- Tanks alot: Trump has it right Irfan Khawaja, Policy of Truth
- The stateless superstar from a slum in Athens Mike Henson, BBC
- A forgotten physicist who killed his son and himself Eric Johnson, the Reader
- Why American jazz was welcomed in the USSR (and why it was banned) Boris Egorov, Russia Beyond
“Euro-what?” I hear you ask. Great! Set your coffee aside for a few minutes and indulge in a much-required and long-overdue cultural enlightenment.
Eurovision Mania is on, so you better get with it!
Eurovision Song Contest, or “Eurovision”, is an annual music competition that’s been running since 1956 and every year sees some 40 countries participating. And it’s massive. Every participating country selects an original song – usually through some kind of nationally televised show – with an associated live performance and all those entries get to perform in front of tens of thousands of ecstatic Eurovision fans from across the globe.
In short, it’s basically American’s Got Talent merged with The Voice – but structured a bit like Miss U.S.A – with tons more glitter, spex, showtime and glamour and with twice(!) the audience of SuperBowl. Beat that, ‘Murica.
Yes, that’s some 200 million people lining up their Saturday nights (and the preceeding Tuesday and Thursday too, for semi-finals) for this:
The winner is lavished in eternal fame and glory, and their country’s broadcasting company gets the honor of splashing out on next year’s event. As Israel’s Netta and her song ‘Toy’ won last year’s competition in Libson, Portugal, the 64th version of Eurovision is held in Tel Aviv, Israel, beginning today!
Is Israel European?
Perhaps not, but that’s never stopped Eurovision before. Actually, the event is organized by European Broadcasting Union (EBU), an alliance of public service media companies – and includes associate members such as Australian, Algerian, Jordanian and Lebanon organizations. Thus, the geographical boundaries for entries into Eurovision is somewhat flexible – which is why Australia has competed in the competition since 2015!
That’s also the reason Brexit won’t affect the UK’s participation in Eurovision, thank god!
So, what is this thing – and why have I never heard of it?
Depending on who you ask, Eurovision could be anything between a fabulous celebration of European unity through culture and music, or a dull, wasteful affair of pretty freaky performances. No doubt among the competition’s 1500 entries, it has seen its fair share of strange, quirky, silly and outrageous performances (just google some of them). But it also contains the fanciest, most extravagant dresses and costumes imaginable, friendly rivalry, great music and an outburst of colors. Indeed, a bit like the SuperBowl, the half-time entertainment has been at least as interesting as most of the performances. This year it is even rumored that Madonna is making an appearance!
In other words, across the Atlantic, Eurovision mania has descended and will be this week’s Big Thing. Indeed, at 10 pm local time (3 p.m ET), the first semi-final begins, and the winner usually emerges after a rather complicated voting procedure sometime Saturday night (6 p.m ET).
As for American’s (un)surprising ignorance of the event, it’s even become somewhat of a Youtube phenomena of introducing this long-standing pan-European institution to shockingly unaware Americans and recording their reactions. Some of them are pretty spot-on (“this is the cheesiest of music shows!”). Without passing judgment on the worldy outlooks of Americans, y’all aren’t exactly – erm let’s say – well-versed in the going-ons of places beyond your coasts.
In the Eurovision case, not for lack of trying: in the last few years, Logo actually broadcasted the event, but couldn’t muster more than 50,000-75,000 viewers and so the greatest of European non-sports events won’t be on American TV this year. Hardcore fans (list of international broadcasters) are probably best served by a youtube live-stream.
Of course, the skimpy American coverage by outlets like the New York Times isn’t exactly helping either; their angle of the “Israel-Palestine dispute” compleeeeetely miss the point of Eurovision. The event’s apolitical nature is another thing that makes Eurovision so great: politics is strictly, explicitly, unavoidably relegated to the sidelines. As in political messages and even song lyrics with too definitive political flavors are censured or expelled. For instance, Iceland’s participants this year, the controversial band Hatari, is already challenging this sacred line of No Politics Beyond This Point by their frequent pro-Palestine stunts. Allegedly, they have already been issued a final warning by the organizers; one more political stunt and they’re disqualified.
