last word on the issue!
Strategy may have also played a role in the decision to deny review. The Court’s four more liberal Justices – Ginsburg, Breyer, Sotomayor, and Kagan – may have been content to leave well enough alone, from their perspective. Put another way, they may have preferred to let the tide of decisions striking down state bans continue to flow steadily, rather than risk a broader decision which might turn back that tide altogether.
OK, that's fairly clear. I'd also add Kennedy to that list.
But she finds it "harder to imagine ... why some of the Court’s more conservative Justices didn’t join forces to grant review":
Indeed, it was nearly impossible to fathom that they would allow the lower-court decisions striking down state bans on same-sex marriage to go into effect without a fight, even if (as the conventional wisdom has surmised) they remained concerned about their ability to persuade Justice Anthony Kennedy to join them in upholding the bans. But apparently they did, and we may never know the full story until a Justice’s private papers are released, many years from now.
Here's how I see it. The 4 conservatives should assume, based on what they know about their other 5 colleagues, that any Supreme Court decision on this issue would conclude that same-sex marriage is a constitutional right. And they might dislike that result, but they're smart enough to realize that's the only result that can possibly be supported by citations to Supreme Court case law. Or perhaps they basically think that'd be a fine result, but they're uncomfortable enough with it that they'd rather not be the ones to make the decision. Even if they're firmly convinced that the bans are constitutional, surely they realize that the most they could accomplish is a dissenting opinion with no legal effect; the only effect would be to tarnish their legacies and forever associate themselves with "the wrong side of history." In short, the conservatives had no good way to decide the case, so they decided they'd rather not decide it.
ADDED: One more possibility I left out: Perhaps the 4 conservatives have a strong desire for a ruling saying the bans are constitutional, so they want to do anything possible to increase the chances of that happening. And they think there's no chance with the court's current personnel, but there's some chance if at least one liberal or Kennedy is replaced by a Republican president. So they might not think they're very likely to win, but they at least want to give it a chance, and they've figured out that their chances are better if they wait.
Ellington was a dance-band impresario who played no better than O.K. piano, got trapped for years playing “jungle music” in gangster night clubs, and at his height produced mostly tinny, brief recordings. (His finest was made on a bitter winter night in 1940, in a Fargo, North Dakota, ballroom.) How did he become a dominant figure of modern music and, for many people, an exemplar of art? The typical answer used to be that he was really a master composer on the European model, all score paper and seclusion and suites. On inspection, this doesn’t hold much water. Ellington’s best music turns out to be the crystallized collective improvisation of an exceptionally ornery group of musical malcontents. To explain it all, we seem to need new categories of value, and another kind of meditation on what originality is. ...
Ellington knew from the beginning that he needed a sound, more even than a beat or a style. The individual players he employed weren’t up-to-date urban players but, often, less sophisticated New Orleans musicians, whose great gift was a distinctly human tone, often achieved with the use of homemade mutes and plungers. They never suffered from the homogenized, driving tone of the white bands.
Over the years, Ellington cultivated those kinds of players until, with the 1940 band, he achieved something extraordinary—an all-star band that played together, soloed luminously, and never sounded competitive. As critics still remark in proper wonder, at least five of the musicians—Jimmy Blanton, on bass, Ben Webster, on tenor sax, Johnny Hodges, on alto sax, Harry Carney, on baritone sax, and Tricky Sam Nanton, on the trombone—are in the running for the very best ever to have picked up their instrument.
Yet a residue of disappointment clings to these pages [of Terry Teachout’s Duke: A Life of Duke Ellington]: Ellington was an elegant man but not a very nice one, Teachout concludes, exploiting the musicians he gathered and held so close. He used his musicians (not to mention his women) often quite coldly, and his romantic-seeming life was really one long cloud of shimmering misdirection. Teachout reveals that Ellington was rarely the sole composer of the music associated with his name. Nearly all his hit songs, Teachout explains, “were collaborations with band members who did not always receive credit—or royalties—when the songs were recorded and published.” It’s long been known by fans that many of the most famous “Ellington” numbers are really the arranger Billy Strayhorn’s, including “Take the A Train” and “Chelsea Bridge,” and that the valve trombonist Juan Tizol wrote most of “Caravan.” But much of “Mood Indigo” was Barney Bigard’s, while “Never No Lament” (which became the hit “Don’t Get Around Much Anymore”), “I’m Beginning to See the Light,” and “I Let a Song Go Out of My Heart” began as Johnny Hodges riffs and then became songs. “Sophisticated Lady,” “Prelude to a Kiss,” and “In a Sentimental Mood,” in turn, are melodies originally blown by, and rarely credited to, the alto-sax player Otto Hardwick.
