history

Don’t call it “Alligator Auschwitz” 1

This entry was posted in Commentary and tagged history language liberty on by

The new ICE confinement facility in Florida, semi-officially called “Alligator Alcatraz,” is by all accounts brutal, unsanitary, and degrading. It’s a showpiece of the Trump administration, whose followers admire it for its sheer viciousness. Some people, including plenty on Bluesky, have taken to calling it “Alligator Auschwitz.” The term trivializes the Nazi extermination camp. Bad as the Florida facility is, it isn’t designed to kill people systematically. Equating the two implies that Jews in the Nazi camps merely had a very rough time of it.

Alligator Alcatraz is a concentration camp, a place where many civilians are involuntarily moved to and confined in without charges or due process. The Japanese-American internment camps of World War II were concentration camps in the same sense, and I’ve used the term repeatedly for them. But it isn’t a death camp. Trump is evil, but he hasn’t reached that level of evil yet.
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Evaluating Charles Chaplin

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Charles Chaplin was a complicated person, formerly accused for being a Communist. (I use “Charles” rather than “Charlie” because this article focuses on the man rather than his movie persona.) These accusations had no merit, but the Wikipedia article on Chaplin echoes some of the charges against him. It claims that “he feared that capitalism and machinery in the workplace would increase unemployment levels” and that this view influenced his film Modern Times. It asserts that his late film Monsieur Verdoux presented views “criticising capitalism and arguing that the world encourages mass killing through wars and weapons of mass destruction.” (Wikipedia articles regularly change, so you might see something different at a future date.)
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Coming to Plaistow July 22: The General

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It’s just two weeks till my next live silent movie show at the Plaistow Library: The General, made by and starring Buster Keaton. I know most of you aren’t local, but if you can spread the word among silent movie fans, it will help. This is the first time I’ll be presenting an evening show, and getting eight sign-ups so early is encouraging.
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Yearning to Breathe Free

This entry was posted in History Music and tagged history immigration music YouTube on by

In my latest YouTube video, Yearning to Breathe Free, I try something new. Rather than accompanying an existing silent film, I’ve created a ten-minute history of immigration to the US in still images and added my improvised accompaniment. It’s been a learning experience in a lot of ways. First was the selection of images to combine into a coherent story. It consists of several sequences, each covering a different historical period from 1607 to the present. The first version didn’t make the structure nearly clear enough. Thanks to Virginia Taylor for catching this problem. I thought about inserting a summary before each segment and adding captions and ended up doing both. Then there was the timing. Before adding the music, the pacing felt slow, yet some images hold a lot of text, and test viewers didn’t always spot the important parts in time. I lengthened the time for some images and drew visual attention to the important text in one image.
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When music became copyrightable 1

This entry was posted in History Music and tagged copyright history music on by

Classical music lovers know that in the late eighteenth and early nineteenth centuries, composers shifted from seeking patrons to support them to becoming freelance composers and performers of their own work. This was partially because of cultural changes, but I learned recently that legal factors also played a role. A key decision in British law was Bach v Longman, where judge Lord Mansfield ruled in 1777 that printed music was protected by copyright.
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Reclaiming the American narrative

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Narratives are a powerful thing in shaping a culture or a political movement. Narratives are patterns of explanation that turn a series of events into a story. They ascribe a consistent purpose to actions and show one event leading to another. Sometimes narratives stray from the facts, but they don’t have to. What makes a narrative is an underlying direction and a causal chain.

They’re often more powerful than facts for influencing people. Convince people of a narrative’s validity, and they’ll ignore or reject what doesn’t fit it. They’ll accept even implausible conclusions that fit with it. They’ll admire people who promote it and dislike ones who contradict it. To persuade large numbers of people, it isn’t enough to muster facts; it’s necessary to assemble them into a story.
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The Old Issue

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Guest post by Rudyard Kipling: “The Old Issue,” 1899.

Note: Kipling wrote this poem, strangely enough, as a justification for Britain’s entry into the Boer War, not as a protest against any aspect of British rule. While we need to understand the historical context of any written work, this one is more satisfying if we take it on its own and apply it to our times, apart from its origin.

“Here is nothing new nor aught unproven,” say the Trumpets,
“Many feet have worn it and the road is old indeed.
“It is the King — the King we schooled aforetime!”
(Trumpets in the marshes — in the eyot at Runnymede!)

“Here is neither haste, nor hate, nor anger,” peal the Trumpets,
“Pardon for his penitence or pity for his fall.
“It is the King!” — inexorable Trumpets —
(Trumpets round the scaffold at the dawning by Whitehall!)

“He hath veiled the Crown and hid the Sceptre,” warn the Trumpets,
“He hath changed the fashion of the lies that cloak his will.
“Hard die the Kings — ah hard — dooms hard!” declare the Trumpets,
Trumpets at the gang-plank where the brawling troop-decks fill!

Ancient and Unteachable, abide—abide the Trumpets!
Once again the Trumpets, for the shuddering ground-swell brings
Clamour over ocean of the harsh, pursuing Trumpets—
Trumpets of the Vanguard that have sworn no truce with Kings!

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Silent film as history 1

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My main interest in silent films is accompanying them, preferably for a live audience. The combination of film and live music provides a sense of involvement which is missing from modern movies. In the process, I’ve also found them to be a source of history. They show how people thought a century ago. The stories behind the movies are often as instructive as the movies themselves.
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Two Warner cartoons with racial issues

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Just a quick post on two Warner Brothers cartoons from the forties and their reception today. They’re from the 1940s, and both present black people in ways that would be unacceptable today. One is much worse than the other, but it’s the less nasty one that takes all the heat.

“Coal Black and de Sebben Dwarfs” is a spoof of Snow White with all-black characters. This isn’t a problem in itself, or we’d have to protest against The Wiz. The difficulty is that WB cartoons always drew characters as caricatures, and the ones in this cartoon draw on minstrel-show blackface. It wasn’t done to be offensive; it’s just what the Termite Terrace cartoonists did whenever they drew people. “So White” is quite sexy, and the jazz music makes for a lively short. The dwarfs are “in the Army now.” In a twist ending, it’s a dwarf rather than the prince who awakens So White with his kiss, insisting that how he did it is a “military secret.”
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