In sum: Eurovision is the biggest, fanciest, most extravagant and entertaining music event you’ve never heard of. Get on the train. A great start is by watching the recap of this year’s 41 entries.
From Ilya Repin, a painter from the Russian Empire:
- West Coast jazz revival Ted Gioia, City Journal
- Augustine’s Cogito David Potts, Policy of Truth
- Iraq: A failure of ideas Sam Roggeveen, War on the Rocks
- Confucian patriarchy and the allure of communism in China Alan Roberts, Not Even Past
This past summer at language school a young man invited me to a party, which I had to refuse since there was a major exam coming up. In response he said, “But you’re smart, why do you have to study?” He was genuinely astonished at the idea that intelligent people have to study; for him, intelligence meant that one was spared the bother of having to work to master a skill or a subject. His bewildered reaction made me start thinking about the nature of the work surrounding achievement and how it is perceived.
Bluntly put, achievement is very hard work and requires tremendous sacrifice. Last weekend, Oxford had its matriculation ceremony, after which the individual colleges arranged group photoshoots. While waiting for one shoot, I overheard two young women discussing a celebratory evening party. One said that she couldn’t go because she had to finish the reading for the next day, but the other said that she had risen at five o’clock that morning in order to finish her reading so that she could attend the party. Neither one was bothered by the choices she had to make, and they were united in their agreement that study came first. Missing a party or missing sleep were simply prices for achievement.
There is an ancient Egyptian legend about a couple who stole the Book of Thoth, which contained all the wisdom of the natural and supernatural worlds, copied it down on a stone writing tablet, washed the stone, and then drank the runoff water; in doing so they acquired all that knowledge without having to read the book. (For those who are interested, the story doesn’t end well, mostly because Thoth is annoyed that his book is gone, but also because, having not genuinely learned the material, the couple can’t control their new-found powers.) In the Folger Museum in Washington DC, there is a medieval manuscript (MS V.b.26 (1)) that contains a spell to compel the spirits to do your writing for you, though as a friend of mine drily pointed out, there’s nothing promised about the quality of writing delivered. What is interesting about myths and spells concerning shortcuts to knowledge and accomplishment is that they are all focused on bypassing the sacrificial process, while still being crowned with the laurels.
The ancient/medieval view was that the spiritual sphere, being responsible in the first place, could help create a world where everyone could achieve without the bother of the foundational work. Now, in a post-Frankfurt School, Utilitarianist world, society speaks in terms of “talent,” as if it is a supernatural thing that requires no cultivation, existing fully formed in a vacuum. We have come from Thomas Jefferson arguing that every person should be free to pursue his own interests according to his endowments to John Rawls’ yowling about the “injustice” of modern society and a world where smart, talented people appear to “have it all.” In order for the Rawlsian vision of the world to work out in completely equitable justice, the work put in by achievers in pursuit of their goals must be negated.
On a personal note, I remember one chillingly funny episode when, during a seminar, a classmate informed a group of us that our coming in prepared, having done the readings and written up commentary, was an act of oppression against her. Her basic argument was that we were too smart, and it wouldn’t cost us anything to show up unprepared once in a while in order to let her shine. We finished on time; I ran into her three days before all MA theses were due for submission and she hadn’t started writing yet. I’m willing to bet, though, that in her movie she’s a victim and we’re all oppressors.
In a way, the romaticization and mythicization of people of genius has been very unhelpful to society, especially since the popular conception of these people appears to support Rawls and Co.’s complaints. Let us take the example of Wolfgang Amadeus Mozart, partially because his myth is a perfect example and partially because this is a topic I would be happy to discuss for days on end. The popular myth is fairly well established: genius infant who miraculously taught himself everything and created beautiful music as a three-year-old, before dying tragically young, in keeping with the romantic tradition of great geniuses.
