An unusually illuminating performance of Vivaldi:
Tag Archives | Can’t Stop the Muzak
The Game of Thrones theme music, done in the style of The Good, the Bad, and the Ugly, is one of the best things in the universe. Why am I only discovering these covers now?
P.S. – Check out a similar version of the Harry Potter theme also.
Two weeks ago I was in New Orleans for the PPE conference. I gave a talk at a panel on self-ownership, and moderated two panels I’d organised, one on anarchist legal theory (with [a subset of] the Molinari/C4SS gang), and one on race and social construction. We discovered a great 24-hour Middle Eastern restaurant, Cleo’s (the new one on Decatur, not the old one-inside-a-grocery on Canal).
Last week, back in Auburn, I attended our department’s 11th annual philosophy conference, this one on explanation and idealisation in science. During Q&A I rode my precisive/non-precisive hobbyhorse as usual.
Right now I’m in San Diego for the WPSA, where I’ll be presenting my Shakespeare/Godwin/Kafka talk. Yesterday I stopped by the Mysterious Galaxy Bookstore and bought volumes 6 and 7 in the Expanse series (which I’ll be blogging about in due course; just for now I’ll say: it’s good, read it). Had a delicious farfalle al salmone last night at a sidewalk table at Buon Appetito in Little Italy, and enjoyed an omelette-and-bagel breakfast this morning at Harbor Breakfast to the sound of great jazz songs old and new. (I’ve also been violating the laws of physics, because why not?)
(The day before catching my plane from Atlanta to San Diego, I’d planned to drive up early, go to a bookstore in Atlanta, have a leisurely dinner, and then spend the night at a hotel. But the threat of tornadoes, severe thunderstorms, and two-inch hailstones kept me in Auburn until the evening when the forecast expired, so by the time I got to Atlanta there was time only for a quick bite at the 24-hour Waffle House across from the hotel.)
Next week I’m off to Prague, where I’ll be giving a workshop on praxeology at the CEVRO Institute, and then presenting a slightly revised version of my Čapek/Kafka/Hašek talk (yes, more Kafka!) at the PCPE. (The revision is a very slightly fuller discussion of my suggestion that Kafka’s bureaucratic nightmares are intended to be read at two levels – a political level, where they’re condemned, and a theological level, where they’re not. There’ll be a print version eventually, inshallah.)
Angelorum psalat, a 14th or 15th-century work by the mysterious composer “S. Uciredor” (read it backwards), who may or may not be the same person as the 15th-century Spanish musician Rodrigo de la Guitarra:
I love Bowie’s series of I-can’t-believe-you’re-giving-me-this-bullshit expressions as MTV representative Mark Goodman tries to explain, in a 1983 interview, why they don’t play more black artists and also totally are playing them and also black artists are scary and introducing black artists has to be done glacially slowly and anyway radio stations are worse:
One of my longstanding New Year’s traditions is watching the annual New Year’s concert from the Vienna Musikverein (where I finally had a chance to attend a concert [though not the New Year’s concert] during my two-day trip to Vienna in 2010). Here in Alabammy my local PBS station doesn’t carry the concert; but that’s what the internet is for:
Clapping along to the Radetzky March (at 1:21:50) is a little less fun when you realise the piece is celebrating the defeat of Italian forces fighting for independence from the Austrian Empire (the bad one, not this blog). But then a lot of great art is devoted to the celebration of bad stuff. (I’m not sure the Radetzky March is great art, but it’s pleasant art.)
Another New Year’s tradition, one I celebrate somewhat more irregularly, is watching Die Fledermaus, an operetta I’ve loved ever since I was very young. I didn’t watch it this year (too busy writing up pieces I owe various publishers – with no daylight in sight as yet!), but I made sure to listen to the overture at least, as it features many of my favourite themes from the larger work:
My history with Die Fledermaus is a bit odd. When I was nine or so, I came across the book Merry Go Round in Oz, which was written by the grandmother of someone who would eventually become a good friend of mine in grad school. One of the characters in the book was a winged mouse (not a bat, he would insist) called a Flittermouse, which is why, in a San Diego used bookstore one day, a dusty libretto of Die Fledermaus caught my eye. I must be one of the few people to have become a fan of Die Fledermaus through the libretto first. But then a few years later I caught the operetta on tv and became, properly, a still greater fan of the music.