Posts tagged with: music

When Bob Dylan wrote, “The Times They Are A Changin’,” I doubt he had the Swedish Academy in mind. Nevertheless, by awarding him the 2016 Nobel Prize in Literature the Academy has made a bold statement for a change in the way songwriting is viewed as literature.

Many people have already complained that there were many more worthy potential recipients. But let’s face the facts: Bob Dylan won, and they lost.

He likely didn’t even know he was competing. (Reportedly, he was in Las Vegas for a performance when the award was announced.) But he won.

Now, I suppose it could be argued, as have some, that he hasn’t really produced any literature. Whatever one thinks of him winning, however, I don’t think that’s fair. Haters gonna hate, I guess.

The official press release, cited here in full, states, “The Nobel Prize in Literature for 2016 is awarded to Bob Dylan ‘for having created new poetic expressions within the great American song tradition.’”

This isn’t much to go on. One would think that with such a revolutionary choice, more explanation would be in order. But, I mean, c’mon. (more…)

carolers2Over the last century, Christianity has declined in social influence across much of the Western world, leading many to believe it has little place or purpose in public life.

In response, Christian reactions have varied, with the more typical approaches being fortification (“hide!”), domination (“fight!”), or accommodation (“blend in!”). In each case, the response takes the shape of heavy-handed strategery or top-down mobilization, whether to or from the hills.

And yet the cultural witness of the church ought to flow (or overflow) a bit differently. For Greg Forster, it has less to do with “cultural lever-pulling,” and a whole lot more to do with joy.

“Christianity is losing its influence in contemporary America because people outside the church just don’t encounter the joy of God as much as they used to,” Forster writes in his latest book, Joy for the World: How Christianity Lost Its Cultural Influence and Can Begin Rebuilding It. “…The joy of God can do what cultural lever-pulling can’t do.”

As we experience the joy of God in Christ, empowered by the Holy Spirit, our attitudes and activities are transformed. As Christians, our primary task is not to take that transformation and funnel it toward end-game tactics, but to faithfully embody it across culture: blessing our neighbors and cultivating civilization, whether in the family, our work and the economy, or citizenship and community (Forster’s three main categories). (more…)

As American prepare to celebrate the 239th anniversary of the founding of our nation, enjoy this rendition of “American the Beautiful.” Performed by the choir of Hillsdale College, under the direction of James A. Holleman and Debra Wyse, it is both a visual and musical reminder of why so many of us dearly love our nation.

Friedrich Hayek once called intellectuals “professional secondhand dealers in ideas.” And the Preacher proclaimed, “There is nothing new under the sun.” So perhaps it shouldn’t be surprising when ideas, memes, and other cultural phenomena pop up again and again.

There is, however, a notable correspondence between an Acton Commentary that I wrote earlier this month, “The Worst Christmas Song Ever,” and a piece that appeared weeks earlier at The Federalist. In “‘Do They Know It’s Christmas’ Is The Worst Christmas Song Ever,” Leslie Loftis takes down this miserable tune in devastating fashion. Loftis points out that the song “has a little of everything to loathe. Condescension. Inane inaccuracies. Smugness. Mullets.”

Whether or not you have read my commentary, you should go check out her case against the song now.

I first noticed the song, which heretofore had been background Christmas muzak, when we screened the new documentary Poverty, Inc. earlier this year at the Acton Institute offices. That film includes a section discussing “Do They Know It’s Christmas?”

Matthea Brandenburg helpfully points out some further commentary by Magatte Wade and others about the song over at the PovertyCure blog.

When Christmas rolled around, I had the idea to write something about the song, and connected it with William Easterly’s analysis of the differing perspectives on development offered by Gunnar Myrdal and Hayek. But I now think that even though I hadn’t read Loftis’ piece, I had seen the title before I wrote my piece. In fact, I checked Ben Domenech’s excellent email newsletter The Transom, to which you should subscribe, and there on December 3 is the following: ‘“Do They Know It’s Christmas” is the worst Christmas song ever. http://vlt.tc/1qf7

No doubt I saw the link, and got the idea for calling it the “worst ever” into my head. Then some days later I connected it to the Poverty, Inc. clip and wrote my piece. So the idea for calling this the worst Christmas song ever must be credited to Loftis and The Federalist. I’m sorry that I didn’t realize that Loftis’ piece had already appeared, or I would have pointed to it earlier, and given credit for the idea straight away. So in the interests of disclosure, I certainly haven’t been the only one to criticize this song or even to call it the “worst Christmas song ever.” I guess I’ve got egg(nog) on my face. The variety of voices that find the song problematic, however, should be a indication that there’s something rotten in “Do They Know It’s Christmas?” It is, after all, a song that includes a toast like this: “Here’s to them underneath that burning sun.”

