Friday, November 11, 2016

Armistice Day




The sun's shining down on these green fields of France
The warm wind blows gently and the red poppies dance
The trenches have vanished long under the plow
No gas, no barbed wire, no guns firing now
But still in this graveyard that's still No Man's Land
The countless white crosses in mute witness stand
To man's blind indifference to his fellow man
And a whole generation were butchered and damned

Did they beat the drums slowly, did they play the fife lowly?
Did they sound the death march as they lowered you down?
Did the band play "The Last Post" and chorus?

Did the pipes play "The Flowers of the Forest"?

And I can't help but wonder now, Willy McBride
Do all those who lie here know why they died?

Did you really believe them when they told you the cause?
Did you really believe this war would end war? 
Well, the sufferin', the sorrow, the glory, the shame,
The killin', the dyin', it was all done in vain --
Oh, Willie McBride, it all happened again
And again, and again, and again, and again.






Thursday, November 10, 2016

Don't Get Above Your Raisin'

Don't Get Above Your Raisin': Country Music and the Southern Working Class
© 2002 Bill C. Malone
432 pages



Friend of mine named Steve Goodman wrote that song, and he told me that it was the perfect country-and-western song. I wrote him back and told him he had not written the perfect country and western song, 'cause he hadn't said anything at all about Mama, or trains, or trucks, or prison, or gettin' drunk.  (David Allen Coe, "You Never Even Call Me By My Name")


Don't get above your raisin', stay down to Earth with me -- Bill Malone never quotes the song that serves as the title of his book, a history of country music in its southern context...but its spirit is ever present. Using the lives of country's most passionate and storied performers, Malone reflects on the tradition and finds it a lovable mess -- alternatively humble and bragging, pious and rowdy.  Malone's deep familiarity with the tradition, and his love for it, are obvious. He doesn't simply treat readers to a barrage of chronology, but rather examines how certain aspects of the genre have evolved throughout  the last two centuries, so tumultuous to the South.

Country is as the name implies a tradition of music created and sustained by rural populations -- farmers first, and now people who live and play in the backwoods.  Its beginnings mix traditional romantic ballads, dances, and religious music.  Religious music is an especially strong influence on country, the stuff of lullabies and tent revivals that created generation after generation of musicians and singers.  In religiosity, the South remains stridently Protestant, but there's no puritanism to be found in country music. Inst ed, piety and partying mix together freely --  with no better witness than Hank Williams, who penned "I Saw the Light" and died an early death, plagued by depression and substance abuse.  The tangled, wonderful messiness of country  envelops more than religion. Country songs simultaneously embrace Mama's hearth and home, while celebrating rambling men and the freedom of the open road. Politics, too, finds contradictions -- zealous law-and-order mixed with praise of rowdy outlaws who give the Man what-for.  Not for nothing are truckers and cowboys, the ramblers who come home eventually, so popular -- as are repentant sinners who will invariably go chasing cigareetes, whuskey, and wild, wild women.  Additionally, Malone delves into the connections between country and its daughters, bluegrass and political folk, as well as the changing country-dance scene.  There's also a good chapter on country's connection with comedy in general, focusing on the Grand Ol Opry and Hee Haw, mentioning people like Andy Griffith and Jerry Clower.

Malone's piece is a labor of love, though with most others his age he despairs of the way country music headed in the 1990s, with more synthesizers and less fiddles.  That trend has certainly continued,  Taylor Swift's seamless transition into pop being an obvious example.  There are many traditionalists in the ranks, though.  Travis Tritt is quoted as sneering at Billy Ray Cyrus, who dressed in a body shirt  and 'turning country music into an ass-wiggling contest'.   Considering the posterior antics of Cyrus' daughter Miley, who does more than wiggling,  I suppose apples still don't fall very far from trees.  Still, Malone looks for the best even in then contemporary music, and concedes that every genre is in constant motion.