The reality, while hardly prosaic, is much less romantic. W.A. Mozart’s parents, Leopold and Anna Maria, were superbly well-educated for the standards of their time. Their familial letters, written in a mix of German, French, Italian, Latin, some English, and mathematical substitution ciphers are a jumble of thoughts and observations on literature, music, art, history, political events, social commentary, and professional talk, along with some infantile humor. Musicologist Nicholas Till wrote a wonderful book, Mozart and the Enlightenment: Truth, Beauty and Virtue in Mozart’s Operas, that covers exactly how having an Enlightenment-era (possessing an unbound belief in the benefits of education and faith in the individual), Renaissance man (good at everything) for a father affected Mozart and his sister.
Due to the extensive concertizing tours undertaken throughout Wolfgang and Marianne Mozart’s childhood,music history tends to treat their father as the epitome of a deranged stage parent. But one of Leopold’s primary reasons for the tours was to procure music lessons for his son with the best musicians in the world. On the infamous “Grand Tour,” where the Mozart family travelled across Europe, from 1763 to 1766, the family spent over a year in England, on stretched financial means, so Wolfgang could study composition with Johann Christian Bach, one of Johann Sebastian Bach’s surviving sons and a much-sought after composer and teacher. Leopold was absolutely determined that his son would study with a Bach and the family had first spent time in the Netherlands in an unsuccessful effort to contact Carl Philipp Emmanuel Bach, J.C.’s brother. Mozart senior also applied the same strategy to obtaining private instrumental and voice lessons for Wolfgang. So much for the spontaneous aspect of the child genius story; during his boyhood, the composer had lessons with masters for whom he had to prepare work and have it judged. Genius might exist, but it had to be formed and cultivated, a process that the Mozart myth has completely and deceptively lost.
Losing sight of the work, sacrifice, and constructive elements of achievement has, I believe, provided valuable fuel to the social resentment industry. It is easier to envy the accomplishments and standing of others if one believes that they are unearned endowments because the person holding them is “gifted.” In my own path and work that I do, I’ve seen many people of envious or resentful inclination become devastated emotionally and psychologically when they come into close contact with high-achievers and see the amount of work, time, investment, and sacrifice that being one requires.
In my experience, these people either develop personal persecution narratives, such as the girl from my class, or flounce out proclaiming that they “have a life.” My personal experience has made me doubt the efficacy of Charles Murray’s solution, proposed at the end of Coming Apart: The State of White America, 1960 – 2010, that the best cure for the culture of resentment and anger is for the top twenty percent, representative of the high-achieving, to become visible to the bottom eighty and in doing so to allow the bottom sectors to see how hard the top actually works. Historically, the argument is probably justified; returning to the example of the Mozart family, their close association with the aristocracy, both hereditary and professional, certainly provided impetus for the children to set themselves new challenges as part of winning respect and recognition. But that family had an openness to self-improvement, a belief in the possibility of it that as a larger cultural force was, as Nicholas Till repeatedly pointed out, unique to the Enlightenment.
The people of contemporary society not only lack such a belief, they are closed even to the possibility that there is room for improvement. This is not new; Nietzsche observed and decried the culture of ressentiment– defined by the OED as “a psychological state resulting from suppressed feelings of envy and hatred that cannot be satisfied.” Only now there is no suppression. Achievement through self-improvement is replaced with cries for equality of outcome. People are no longer willing to work for achievement, instead they want is for what they have done, no matter how small, no matter how inadequate, to be recognized as achievements, citing that they did invest time, energy, and money it their banalities. Since the investment aspect is very important, I’ll close here and we’ll look at it next.
Marianne Mozart was, according to the entire family, the better musician and performer of the two siblings. By the time of her early teens, she had surpassed her father and brother as a violinist and pianist to such an extent that her brother gradually ceased playing seriously himself in order to concentrate on composing for her. However, her parents had her retire from the stage once she turned seventeen in order to leave her open for an aristocratic marriage, which she eventually made. After she was widowed, she became a very successful teacher and was able to support single-handedly her children, step-children, and nephews and leave behind a massive fortune.