“Do They Know It’s Christmas?” is like a bad earworm that won’t go away. And now I really, really hate that song!

Taylor-Swift-SpotifyTaylor Swift recently made waves when her record label pulled her entire catalog off Spotify, a popular music streaming service. Fans and critics responded in turn, banging their chests and wailing in solidarity, meming and moaning across the Twitterverse about the plight of the Struggling Artist and the imperialism of mean old Master Spotify.

Yet as an avid and thoroughly satisfied Spotify user, I couldn’t help but think of the wide variety of artists sprinkled across my playlists, a diverse mix of superstars, one-hit-wonders, niche fixtures, and independent nobodies. With such reach and depth, had Spotify really duped and enslaved them all, leaving them brainwashed and helpless lest they rise to the courage, stature, and enlightened futurism of Ms. Swift?

Or could it be that some artists actually benefit from such platforms?

I’ve written elsewhere about the transformative effects of economic freedom on the arts — how unleashing opportunity, innovation, and prosperity has yielded unprecedented amounts of time, training, and resources, all of which can be used to create more art, and do so independently. For musicians, the cost of equipment continues to go down, even as quality goes up, and as artists continue to grab hold of these resources, companies like Spotify are swooping in to service the next step.

Much like Kickstarter and iTunes, Spotify continues to experiment with new ways of empowering artists, helping folks bypass record labels altogether (“the banks,” “the marketing machine,” “the Man”) and connect them more closely with audiences. Countless artists have jumped in. And yes, countless others have opted out, particularly the ones with cash, fans, and sway. (more…)

Blog author: bwalker
Tuesday, January 28, 2014
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Pete Seeger performing the Woodie Guthrie song “This Land is Your Land” at President Obama’s “We Are One” Inaugural Concert, January 19, 2009.

Environmentalist, agent provocateur, leftist activist, recovering Communist and ardent redistributionist – all apply to the folksinger who died Monday in New York at the age of 94. Pete Seeger, for better or worse, answered to all of the above adjectives but it’s his legacy as a songwriter and performer for which this writer prefers to remember him.

Certainly there’s much with which to disagree with Seeger from an ideological standpoint over the decades of a nearly 70-year career, but taken as a whole his body of work stands out for its calls for equality and societal change for the better. Take for example Seeger’s “Turn, Turn, Turn,” a wonderful song that “sampled” a bit of Ecclesiastes to become a gentle yet powerful anthem akin to Curtis Mayfield’s “People Get Ready” and Sam Cooke’s “A Change Is Gonna Come.” With “Turn, Turn, Turn,” the songwriter assisted in the bridge between folk and rock when the song was appropriated by the Byrds’ signature jangle-and-harmony pop. (more…)

Blog author: johnteevan
Tuesday, December 17, 2013
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Artemisia tridentata wyomingensis (5042178398)When we think of our freedoms and how they are basic to our society yet freedoms seem to be out of control in so many ways since the 1960s, we probably need to pull back and consider those freedoms from a new perspective. So let’s consider playing the piano. I am free to play the piano in that pianos are available, piano teachers are available, and there is no regulation or social stigma that prevents me from acquiring or learning the piano.

I have liberty when it comes to pianos. However, I am not currently free to play the piano well nor can I demonstrate any such ability nor can I know the joys of learning, memorizing, and playing a piece such as I heard at a Second Sunday concert this month. I have two liberties here: the freedom to acquire a piano and the freedom to do the hard work of learning to play it well. I must not confuse the two liberties.

As for American freedoms I must not think that because I have the liberty to get a job I should be paid as if I were already trained and experienced or just because I have endless freedoms in moral areas that I can choose any path and still have satisfying relationships at home, with friends, or at work.

By the way: almost 80% of 493,000 pianos made in 2012 were low-end Chinese ones. Chopin and Debussy’s pianos were made by Pleyel a French company that is going out of business this month.