Monday, September 20, 2010

NATIONAL REVIEW COVERS THE ARTS. After yet another series of complaints about how artists say liberal things to which conservatives are forced to listen (presumably at gunpoint), Jay Nordlinger addresses an objection:
“That man and his wife can’t expect to go to folk concerts and not hear leftist politics from the stage! Come on! That’s like going to a Chinese restaurant and objecting to the sight of rice.” Well, maybe: I don’t know. Are there right-leaning folkies? Performers, I mean? I bet there are. And I bet many are closeted (as right-leaners are in the classical-music world).
What richness this adds to our picture of persecuted rightwing artists -- now joining the novelists, filmmakers and actors cowering in the attic, we have cellists and hammered dulcimerists! I would especially like to meet the folksinger who trudges from coffeehouse to coffeehouse, blaming the poor reception he receives for his renditions of "Where Has Spiro Agnew Gone?" and "Masters of ACORN" on liberal bias, and taking heart in the examples of Bob Roberts and The Goldwaters.

You might also enjoy this Nordlinger reader letter:
I was a very prolific jazz reviewer for years — live performances and recordings — but totally quit when Obama got elected. The constant e-mails, liner notes, and remarks at gigs that trashed Bush and the Right, while extolling the coming of The One, enraged me, and I just couldn’t take it anymore. Why should I spend one minute of my (volunteered) time helping jazzers when they obviously despise what I stand for?
I like to think this is from Nat Hentoff.

Nordlinger's colleague Benjamin Weinthal catches the bug, and tries an artsy angle on Iran:
Where does the musical film Cabaret, which depicts the rise of German fascism, intersect with Mahmoud Ahmadinejad’s appearance at the United Nations this week? “It is clear the future belongs to Iran,” said Ahmadinejad in an AP interview on Sunday, which conjures up the eerie beer garden scene in Cabaret in which a young Nazi stirs up jingoism with the song “Tomorrow Belongs to Me"...

The pressing question at the end of the Cabaret scene was posed by the British actor Michael York, who expressed justifiable disbelief about whether Germany’s aristocracy could exercise control over the Hitler movement.
I'm constantly hearing claims that the future belongs to some damn thing or other -- Microsoft, Linux, Matt Meola, walkable communities, et alia. Previously I thought these were just harmless enthusiasms or marketing gimmicks. Now I know they're Hitler! I expect this will be included in the next edition of Liberal Fascism.

Wait a second -- Hitler once said that "the future belongs to color photography." Gasp! His influence lingers to this day! Set the color saturation to zero, for democracy's sake!

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