Monday, March 30, 2009

Living Thing

Peter Bjorn and John, Living Thing (Almost Gold Recordings), 2 1/2 stars

If you were conscious and paying at least some passing attention to popular culture in 2006 or 2007, chances are you remember the infectious whistled hook and pitter-patter bongos of Peter Bjorn and John’s “Young Folks.” Its innate cuteness won enough hearts to pass into mainstream consciousness, and catapult the Swedish trio to relative renown. Its sheer ubiquity was perhaps best revealed when Kanye West remixed it on his mixtape “Can’t Tell Me Nothing.” PB&J followed up the success of “Young Folks” with a couple pleasant but unmemorable diversions: an album of instrumentals called “Seaside Rock” and frontman Peter Morén’s surprisingly vapid solo debut “The Last Tycoon.” In January, the band’s return-to-form was announced by none other than Kanye West, who introduced the first single from PB&J’s fifth studio album, “Living Thing,” on his blog. The bumptious auteur gloated, “THEY SENT THE SONG TO ME FIRST!” and went on to wax lyrically, “DRUMS ARE CRAZY AND I LIKE THE KIDS ON THE HOOK.” Kanye is totally right. “Nothing to Worry About” is contagious and compelling, all in all, a better song than “Young Folks.” If only the rest of the songs on “Living Thing,” had come close to matching the single’s riotous energy and imagination, we would have had a real winner on our hands.

“Living Thing” starts off with the shimmering synths and brutal drum machine beats of opener “The Feeling.” Spasmodic guitars and tidy handclaps round out the atmosphere. “It Don’t Move Me” carries over the same handclaps, placing them over a piano riff borrowed from Björk’s “Human Behaviour.” Like PB&J’s last album, “Living Thing” is marked by propulsive and insistent percussion, but here the rhythm section is mixed even further to the forefront, often louder than the guitars or vocals. From the reverbed crashes of “Lay it Down,” evocative of chain-gang pick-axes, to the deeply resonated tribal drums on the dirge “4 out of 5,” the band’s meticulous attention to texture is evident in each of the twelve songs on “Living Thing.” Kanye’s caps-locked infatuation with the band is perhaps most understandable in the context of this new preoccupation with aural textures.

However the band often seems to mistake inventive production for good material. Every song on the album has interesting stylistic touches, but they frequently lack the melody and songwriting to come together into a coherent whole. While it is admirable that PB&J take an active interest in the construction of their soundscapes, one wonders if they should have spent more time replicating the winning formula of “Young Folks” before they started tweaking the details.

The band’s stylistic influences are diverse but perhaps at the sacrifice of coherence. “I Want You!” with its midtempo ambling New Wave guitar and echoed bass drum sounds like an early U2 track, and the African-inflected bass, and vocal and lyrical style of “Living Thing” directly channels Vampire Weekend’s watered-down “Graceland” vibe. As already established by Mr. West, “Nothing to Worry About” is an elation, a nearly perfectly-constructed hip-hop influenced indie-pop dance song with a nonsensical yet addicting chorus. “Lay it Down” marks the other high point of the record, with its jaunty tone and insolent chorus of “Hey shut the fuck up boy / You’re starting to piss me off” making it the stylistic twin to “Nothing to Worry About.” But just when you’re starting to join in on the rollicking angry energy, the song ends, and “Stay This Way” drags the whole mess down into plaintive misdirection as Morén sings “I don’t want to grow up/I don’t want to stay young” over a maddeningly meandering synth flute. “Blue Period Picasso” is narrated from, unsurprisingly, the point-of-view of a Blue period Picasso painting. It is as bad as it sounds. Case in point: “but I’m not just being blue…It’s just a part of what I am / It’s just a part of my beating heart.” It turns out that PB&J are far weaker when gunning for clever or thoughtful than when they’re at their most crass and impudent. This is where they seem to have the most fun, and in turn where there music is the most fun to listen to.

There’s not anything particularly offensive about most of these songs, but outside of “Lay it Down” and “Nothing to Worry About,” this album isn’t particularly interesting or memorable. Certainly, making a boring album is not the worst sin a band can commit, but Peter Bjorn and John have proven themselves capable of producing more exciting music than this. In “The Feeling” Peter Morén sings, “Been waiting for signs/Last time we got high we thought we had the puzzle worked out.” Maybe they should be doing some more stoned brainstorming, or maybe Kanye can help them out, but one hopes that Peter Bjorn and John start making the fine albums that their singles deserve.