Don't Get Above Your Raisin' surprised me. I knew it would be a history of country music, but -- even as someone who grew up with country, who loves and collects the older artists -- Malone shared artists and stories I'd never heard of. Who knew that square dancing was borrowed from French aristocrats?  If you have any interest in country music at all, this book is worth picking up just for the discography in the back,  where Malone lists all of the albums and songs he's been referencing throughout the text. I've been able to find a lot of older artists via youtube's "also reccommended" feature, but this kind of shortcut is welcome!

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Tuesday, November 8, 2016

Love > Despair

Since 2007 I have found Playing for Change -- an organization that brings people from around the world together to make music together, their different instruments and instruments blending together beautifully -- a glorious beacon of joy,  hope, and goodness. So, I'd like to use them to deliver a  broadside against the sheer meanness of today and the year that has led to it.


"About ten years ago my town suffered a terrible terrorist atrocity. There has been a divide in our country which has unsettled the nation for such a long time...and I decided soon after this atrocity that I would try and bring people closer together. "

Love, rescue me.
Come forth and speak to me.
Raise me up, and don't
let me fall...

No man is my enemy
My own hands imprison me.
I say -- "Love, rescue me."


The group singing above was organized in response to an explosion in Northern Ireland which killed over thirty people, two of them unborn babies, and wounded hundreds more.

A few more songs of defiant joy and love abundant:














Sunday, November 6, 2016

Divided Highways

Divided Highways: Building the Interstate Highways, Transforming American Life
©  Tom Lewis 2007, 2013
416 pages



No engineering project in the United States is more impressive than the interstate system; dense with the connections of a street grid, it serves not blocks but an entire continent.  In Divided Highways,  Tom Lewis tells the story of that system's creation, inside a broader history of how motoring in general transformed American life.  Lewis principally concerns himself with the political rise of the highways, and the problems that followed once the ideal became a reality and people realized that reality comes with smells, noises, shadows, and bills.  Lewis connects the drama of the highways with ever-changing American society as a whole. though, integrating their story in which whatever else was happening (the oil crises of the 1970s, for instance) and commenting on the morphing nature of urbanism as downtowns bled out into the broad puddles of edge cities.  Though Lewis is enamored of the interstate, motoring, and the American dedication to constant motion, he doesn't shy away from giving critics a voice.

The story of the highways begins with the automobile, of course, since before then road building wasn't a priority: given the distances involved. water transportation dominated until the train made overland transit more competitive. The rising popularity of automobiles and bicycles -- an individualistic alternative to crowded trolleys and trains controlled by some of the more powerful corporations of the day-- led to a demand for places to  use them, and no road is worth much if it doesn't connect you to other  roads going other places. Enter Thomas Harris MacDonald,  an intensely thorough, dedicated,  and prudent fellow who would dominate the Bureau of Public Roads from the Wilson administration to that of Eisenhower's. MacDonald's prudence was such that he only built roads when they were deemed immediately necessary -- much different from today's build-it-and-they-will-come-and-pay-taxes attitude.  Although not aggressive,  his thoroughness did produce sketches of what a national highway system might look like, and how it might be ordered. Such a system was well underway when he died in retirement, his own fledging highways being supplanted by the limited access freeways that now create a massive asphalt circulatory system for the nation.

Building interstates involved a bit of juggling of responsibility between the state governments and D.C, and this became particularly thorny in regards to cities. The interstate system didn't just connect cities; from the beginning, many cut through cities themselves, becoming a kind of rapid transit system. When President Eisenhower became entangled in freeway construction enroute to Camp David, he made a few terse inquiries as to who was responsible for plowing this great road into the city, whereupon some Nathan-like figure informed him...Mr. President, thou art the man.  (Apparently, the interstate bill he signed was one of the 'we have to pass it to see what's in it' variety....) Running interstates through cities proved the source of most of the system's political problems, as the city spans became quickly congested, occupied large swathes of formerly tax-paying real estate, and functioned as a massive wall running through the cheapest real estate that could be found...that of the poor, who became poorer still when industry began following the interstate out of the city.  In New Orleans, the destruction of the French Quarter's charm by an interstate was narrowly avoided by citizen protests, and in our own time other cities (San Francisco, for instance) have gone to the mattresses to get rid of view-obstructing spurs.