None of these are obvious, all-purpose riffs, or simple blues phrases. They’re rich, melodic ideas, as complex as anything in Gershwin or Rodgers. Ellington owned them, but they didn’t start in his head, or take form under his fingers. Teachout says all the right things about how, without Ellington’s ears to hear them and his intelligence to fix and resolve them, these might have been butterflies that lived a day, fluttered, and died. But you sense that he’s shaken by the news. It seems like theft. It certainly bothered the musicians. Hodges used to make a sign of counting money when Ellington was playing the medley of his tunes.
One might be a touch more defiant on behalf of the Duke. Ellington really did take other men’s ideas and act as if they were his own. But he did this because he took other men’s ideas and made them his own. There are artists whose genius lies in exploiting other people’s talent, and we can recognize the exploitation as the genius. It is the gift of such artists to be able to energize and paralyze other people and do both at the same time. It may be true that Herman Mankiewicz wrote most of “Citizen Kane,” scene by scene and even shot by shot. What is certainly true is that nothing else that survives of Mankiewicz’s is remotely as good as “Citizen Kane.” That’s because he was writing “Citizen Kane” for Orson Welles. Johnny Hodges spent many years on his own, with every chance to keep his tunes to himself. No other standard ever emerged. Suppose Billy Strayhorn had been liberated instead of “adopted” and infantilized. Would he have had the energy and mastery to form a band, sustain it, recruit the right musicians, survive their eccentricities and addictions, give them music they could play, record it, and keep enough of a popular audience alive to justify the expense of the rest? It is painful to read of Strayhorn desolate over having credit for his music stolen by the Duke; it is also the case that Ellington had the genius not to have to cry.
Ellington’s ear, his energy, his organizational abilities, the sureness of his decisions are a case study for management school. (Consider the way he fired Charles Mingus for fighting with Tizol, fondly but with no appeal: “I’m afraid, Charles—I’ve never fired anybody—you’ll have to quit my band. I don’t need any new problems. Juan’s an old problem. . . . I must ask you to be kind enough to give me your notice.”) These are not ordinary or secondary gifts. They were the essence of his genius. Ellington had an idea of a certain kind of jazz: tonal, atmospheric, blues-based but elegant. He took what he needed to realize the ideal he had invented. The tunes may have begun with his sidemen; the music was his. This is not a secondary form of originality, which needs a postmodern apologia, in which “curating” is another kind of “creating.” It is the original kind of originality.
There’s a reason that Duke’s players mostly complained of being cheated only of the dough. Originality comes in two kinds: originality of ideas, and originality of labor, and although it is the first kind that we get agitated about, we should honor the second kind still more. There is wit, made by the head and spun out into life; and work, created mostly by fingers engaging tools as various as tenor saxes and computer keyboards. It is an oddity of our civilization, and has been since the Renaissance, to honor wit more than work, to think that the new idea “contributed” by the work matters more than the work itself.
What Johnny Hodges was doing in making those new melodies may have been more like the copying errors in ceaseless cell fission than like premeditated decision: as he set to playing the same chord changes over and over, night after night, a lucky error in a note may, one night, have touched another and become an innovation. It was a happy accident produced by hard labor. But that it reflected effort as much as inspiration should only increase its value. No author really minds, too much, seeing his or her ideas “out there,” to be recycled, and even a conceptual artist has a slightly guilty conscience about trading in that commodity alone. (That’s why Jasper Johns fans insist that it is the finish, the touch, that really matters.) What artists dislike is having their effort recirculated without recompense. It is our sentences, not our sentiments, that we ought to protect. The Duke’s men grasped this. They were glad to concede to their self-made duke all of his preëminence—indeed, his royalty. They just wanted him to hand over their royalties first.
What mattered was the band. Duke Ellington was a great impresario and bandleader who created the most stylish sound, and brand, in American music, and kept a company of musicians going for half a century. That this description seems somehow less exalting than calling him a “major American composer” or a “radical musical innovator” is a sign of how far we have to go in allowing art to tell us how to admire it, rather than trying to make it hold still in conventional poses in order to be admired.
"At a time like this, scorching irony, not convincing argument, is needed. O! had I the ability, and could reach the nation's ear, I would, today, pour out a fiery stream of biting ridicule, blasting reproach, withering sarcasm, and stern rebuke. For it is not light that is needed, but fire; it is not the gentle shower, but thunder. ... The feeling of the nation must be quickened; the conscience of the nation must be roused; the propriety of the nation must be startled; the hypocrisy of the nation must be exposed; and its crimes against God and man must be proclaimed and denounced.
What, to the American slave, is your 4th of July? I answer; a day that reveals to him, more than all other days in the year, the gross injustice and cruelty to which he is the constant victim. To him, your celebration is a sham; your boasted liberty, an unholy license; your national greatness, swelling vanity; your sounds of rejoicing are empty and heartless; your denunciation of tyrants, brass fronted impudence; your shouts of liberty and equality, hollow mockery; your prayers and hymns, your sermons and thanksgivings, with all your religious parade and solemnity, are, to Him, mere bombast, fraud, deception, impiety, and hypocrisy -- a thin veil to cover up crimes which would disgrace a nation of savages. There is not a nation on the earth guilty of practices more shocking and bloody than are the people of the United States, at this very hour.
