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Learning to Drive.

15-Feb-09

      Is there anything in the world more lovely than Suzanne Vega?  Besides the voice, the music, the esprit, the face, the whole thing, she’s a New Yorker who gets it and passes it on.  The link brings you to a delightful article she wrote about learning to drive (as a 43-year-old, in the city; my, what memories that brings back for me).  Her website indicates that she is doing a concert with Philip Glass, of all people, in late March in NYC.  It’s enough to make me a little bit homesick, I’ll confess.

The Evolution Scandal.

15-Feb-09

I will confess that I have limited patience for the “evolution controversy,” so I will move quickly.  The argumentation on both sides would shame your average high-school debate team.  In brief: science does not deal in “truths;” it deals in data and theory.  There is no third category in science.  Evolution is most emphatically a theory (scientists who do not know this may be scientists but they are not thinkers).
Theories are evaluated in science by their capacity to predict data.  They are valuable because they save you the pain of gathering voluminous amounts of data which a little intelligent conjecture can sidestep.
For the Biblical creationists (or their mask, “intelligent design”), the question is: what data does your theory predict?  The theory of evolution provides a framework for predicting things like how many bones a capybara will have if you know how many a mouse has, or where the gene affected by HIV will be on a human if you find it on a monkey.  In fact, it predicts so many things that scientists have taken on the unfortunate habit of calling it a “fact,” which is nonsense but shows just how useful a theory it is.
The last time a Biblical explanation was in line with scientific discovery was when it was being discovered that limestone, a very common rock even in mountain ranges, forms under water.  This could be predicted from the Bible, because it mentions a flood covering the entire earth.  That’s a very meager record of prediction, and the Bible offers little more.
Many scientific triumphalists, with their shoddy messianic thinking, are to blame for the current debacle, in which 48% of Americans were found to give credence to the theory of evolution.  But of course I will not exempt the 52% from culpability.  Ignorantia legum naturae neminem excusat.
The chart, showing religion’s shame in this whole affair, is below.  Obviously, someone needs to superimpose the chart on a reverse-image of the classic evolutionary icon [now done below].  From left to right you see the evolution of religion into know-nothingism (interesting to note that with only one or two exceptions the religions get younger as you proceed from left to right).

Nosedeep in a cloaca, looking at the stars.

14-Feb-09

      I headed downtown yesterday afternoon to do some bookshopping and to see some of the parades.  No luck finding books by Richard Burton – I’ve now gone clear from the Catskills to the Gulf, checking all the likely bookshops, without finding a single copy of his 80 or so volumes of work.  And such a fine writer too!  The days of local used bookshops must be numbered.  I could find any of Burton’s works on the internet in seconds, and now google is putting them all online to boot.

      New Orleans has two types of used bookshops: organized, spiffy parnassi run by classy dames who think highly of their books, their clientele, and themselves, all of which they are thoroughly acquainted with; and intellectual compost-heaps run by madhouse bachelors, where twenty thousand books are stuffed into two hundred square feet.  In one of the latter, on a pulverulent couch which served as the “Classics” section, I found a copy of the “Institutum Societatis Jesu,” containing the various prescriptions and bylaws of the Jesuits  (e.g.: “Praesertim in arte scribendi ac dicendi, reliquo studiorum tempore ne intermittant, et maxime eam linguae Latinae peritiam acquirere conentur, quae et clericos deceat, et Societatis traditionibus sit consona”), and an edition of Baudelaire’s Latin verse.

      This last merits some attention.  Who even knew Baudelaire composed in Latin?  The poems have a juvenalia-aroma on them, but they are impressive for all that.  One is entitled “Czar Peter the Great Visits the Sorbonne,” and features the Czar weaping at a bust of Richelieu, the “egregius terrae coelique minister,” who was

              pius utiliter, sancteque profanus, doctis doctorumque Deo sacraverat aedes.

             “cunningly pious, and sacredly profane, the man who consecrated this temple to the learned and the god of the learned.”

      Pius utiliter, sancteque profanus.  A fine motto for New Orleans.

      I stepped out of the shop into more carnival folly, as the Krewe of Cork, a group of superannuated epicures who celebrate all forms of crapulence and inebriation, was parading through the Quarter.  After a little spectating and a late lunch with my books (as sheets of third-world rain dropped out of the sky), I set out for home along the parade route.  The Krewe of Oshun and Krewe of Pygmalion rolled that night.  Neither parade was very special, as it seemed to me, but I stopped and watched next to a fat black man who was in the “throws of ecstasy,” screaming and yelling at the float-riders with all his energy, “Be my Valentine!!!  Be my Valentine!!!”  After a few floats passed this way, he came up to me and pointed to his Mr.-T-esque halter of beads and said, “This is what it’s all about man, it’s all about the hype.  It’s all about the hype.  Tomorrow I tell you, I gotta get up real early and get something for the lady at my house, or else I won’t have no house.  But I’m tellin’ you, it’s not about what you give them, it’s about the presentation.  That’s what matters.  It’s the way you give it.  That’s all I’m sayin’.”  He smoothed away the sweat from all over his round, bald head, thinking it over.  Then came another float, and he ran into the street again looking up at the riders, and screaming once more, “Be my Valentine!!!”

      I heard a bit of symbolism that I found compelling from another parade.  The Krewe of Eve, an all-female Krewe in Mandeville, besides the usual beads was throwing out to the crowd “plush apples.”  That says it all, as far as life goes, I’m afraid. 

      I continued home, saw the length of the evening’s pomp, and retired to my thoughts once more.  It was so hot and steamy last night that I slept with only a sheet – this in February.

The view from my window.

13-Feb-09

Orphee.

13-Feb-09

      Several years ago I saw Philip Glass’ opera Orphee at the Glimmerglass Opera Festival in Cooperstown, and neither the music nor the production has left my mind.  The piece is slowly being discovered, I feel – it was written in 1992, and while it did not receive a warm reception from the critics, that has never stopped great works of art before (“No one ever erected a statue to a critic,” I think, is the Sibelius line).  I’ve vowed to see the movie on which it is based, a Jean Cocteau film, as I did not understand the story at all, but I’ve yet to enter that peculiar phase of life where you watch all the movies you’ve always planned.

      The opera has not yet been commercially recorded (a poor BBC recording exists with an almost inaudible orchestra, but I have it from a friend who worked on the Glimmerglass production; it is not commercially available), but Paul Barnes has done a series of transcriptions from the opera for piano.  Barnes did a recording of these transcriptions, which is available on Philip Glass’ website.  A performance of one of these is here.  It sounds a fair amount like Michael Nyman’s score to the movie The Piano, though with a bit more rubato and a bit more emotion.  Think of an inebriated Glenn Gould in love.  But the resolutions are lush and romantic and Chopin-esque.

      But this is merely a transcription – with vocal parts removed – of a few minutes of the opera.  (Though it is its most lyrical theme.)  You can imagine how much richer the experience is in operatic form, with these elements as the musical backdrop for a love duet.  And since the opera is held together by a leitmotif structure, the themes you hear here are introduced earlier and developed later.

      I am not familiar with the other operas of Philip Glass, but I advise people to look for them.  The form is perfectly suited to his “minimalist” style: the repetitive structures offer an intelligible musical architecture over which to float a more open vocal line (consequently, he did not need to reduce his libretto to meter in order to make it work with his music).  By the time he wrote Orphee he was also a master of the orchestra, something that cannot be said for all his earlier works.  The orchestration is superb.  (This transcription reveals the loveliness of the chord structure, but cannot have the emotional force of the original strings with flute descants).

      When an artist spends his time transcribing from one form to another the work of another artist, you know there is life there (from the Greek story to Cocteau to Glass to Barnes).  If you see this opera getting picked up by an opera house, look for a chance to see it.

Headless Body in Topless Bar.

13-Feb-09

      Great headlines they have around here:

http://www.nola.com/timespic/stories/index.ssf?/base/sports-0/1234333330269230.xml&coll=1

I cut it out of the newspaper and put it on my wall, because it has such infinite theological subtlety to contemplate.  Does make you realize, though, how strange Catholic school sports are.  Read the whole piece to find that not only are St. Augustine and the Jesuit at odds, but the Crusaders are in the mix too.

Spring in New Orleans…

10-Feb-09

 

 

… comes in February, exactly when you need it.