As mentioned, Lewis also comments on the ongoing transformation of American society, the rise of franchise chain stores and the like. This was done with far more detail in Asphalt Nation, but presumably he wanted to write on something more than the exciting world of transportation finance. The connections made to broader US history -- the anti-interstate reaction concurring with the civil rights movement and youth rebellion --  not only make the history more 'personable', but provide welcome  context.  The subtitle of 'transforming American society' isn't a big component of the book, though, and he doesn't mention  influences of the freeway on other transportation infrastructure in general, like the worrisome tendency of larger roads to mimic interstates even though it's dangerous to encourage higher speeds in areas with pedestrians, buildings, and cross traffic.

Useful as a history of how the interstates happened, Divided Highways  deserves praise for hailing the interstate system  while simultaneously delivering the stories of people disrupted by it and rebelling against it.


"We could do anything, then, and do it to excess; our Interstates boldly proclaimed the triumph of engineering. Like our cars, whose fins could not be too high, they made a statement with adolescent vigor. We thought little of the Interstate's ability to rend the landscape, to divide communities, and to alienate citizens. The roads were a concrete snapshot of ourselves when we believed nothing was beyond our reach."




Related:






Saturday, November 5, 2016

Hidden Order

Hidden Order
© 2013 Brad Thor
383 pages



The five people on the short list to succeed to the chair of the Federal Reserve have just disappeared, and Scott Harvath -- former Navy SEAL,  now private security action hero -- is hired to find out why.  When the five begin appearing as the victim-players in dramatic executions making homage to Boston's revolutionary history,  only Harvath, a saucy Portuguese lady-cop, their smartphones, and their Berettas stand between the world economy and total disruption!   As with The Last Patriot, Hidden Order  combines fun-with-trivia history with action heroics, though it's not as silly as that National Treasure-esque book.  I read it because I happened to hear the author being interviewed, and he quoted Star Trek.

 Here, Brad Thor takes on the considerable task of making a thriller out of the deceitfully-named Federal Reserve, which protects itself from public awareness  by making every discussion of it glaze eyes and put listeners to sleep. Thor avoids the word monetary altogether and focuses entirely on the conspiratorial aspects of the Fed, chiefly the interesting manner in which it was arranged: a band of New York bankers retreating to a small island off of Georgia under the guise of hunting, then planning a national bank  with  control over the nation's money. The 'fed'  remains a private entity with control over public finance.  Thor lays it on a bit thick, with Harvath's chief source  for this living in a fortified warehouse after a long history with the CIA and secret programs. (This is one of the few instances that gumshoe work is actually present. Harvath and Lara Cordero, the cop,  do most of their  research on their phones. Deus ex telemachina!)  One of the more interesting aspects of the novel is the repeated use of Revolutionary-era landmarks and symbols. I  also generally enjoy the sarcastic banter between Harvath and others, though the b-plot regarding a plot to topple the Jordanian government didn't too much interest me. The action hero there was a CIA operative with the last name of Ryan, which sometimes made my brain twitch because I kept thinking of Jack Ryan. Ultimately the two plots prove to be part of a larger conspiracy, connecting in an explosion in downtown Boston.

Hidden Order is light fun with an ending air of wish fulfillment. I wouldn't rely on it for too many facts -- Thor refers to the Boston massacre as soldiers shooting 'innocent civilians', as though the men standing guard that day started shooting people to break the monotony of standing there. They weren't surrounded by an armed mob pelting them with rocks and snow, no sir.. Presumably the Jekyll island conspiracy has a similarly impassioned twist to it.