Go where you may, search where you will, roam through all the monarchies and despotisms of the Old World, travel through South America, search out every abuse, and when you have found the last, lay your facts by the side of the everyday practices of this nation, and you will say with me, that, for revolting barbarity and shameless hypocrisy, America reigns without a rival. ...
Long established customs of hurtful character could formerly fence themselves in, and do their evil work with social impunity. Knowledge was then confined and enjoyed by the privileged few, and the multitude walked on in mental darkness. But a change has now come over the affairs of mankind. Walled cities and empires have become unfashionable. The arm of commerce has borne away the gates of the strong city. Intelligence is penetrating the darkest corners of the globe. It makes its pathway over and under the sea, as well as on the earth. Wind, steam, and lightning are its chartered agents. Oceans no longer divide, but link nations together. From Boston to London is now a holiday excursion. Space is comparatively annihilated. Thoughts expressed on one side of the Atlantic are distinctly heard on the other. ... No abuse, no outrage whether in taste, sport or avarice, can now hide itself from the all-pervading light. The iron shoe, and crippled foot of China must be seen in contrast with nature."
The blog was originally called Marginalia, before she quickly changed it to her last name. Her first post explained:
I'm writing from Madison, Wisconsin, and Marginalia is a fictionalized name for Madison that I thought up a long time ago when I seriously believed I would write a fictionalized account of my life in Madison, Wisconsin. There is nothing terribly marginal about Madison, really, but I do like writing in the margins of books, something I once caused a librarian to gasp by saying. Writing in a blog is both less and more permanent than writing in the margin of a book.
She's posted an average of about 10 posts a day, with a total of over 36,000. Out of those tens of thousands, my favorite Althouse post might seem very minor. But to me it shows the essence of her blog. Why? Because if you got 100 bloggers to write a post about that Washington Post editorial, no one else would have written it that way. Most would have been forgettable and abstract, where Althouse was memorable and vivid.
I love writing quickly and openly and . . . I'd spent too much time reading the newspaper passively and without making myself decide what I really thought about various things. I wanted to force myself to take one more step and say something about the stories of the day. I'm not a partisan or an ideologue, so I didn't know automatically. It was only by making myself write a sentence or 2 that I found out what I really thought.
There's a daunting amount of content, about no one clear theme. But is there any theme? I think there is an unstated theme: saying what isn't said. Let's look at what people are saying. Let's stop and think about what they're notably not saying out loud. And let's take it upon ourselves to say it out loud. That's what I call "saying what isn't said," and that's what has always distinguished the Althouse blog from other blogs that are merely effective at saying the right things to please their audience. It's easy to look at what others are saying, pick the statements that appeal to us, and repeat them. We all do that sometimes. But those who do only that are missing something.
(If you want to support Althouse for free, search for stuff on Amazon by using the box at the top of the blog, to the right. Amazon rewards her for the referrals, at no cost to you.)
Jim Hall, a jazz guitarist who for more than 50 years was admired by critics, aficionados and especially his fellow musicians for his impeccable technique and the warmth and subtlety of his playing, died on Tuesday at his home in Greenwich Village. He was 83. . . .
The list of important musicians with whom Mr. Hall worked was enough to earn him a place in jazz history. It includes the pianist Bill Evans, with whom he recorded two acclaimed duet albums, and the singer Ella Fitzgerald, as well as the saxophonists Sonny Rollins and Paul Desmond, the drummer Chico Hamilton and the bassist Ron Carter, his frequent partner in a duo.
But with his distinctive touch, his inviting sound and his finely developed sense of melody, Mr. Hall made it clear early in his career that he was an important musician in his own right.
He was an influential one as well. Pat Metheny, Bill Frisell and John Scofield are among the numerous younger guitarists who acknowledge him as an inspiration. Mr. Hall, who never stopped being open to new ideas and new challenges, worked at various times with all three.
In his later years Mr. Hall composed many pieces for large ensembles, drawing on both his jazz roots and his classical training. Works like “Quartet Plus Four” for jazz quartet and string quartet, and “Peace Movement,” a concerto for guitar and orchestra, were performed internationally and widely praised.
If the critics tended to use the same words over and over to describe Mr. Hall’s playing — graceful, understated, fluent — that was as much a tribute to his consistency as to his talent. As Nate Chinen wrote recently in The New York Times, Mr. Hall’s style, “with the austere grace of a Shaker chair,” has sounded “effortlessly modern at almost every juncture” of his long career.
