Here’s the basic schema I laid out in #26 : 1) quasi-modernity –approximately 1776 to 1918 2) intermediate modernity –approximately 1919 to 1965 3) full modernity –approximately 1966 to the present. Now, for some flesh upon these analytic bones. Everyone knows WWI and the 20s . . . . Continue Reading »
Great Paintings shouldn’t be in museums. . . . Museums are cemeteries. Paintings should be on the walls of restaurants, in dime stores, in gas stations, in men’s rooms. Great paintings should be where people hang out. The only thing where it’s happening is on the radio and records, . . . . Continue Reading »
Marilynne Robinson is not Rock, and this is not a song. Rather, it is simply a three-word sentence dropped by the acclaimed novelist last fall, when I heard her speak at Skidmore College. But the following was initially provoked by another writer, Bill Kaufmann. Kaufmann is a hard one to . . . . Continue Reading »
Back to war, and the “anti-war” stance. Part of the conclusion of Songbook #6 was that the stance of songs like “Blowin’ in the Wind” and “New Years Day” could easily lead to despair and overindulgence of anger. “Masters of War” certainly is a . . . . Continue Reading »
In the comments on Songbook #5, I was reminded that Bono said he wrote the central verse of U2’s “New Year’s Day” with Solidarity’s struggle in mind. My reply there lays out the erotic and political elements any full analysis of that song would address, and why the . . . . Continue Reading »
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