C. Ray Nagin

08-Feb-09

      You really have to give it to this guy, who makes George W. Bush look like Charles Maurice de Talleyrand.  Everyone knows the “Chocolate City” comment, but he offered some later treasures such as “I am a vagina-friendly mayor,” and (about New Orleans being the murder capital of the U.S.), “it isn’t good for us, but it keeps the New Orleans brand out there.”  Don Imus’ producer Bernard Mcguirk does a spot-on imitation of him.

Satire in New Orleans.

08-Feb-09

      One of the things that has most struck me – and which I never noticed before here – is the omnipresence of political discussion.  There are strange things here, like truly local talk radio – not talking about Democrats and Republicans, but about New Orleans and its specific problems.  There is an Onion-type newspaper, the New Orleans Levee.  And sitting in a restaurant this evening, I noticed that there were several clocks.  One gave the time.  Another was labeled “Chalmette Parish,” a suburb known for simpletons, which was several hours behind.  Another was labeled “City Hall.”  As I looked back at it a few times, I saw it was completely stopped.

      The main newspaper, the Times-Picayune, is also heavily local in its inflection, but in a robust, healthy way.  I think Katrina exposed the problems of the complacency of the governed.  A real vocal press opposition to C. Ray Nagin and his ilk has formed.  I literally have not passed any of my seven days here without people talking about “City Hall.”

Caro ave. Later vale.

08-Feb-09

      Krewe du Vieux rolled tonight.  I made it there a bit late, and the first thing I saw was a host of papier-mache sperm cells swimming through the French Quarter, surrounded by huge crowds of people.  As I got closer I saw they were following a huge float of a female behind with the inscription “Shave the Wetlands.”  Saving the Louisiana coastal wetlands is a topic of discussion here, and more or less that was the style of the whole parade: sex-variations on political topics.  The bailout was the biggest recurring theme, and the whole parade was called Krewe du Vieux’s “Stimulus Package.”  Marchers handed out wooden nickels, “Cock Options,” condoms, and small fruits, in addition to the usual beads.  People dressed up as “Organ Stanley” and “Bare Stearns,” “Titibank,” “Spank of America,” and the like.  The human mind is infinitely fertile for this kind of growth.

      The political commentary mixed in was interesting.  Krewe members gave out money with Middle Eastern sheikhs in place of presidents.  One yonic float called the “Crude Cave” was guarded by a King Kong who was tearing a banker apart limb from limb.  There was a big foreclosure sign over the cave entrance.  Several floats featured Fannie Mae in various positions with Uncle Sam and the guy from Monopoly.  Behind the Monopoly guy were marchers wearing red Monopoly hotels with foreclosure signs on them.

      It was very unusual, to say the least, to see so much unabashed sexuality.  The marchers were not in the least uniform in appearance or age.  Yet it seemed they all enjoyed the ribaldry.  One reveler dressed as the San Diego Chicken went around spanking people.  And lots of female dancers with dildos poked at the men watching the spectacle.  And yet I did not find it at all unhealthy – it felt rather like the stuff you would find in Shakespeare or Rabelais or Balzac.  My feeling was apparently shared by others, because tons of New Orleans families were there – old folk and little kids.  Admittedly, the kids were mesmerized.  (Maybe hundreds of women marching with dildos is a bit much for them.)

      I passed by Bourbon Street on the way back, but the vibe was very different there.  The street is lined by businesses, all trying to get you to spend your money there.  Debauchery was not part of a larger cultural expression but tied to a kind of individual despair in loneliness and mutual exploitation.  There was far less play.

      A parade is something different, I guess.  Who wouldn’t want to walk past huge laughing crowds, handing them things, entertaining them as you wished, followed before and behind by thousands of other people and wonderful marching bands?  The brass bands, by the way, sounded amazing.  The music was fantastic, and at times they simply blew the parade open with huge walls of sound.  I couldn’t believe how much sound ten men with brass instruments could produce in open-air conditions, with no amplification.  You could feel them moving the entire crowd.  The music and spectacle absolutely overwhelmed.  And man, could some of these bands swing.

      The floats were drawn by mules, which added another whole element to the parade.  I wondered what the mules thought of it all.  They must think that being a spectator of the human experience is absolutely overwhelming.  I wanted to tell them that it’s even more so from the inside!