Thursday, March 19, 2009

Aguirre


Aguirre, the Wrath of God

Few images in film history are as hauntingly indelible as the final scene of Aguirre, The Wrath of God. Werner Herzog’s 1972 masterpiece stars Klaus Kinski as the unhinged Conquistador Lope de Aguirre, who, driven mad by the double allure of gold and power, leads a small band of Spaniards and their Indian slaves deep into the Amazon and into the depths of madness. Aguirre, now the only one left alive on his raft, aside from a herd of monkeys, dreams of reaching the sea, saying, “we’ll build a bigger ship” and seize the island of Trinidad from the Spanish Crown. As Aguirre rants about marrying his daughter and founding a “pure dynasty” to rule the entire continent, even the monkeys desert him, jumping into the river and swimming to shore to escape his doomed madness. The camera circles the raft as Aguirre is left standing there, drifting down the river, left with nothing but his illusions of grandeur.

Herzog’s film is full of delirious images like this one, yet the film’s madness is meticulously arranged. Everything about Aguirre, from Kinski’s queer loping gait to the visual dichotomies portrayed between the ladies’ and palanquins and the mud and inimical jungle, recommends a removal from our own reality and an immersion in another. In many ways, the film seems meant to transport the viewer not just to an exotic place and distant past - as films like Gladiator or Elizabeth do, telling stories based on modern ideas about storytelling and social interactions, which happen to take place in the past - but to convey the viewer to an entirely alternate mindset altogether. Herzog uses the trickery of cinema to create for his audience the illusion of themselves being a conquistador, and witnessing the cutting blade of history for oneself, and not through some coeval’s cinematic lens. The sparsity of dialogue and hypnotic quality of the film’s score - an intoxicating mingling of electronics, chants and Andean flute by the influential German progressive band Popol Vuh - sends the viewer into a fugue, in which the walls of our world seem to open up, and the boundaries separating us from the world of Aguirre and sixteenth century Peru are broken.

Aguirre opens with a shot showing an ethereal otherworld of craggy peaks, out of which emerges a ridge of mist-shrouded viridescent Andean foothills, along which a plodding, seemingly endless line of figures make their way. The score marries two sustained whorls of sound, one of human voices and the other of synthesizer, creating an eddy which sucks in the viewer and holds him immersed, just as one of the expedition’s rafts becomes trapped in an eddy on the impetuous Huallaga early in the voyage. The details of the plot - the framing device of the monk Gaspar de Carvajal’s journals, the expedition’s search for El Dorado, even the Machiavellian plotting by Aguirre to seize command from Don Pedro - are ultimately inconsequential and irrelevant. It is no criticism to say that the plot of Aguirre is not the thing one remembers about it. The film captures the profound emotional impact of arriving in a truly New World, five thousand miles away from your home, where the sound of your language has never been heard and the color of your skin has never been seen.

Wednesday, March 18, 2009

MATHER HAÜS

This pretty much sums up everything I love, and everything I hate, about Harvard.

Monday, March 16, 2009

The Rise and Fall of Robert Owen: Intellectual Foment and Fizzle

The village of New Lanark lies on the River Clyde, twenty miles southeast of Glasgow. A visitor, approaching from the north, would observe neat rows of uniform three and five storied gray stone buildings huddled together in the hilly bucolic Scottish countryside, but at first one would likely not discern the significance of the utopian proto-socialist factory community laid out before them. In many ways, Lanark was like the dozens of other mill towns that sprung up around the British isles in the years since Richard Arkwright first harnessed water to power spinning machines in the 1770s. This little industrial hamlet contained mills and factories, spinning and weaving the cotton thread which clothed Britain and constituted one of her principal exports to the rest of the world. There were tenements and houses for the approximately eighteen hundred workers and managers, a bell tower to bring the laborers to work in the morning, and send them home in the evening. However, Lanark was made peculiar by its unconventional manager and operator, the Welshman Robert Owen, who turned Lanark into a laboratory for his own revolutionary theories on business, community, and education.

If this visitor proceeded to peer inside the buildings of Lanark they might begin to see the nascent components of what Owen termed “the New Moral World.” Above each laborer’s station within the factory is a carved, painted block of wood – a “silent monitor” – whose painted faces would be turned according to the worker’s productivity, from black for deficient to white for excellence. Inside one room, uniformed schoolgirls practice a dance while an instructor looks on, under an immense map of Europe and large posters of exotic animals. Lining the walls are well-dressed patrician visitors, who have probably come to satisfy the curiosity aroused by the deluge of praise and attention lavished on Lanark by the press and important thinkers of the day. The Institute for the Formation of Character, formed in 1816, supervised the education of Lanark’s five hundred indigent child laborers. Housing, fuel, clothing and provisions were provided for the workers at low rates, and an atmosphere of communal good and religious tolerance was impressed. Robert Owen was the architect and potentate behind this entire enterprise at Lanark, and his successes here would bring him international celebrity.

Robert Owen was born the sixth of his parents’ seven children on May 14th, 1771. He was born and brought up in the small market town of Newtown, Montgomeryshire, near the English border in the west of Wales. It was a comfortable, though modest background. His father, also named Robert Owen, was a saddler and ironmonger by trade, as well as the town’s postmaster. He was a precocious and clever youth, graduating at the age of seven to schoolmaster’s assistant. The young Owen developed an early passion for reading and devoured volumes from the libraries of the town clergyman, doctor, and lawyer, from Charles Rollin’s Ancient History to the adventure of Robinson Crusoe and Christian allegory of Pilgrim’s Progress. Owen wrote later that he believed every word in these books to be true, and would often read a volume per day.” It was around the age of eight or nine that Owen turned his keen mind toward the question of religion. Upon prompting from some Methodist friends of the Owen family, he began to read tracts on the religious thought of various peoples of the world. Owen was to write that the “study of these contending faiths, and their deadly hate of other, began to create doubts” in his mind as to the accuracy or preeminence of any set of beliefs.

Already restless with his rustic surroundings, Owen obtained permission to leave home upon his tenth birthday. Thus, in 1781, Owen made the journey by coach to London, where he stayed with his brother William for six weeks before securing employment with James McGuffog, a draper in Stamford, Lincolnshire. Owen found great pride in self-sufficiency, bragging, “from that period, ten years of age, [I] maintained myself without ever applying to my parents for any additional aid.”
Owen’s future father-in-law, Glasgow businessman and preacher David Dale, founded New Lanark in 1784. Dale selected the location due to the nearby waterfalls on the River Clyde, which would power the cotton mills he constructed on the site. New Lanark however, was remote, the roads were bad, and the area around it under-populated. Dale was forced to secure a new labor force, and transport and provide accommodations for them at New Lanark. This was achieved by procuring about 500 children from workhouses public charities, and by persuading families to move to the fledgling factory village. At this early juncture of the Industrial Revolution there was still a considerable aversion for factory labor among the general public, and the workers who arrived in New Lanark were of a less than savory nature. Owen later described them as, “destitute of friends, employment, and character.”

Owen first visited Lanark on June 15, 1798, at the age of twenty-seven. If his own version of the story is to be believed, Owen fell into an appraisal of Lanark while attempting to win the hand of Dale’s daughter, the nineteen-year-old Ann Caroline Dale. Whatever Owen’s original intentions were, he secured the purchase of the land, village, and mills of Lanark for himself and his partners, John Barton and John Atkinson, for sixty thousand pounds. Later that year, on September 30th, Owen was married to Ann Dale in Glasgow. On January 1, 1800, Owen took over as manager of the New Lanark Twist Company. He and Ann moved into one of the two large houses located in the center of the village, and Owen went about using his new role as a pulpit for some of his own theories on management and harmonious community. Owen was impressed with the spacious rooms and plentiful food afforded the child laborers at New Lanark, but found fault with Dale for having lived in Glasgow and not devoting himself fully to the well-being of his employees. Owen maintained that prior to his arrival the “population lived in idleness, in poverty, in almost every kind of crime [and] consequently, in debt, out of health, and in misery.” He was horrified to find as well that “the whole was under a strong sectarian influence, which gave a marked and decided preference to one set of religious opinions over all others.”

Owen’s first project was to provide for the education of the children at New Lanarck. Education was at the forefront of Owen’s theories for social betterment. In his own memoirs, Owen’s son Robert Dale wrote that the “New Lanark schools, and the cause of popular education generally, were the subjects which, at this period of my father’s life, chiefly engrossed his attention.” The village school taught the children at New Lanarck for five years, between the ages of five and ten, and without expense to their parents. The schools aimed to educate the children in the broad tenets of Christianity, with no specific doctrinal bent. Mrs. Thrall, a former pupil at the Owenite Lanark-modeled schools at New Harmony, recollected her time there and gives a vivid picture of the dreary monotony of the “coarse linen” uniforms, stringently enforced hours, suppers of “mush and milk again,” and being “marched together to the Community apothecary’s shop, where a dose that tasted like sulfur was impartially dealt out to each pupil.” Admittedly however, this inflexible educational regime would have been a marked improvement over the fourteen hours per day at the factory common for thousands of other British children.