Thursday, November 3, 2016

Heretics and Heroes

Heretics and Heroes: How Renaissance Artists and Reformation Priests Created Our World
© 2013 Thomas Cahill
368 pages


It seems the more I read of Cahill, the less I enjoy his cavalier histories, which at this point border on gossipy. Part of Cahill's hinges of history series, covering pivotal moments in western history where there was a sea change, the crucial shift here is the emergence of the Individual -- demonstrated in art, and shown at work in disintegrating Christendom into a multitude of violently passionate sects, all supremely secure in their 'truthiness'. In attempting to tell this story, though, Cahill covers everything from the Reconquista and Columbus to the Counter-Reformation. Perhaps as a consequence of the Renaissance and Reformation occurring concurrently, Cahill isn't nearly as well-organized here as he usually is, and readers go back and fort from art to history to theology in a higgedly-piggedly fashion.

I enjoyed the sections on art, since Cahill provides readers with a bounty of colorful plates to aide his commentary, but viewed the theological bits suspiciously. It's hard to take seriously an author who dismisses the Great Schism as a mere ethnic division, especially since that schism's key issue, papal authority, had a massive potential connection to his chief subject, the reformation. Cahill seems fairly oblivious about Orthodoxy altogether, referring to it as the 'Greek church' and apparently not realizing that ecumenical councils to weigh orthodoxy are not some Protestant invention, but have been part of the Orthodox-Catholic church from its inception. Cahill constantly editorializes, often on things that have nothing at all to do with the subject -- complaining about his grammar school, or reminding readers of how terribly racist the Greeks were, and how evil certain modern people are. The more I read Cahill, the more trivial and whiggishly narrow-minded he seems. (There are occasional glimpses of nuance, though, as when he defends the much-abused Mary Tudor despite a pronounced contempt for her cause.)

In the end, if you want a taste of Renaissance art, try Kenneth Clark's "Civilisation". There you shall find erudition and glorious music -- and Cahill keeps referring to Clark, anyway, so why not save the step? As far as the Reformation goes, Will Durant's volume is much more intelligent, and daunting only in its size. I'm sure there also better histories of how the individual burst on the western scene as well.

Related:
The Renaissance, Will Durant; The Reformation, Will Durant

Wednesday, November 2, 2016

The Greeks

The Greeks
© 1950 HDF Kitto
256 pages


HDF Kitto's history of the Greeks came highly recommended to me by another author, and I found it utterly delightful.  Here we have history written not by an archaeologist, but by a classicist whose head is brimming over with the life of his subject, who knows not only their stories but their language.  Kitto begins with a political overview,  from the first settlers to the rise of Alexander the Great, before covering the Greek mind in philosophy and myth.  Kitto brings to this little history great affection for his subject, praising the Greeks despite their faults, as he might a friend.  His style makes the reading enjoyable -- affable, readily knowledgeable, and with just the right amount of wry self-deprecation.

Most fundamentally, Kitto appreciates the Greeks for their rustic well-roundness. They valued autarchy, not specialization, which was one of the reasons their governance often filled important positions with amateurs, choosing citizens by ballot to assume offices.  Related to this is the Greek concept of the polis; for them, the polis wasn't merely a city in which they lived, it was the community through which they fulfilled human nature itself.  The polis was a place in full, supplying its own needs, just as the people it created were men in full. Odyessus, the king of Ithaca, prides himself not on his palace but on his straight furrows: he is a farmer first, a man whose own hands produce works he can take pride in.  Greek appreciation for the fullness of the human condition is exemplified by  art and philosophy which took the body seriously, delighted in the senses while never forgetting the higher things. (Plato would change things, of course, with a dualism that scorned the flesh.)  If we condemn them for not abandoning the free nature of the poleis for a greater empire,  Kitto warns his readers, then we should consider how the Soviets view the west. We have refused their planned society in the name of our liberty, so did the Greeks.  And when we hail the Greeks, is it Alexander's underlings we have in mind? Or is the multitude of men who flourished in Ionia and Athens' golden age?  There's a trace of sadness with Kitto; having judged postwar England against Athens, he finds it inferior -- not in material terms, but in those of human flourishing. Specialization brings with it enormous material prosperity, but men are narrower, less experienced with life in the main;  lost is the Greek man in full, one who could farm and think and craft and love, who put to the test every sinew of his body and mind.  GK Chesterton and Wendell Berry's judgment of modernity is much the same.


Related: