(CHT Tom Palmer.)
One might object that the song buys into the idea that the u.s. military is generally fighting for our freedom. But I think all it assumes is that u.s. soldiers have generally believed they were fighting for our freedom, which is probably true.
And more music: this one a cool (albeit incomplete) guitar version of Mozart’s 40th.
Memory lane: I memorised this poem for French class in summer school, 1980. The following year I rediscovered the poem when studying Renaissance French poetry during senior year of high school, and also heard the haunting musical version for the first time from the local college chorale.
I don’t know why the last one says “anonymous.” The poem is “Ode à Cassandre” by Pierre de Ronsard (1524-1585), and the musical version, usually known by the opening line “Allons voir si la rose,” was composed by Guillaume Costeley (1530-1606).
(Note: the singers aren’t incompetent speakers of French; they’re trying to capture the Renaissance pronunciation.)
Least. Libertarian. Song. Ever.
The Hayek/Keynes rap video now has a sequel:
(Notice Ed Stringham as the first person congratulating Keynes after the debate. By the way, in real life Hayek actually did use the phrase “high explosive” as a guide to pronouncing his name.)
Atlas’s description of Halley’s Fourth Concerto:
It rose in tortured triumph, speaking its denial of pain, its hymn to a distant vision. … The Concerto was a great cry of rebellion. It was a ‘no’ flung at some vast process of torture, a denial of suffering, a denial that held the agony of the struggle to break free. … The sounds of torture became defiance, the statement of agony became a hymn to a distant vision for whose sake anything was worth enduring, even this. It was the song of rebellion – and of a desperate quest.
Atlas’s description of Halley’s Fifth Concerto:
It was a symphony of triumph. The notes flowed up, they spoke of rising and they were the rising itself, they were the essence and the form of upward motion, they seemed to embody every human act and thought that had ascent as its motive. It was a sunburst of sound, breaking out of hiding and spreading open. It had the freedom of release and the tension of purpose. It swept space clean, and left nothing but the joy of an unobstructed effort. Only a faint echo within the sounds spoke of that from which the music had escaped, but spoke in laughing astonishment at the discovery that there was no ugliness or pain, and there never had had to be. It was the song of an immense deliverance.
What the movie is giving us as the “John Galt Theme”:
Parturiunt montes nascetur ridiculus mus.
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