Pat Metheny has said:
Within a day or two of expressing any interest in the two words "jazz guitar," you will come across Jim Hall. He is in many ways the father of modern jazz guitar. To me, he’s the guy who invented a conception that has allowed the guitar to function in a lot of musical situations that just weren’t thought of as a possibility prior to his emergence as a player. He reinvented what the guitar could be as a jazz instrument.
It’s not about the guitar, it’s about music which is the thing you would say about any great musician. Jim transcends the instrument. The notes that he plays, if they were played by any other player on any other instrument, would have the same kind of value and the same kind of impact and effect. And that is, to me, the quality that separates someone who’s an important musician from somebody who’s just a really good player on their instrument. The meaning behind the notes is what speaks to people. It’s not necessarily the sound or the technique of it, it’s more the spirit of it and that’s the thing that Jim is about for me.
That quote is from the liner notes to the album called Jim Hall & Pat Metheny (downloadable on Hall's website). Here's Hall and Metheny playing "All the Things You Are":
Here's Jim Hall and Sonny Rollins playing the manic "The Bridge":
Here he is accompanying Ella Fitzgerald on "Summertime" (Hall's guitar playing gets interesting after 1:25):
Jim Hall and Michel Petrucciani play "My Funny Valentine" (Petrucciani was a pianist as great as his stature was small — the result of a congenital condition):
But to me, the recording that best sums up Jim Hall's enigmatic expressiveness and daringly original approach to the guitar is "Angel Eyes," from his 1975 album Jim Hall Live (just Jim Hall, Don Thompson on bass, and Terry Clarke on drums):
Here's an hour-long documentary about him from 1999, called "Jim Hall: A Life in Progress":
Guitarists might want to watch this hour-long "master class."
NPR has collected some quotes from other musicians talking about Hall. Sonny Rollins: "He was able to be a dominant player, a very forceful player but he was also sensitive. You know, that was remarkable. So he was ideal as far as I was concerned for the band that we had together."
John Scofield: "It was just [a] very elegant, elegant thing that he did that affected all of, just about all of the guitar players after him I think."
Julian Lage, a young, excellent guitarist who played with Jim Hall in concert earlier this year, said: "For someone who has had such an impact on just the aesthetic of improvised music and guitar, as a total guitar hero, there was such a degree of humility that — it wasn't that he downplayed what he did — he had this sense that it was part of something way bigger."
A guitarist named Victor Magnani has written a whole essay called "Everything I Need to Know I Learned From Jim Hall." Read the whole thing for the many lessons (including "trust," "respect," "take risks," "don't waste words/notes/time," "keep growing," and "keep good company"). Magnani sums up how he's been affected by Hall:
Of all the great jazz artists, no one has had a more profound impact on me than guitarist Jim Hall. As a guitarist myself there are times when I look to his music to teach me purely technical things - how does he play through certain chord changes, how does he voice his chords, how does he produce that miraculous sound of his? But if this were all his art had to offer, it would be fairly shallow. His work speaks as much to the human condition as any artist past or present, and if one looks and listens attentively, there are great rewards to be found there.
A reader emailed to ask whether I've stopped updating this blog. I don't plan to keep posting here regularly, though I'll certainly keep this site online for as long as Google (Blogger) will let me. Here are some points I gave in the email:
• Other technologies are making blogs less appealing. My blog has mostly been read by strangers; if I post something on Facebook, the people who see it are my friends. The very fact that my not posting for a little while is so conspicuous as to give rise to a whole discussion about it is an example of why sites like Facebook and Twitter are more appealing. Someone who reads those sites is usually reading a feed of everyone they follow, so they notice the content that's there, not what isn't there.
• I feel like there are other things that are more worth my time, like reading, cooking, and making music.
• Politics has become less interesting to me than it used to. I've been feeling more and more that no one in public discourse is actually trying to figure out which policies will have better consequences. They're just trying to create an impression of supporting policies that have good consequences, or an impression of caring about the right people/things (the poor, the middle class, women, blacks, gays, children, the elderly, the disabled, the environment, science, religion) and despising other things (big corporations, big government). I've been influenced by reading people like Thomas Sowell, Tyler Cowen, and Robin Hanson, who reveal how much people select their beliefs to enhance and promote their own self-image, as opposed to reflecting reality or solving problems. Of course, this could be a reason to blog: to call out these tendencies. But it's also exhausting to keep going against the grain of so much of the discourse.
• There are other topics where I feel like I've mostly said what I want to say. For instance, people pretty much know what music I like. I'm more interested in expanding my music library and listening more to some of the music that's already in my library. Regular readers also know which websites I like, so they're not going to be horribly deprived of my kind of content if I don't blog again; they can go to the sites linked in the sidebar.
If you're still interested in content from me, I recommend following/friending me on Facebook, which is now the main place I post stuff online.
