Monthly Archives: September 2024

Two Warner cartoons with racial issues   Recently updated !

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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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Please don’t spread misinformation: Part 2   Recently updated !

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A few weeks ago, I discussed the mostly innocent spreading of misinformation through jokes and satire. A person on Mastodon said I should have called them lies, but a lie means intent to deceive. A lot of widespread claims start without malice. That seems to have been the case with the story of Haitian immigrants stealing and eating people’s pets in Springfield, Ohio. It now appears to have started with a Facebook post that posted a garbled version of a neighbor’s claim without expecting anything significant to come of it. Others picked it up, embellishing it from vague stories they’d heard or from their imagination. Another source was claims of immigrants poaching on waterfowl, which may or may not have been true but is in a far different category from killing pets.
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A culture of free speech 1   Recently updated !

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Freedom of speech has a cultural dimension as well as a legal one. Legally, it means that the government must not punish people for their expression, except when it violates the rights of others (e.g., clear threats). Cultural respect for free speech is also important. Where it exists, people have room to express their opinions, even when most people disapprove of them. If it goes away, legal protections for free speech are likely to follow.

Cultural freedom of speech doesn’t mean an obligation to grant a platform or to refrain from criticism. The best way to describe it is going after ideas rather than people when possible. Saying that an idea is horrible is one thing. Saying that the person who said it horrible is a stronger charge and can do more damage. This doesn’t mean we should never condemn people for what they say, but it should be reserved for the most serious cases.
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Spohr’s opera Faust

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Spohr and Faust. You knew I couldn’t resist writing about that combination, didn’t you? The delay was in finding an adequate recording. Years ago, I got a CD set where the opera was so heavily cut it was incomprehensible. Since then, I’ve gotten a CPO recording of the 1852 version by the Bielefeld Opera. It’s complete or nearly so, but the download from Presto Music doesn’t include a booklet. I need a libretto to follow along, and there’s a libretto for reading or downloading here. It’s got a lot of typos, as if it was made from an uncorrected scan, but it will do. The Capriccio recording has brutal cuts, and I can’t recommend it.
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Rebranding censorship as “accountability”

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In an article attempting to show that Kamala Harris didn’t call for shutting down X, an AP “Fact Focus” article inadvertently shows that she is an advocate of censorship. (As is Trump, but that’s for a different article.) It shows that a particular claim — that an old video by Harris “has threatened to censor both X and Musk” — is inaccurate, but it uses this to cast a shade over the fact that Harris has called for censorship of social media. The article goes on to quote that call verbatim:

The same rule has to apply, which is that there has to be a responsibility that is placed on these social media sites to understand their power. They are directly speaking to millions and millions of people without any level of oversight or regulation, and that has to stop.

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AI Panic and NaNoWriMo

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This has been the year of panic over artificial intelligence. It will take over our jobs! It will replace journalism, fiction writing, and maybe even songwriting! This panic has shown up in reactions to a measured statement by the board of National Novel Writing Month, aka NaNoWriMo. Three members of the board have resigned over the statement.

It begins: “NaNoWriMo does not explicitly support any specific approach to writing, nor does it explicitly condemn any approach, including the use of AI.” That’s not a very tactful way to start, I’ll grant; it could easily be read as endorsing the use of a computer to write your work for you. A clarification was added after the first paragraph, saying, “We also want to make clear that AI is a large umbrella technology and that the size and complexity of that category (which includes both non-generative and generative AI, among other uses) contributes to our belief that it is simply too big to categorically endorse or not endorse.”
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Spohr’s Symphony No. 3

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Louis Spohr’s third symphony, Opus 78, dates from 1828, the year after Beethoven’s death, and there are several indications he was thinking of Beethoven when he wrote it, starting with the key of C minor. It’s on a large scale for the early 19th century. In most recordings it runs half an hour. The instrumentation includes a brass section of four horns, two trumpets, and three trombones.

The slow introduction sets an initially tragic tone but quickly opens up into an expression of hope. The main body continues the conflict of emotions. The first theme expresses a struggle, while the second, made from the same material, is dance-like. The development is brief but surprising; it’s based not on the first and second themes, but on the introduction. This approach recalls the opening mood without breaking the tempo. The coda goes into C minor, creating a moment of doubt, but returns to the major for the final measures.
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