Owen had developed the belief, popular at this time of the advent of the social sciences, that the character of human beings is determined by their environment experiences, and education during childhood. Owen found children to be naturally “without exception, passive and wonderfully contrived compounds.” Owen thought that the growing trend of child labor was creating members of society who were “dwarfs in body and mind,” and he became convinced that society’s ills could be cured if only children were educated before entering the labor pool, and taught intellectual curiosity and tolerance. In his autobiography, Owen applies this theory to himself. At one point, he bizarrely attributes his unique characteristics and any “favorable difference” he possessed, to have stemmed from an episode that occurred when he was around the age of five. Owen writes that once, in his rush to arrive first to school, he swallowed a scalding spoonful of flummery , which scorched his stomach and thereafter made the digestion of food decidedly difficult. By his account, this minor disability aroused in Owen “the habit of close observation and of continual reflection .”

Lanark became a spectacular success. Owen used the profits from the mills to finance new elements of his plans for the ideal society. The Institute for the Formation of Character taught singing and dancing to supplement the typical schoolwork of reading, writing and arithmetic. Owen instituted an autonomous jury system, neighborhood-based community representation, and even a fledgling social security system to provide for workers in injury and old age. Owen reduced his employees’ working day by an hour, and still earned enough profits to circumvent the persistent naysaying of his partners by buying them out in 1813. Some 20,000 visitors flocked to Lanark between 1815 and 1825 to see how Owen had so successfully paired altruism and humanitarian interests with profitability. In 1816, Owen declared that “the chief object” of his life would be to export the successes of Lanark to the world at large.

In an 1813 account of Owen’s early work at Lanark, he holds himself up as a savior to these pauper Scottish laborers. Owen held himself up as somewhere between missionary and messiah – declaring of his work at Lanark, “the population could not continue to resist a firm well-directed kindness, administering justice to all.” This likeness was carried on by many others at the time, at least to some extent as a direct result of Owen’s avid self-promotion. Owen made his first appearance as a speaker in 1812, at a dinner in Glasgow, and would eventually become best known for his many public speaking tours and engagements. In an 1824 tour of the United States he addressed a joint session of Congress in Washington, D.C., and in Cincinatti, engaged in an eight-day public debate on religion. His ideas held enough sway to gain Owen the ears of the American President, the Austrian minister Metternich, Prime Ministers and Members of Parliament. Owen’s success seems to have frozen his once vigorous and active mind. His son describes his reading habits’ atrophy, “he usually glanced over books, without mastering them; often dismissing them with some…curt remark…I never remember to have seen him occupied in taking notes from any book whatever.”

His reputation as an innovative thinker and successful manager began to be replaced however, with one for pomposity, garrulity, and a dictatorial approach in his little “new moral worlds.” Reports that Owen had himself castrated a boy who had transgressed Owen’s law against licentiousness, whether true or not, did nothing to help his public persona. The power and capacity of this sort of mass leadership seems to have gone to Owen’s head. From this point on, Owen had passed his apogee, and his fame and fortunes began to fall. Convinced of his own rectitude and philosophical infallibility, Owen continued to preach his increasingly extreme social and moral solutions. His long-held secularism turned subtly to anti-religious rants, alienating, and likely limiting, his audience. He continued to publish prolifically and held frequent speaking engagements, but he ceased to say anything new, and fewer and fewer people found what Owen had to offer interesting. His published work held such grandiloquent titles as “The Measures Which I have been Impressed from My Youth to Adopt Through Life to This Period, To Prepare the Population of the World to Change Their System of Falsehood, Ignorance, and Misery, for the System of Truth, Wisdom, and Happiness.”

Owen’s obituary, announcing his death in The Times on November 19, 1858 carries the air of a bright, but dirtied past. Owen perhaps was too similar to his signature wooden block, announcing workers’ progress: designed with the best intentions to be efficacious, but ultimately uncompromising and, above all, blockish. The legacy of Robert Owen is perhaps best reflected in these lines of verse from an 1834 edition of the Poor Man’s Guardian:
Robert Owen, wise and good,
Better known than understood;
Too often putting wisdom’s tools
In the very hands of fools.

Wednesday, March 11, 2009

Gay Ducks

http://www.sciam.com/blog/60-second-science/post.cfm?id=gay-ducks-derail-repopulation-plan-2009-03-10

Sunday, March 8, 2009

On the Balkans

"...It is, or was, a gay peninsula filled with sprightly people who ate peppered foods, drank strong liquors, wore flamboyant clothes, loved and murdered easily and had a splendid talent for starting wars.

Less imaginative westerners looked down on them with secret envy, sniffing at their royalty, scoffing at their pretensions, and fearing their savage terrorists. Karl Marx called them 'ethnic trash.' I, as a footloose youngster in my twenties, adored them."

C.L. Sulzberger, "A Long Row of Candles."

a day at the beach



Wednesday, March 4, 2009

Monday, March 2, 2009

Plagued




I'm feeling tired and achy and sick and infuriated by schoolwork.