About Ingres

I’ve been yelling at Radio 4 more than ever in recent days. First, because the tautology “[N]-year anniversary” seems to have been deemed acceptable by continuity announcers; and this week, when the presenter of the network’s flagship arts show pronounced the name of the painter Ingres... well, you listen (around 32.30). There are two levels to this, I guess. First, should the presenter of such a prestigious show be expected to know how to pronounce the name of a fairly important 19th-century artist? And then, if he does drop the ball (and even the best of us makes the occasional fumble), should there not be people around who know how to catch it?

Or does it not really matter any more?

PS: Previous musings on what Front Row presenters should or shouldn’t be expected to know.

PPS: (June 28) And today the same presenter (Nick Ahad) repeatedly said “asterix” when he meant “asterisk”. And that was only because he didn’t want to say “fuck”.

About American English

Even as the American Empire follows its British equivalent towards irrelevance, it refuses to go down without a fight, on the linguistic front. I’ve noticed an increasing tendency on London menus to describe a key component of eggs Benedict as an English muffin; of course, a generation ago we would have called it a muffin.

And this, found in a recent crime novel. It reads at first like a bold assertion of cultural independence but really it’s just a desperate plea to have one’s strange Limey peccadillos indulged, and not to get punched in the process.

About Delilah

Nick Cave on the condemnation being visited on a 50-plus-year-old song, ‘Delilah’: 

I understand there is a principle here, but on some level I like the fact that some songs are controversial enough to be outlawed. It fills me with a kind of professional pride to be a part of the sometimes contentious business of songwriting. It’s cool. I like it. I just wish it was a more worthy song to be awarded that greatest of honours, indeed that supreme privilege, of being banned.

A reminder that “cancel culture” is nothing new, that it was visited on ‘Je T’Aime’ and ‘God Save The Queen’ and ‘Relax’ and merely added to the outlaw cachet of those songs and their writers and performers. Ultimately the Welsh Rugby Union won’t kill Delilah, it will make her stronger. 

About Burt Bacharach (RIP)

I refuse to choose. But if I do have to pick one, it’s this, and it’s because of the lyrics and yes, I know Burt didn’t write the lyrics, don’t @ me (is “don’t @ me” still a thing?) but even the lyrics, just a sliver of them:

...and all the stars that never were/Are parking cars and pumping gas...

Which, had it arisen in The Last Tycoon or All About Eve or Sunset Boulevard or Barton Fink would still say everything that ever needed to be said about the vagaries of fame and showbiz and all that cal.

 

PS: And in other news, I learned that Burt’s dad was called Bert Bacharach, and I’m convinced that if Junior had copied that spelling, the history of postwar American music might have been ever so slightly different...

About ChatGPT

Music critic Simon Reynolds is sanguine regarding the threat that an AI program such as ChatGPT might present to his trade:

...A.I. has no need to write, either — no deep-seated motivation to put words on paper or on screen. The kind of texts it generates resemble what I think of as “motiveless” writing, like school homework, or advertorial. Proper music criticism, even if done to earn a living, is closer to the sort of willed writing that fills diaries, journals and poems — where the compulsion to write is internal rather than externally imposed.

Except that what he (and, if you were to put a gun to my head, I) would define as “proper music criticism” has been in retreat for years, squeezed out by the twin monsters of economics and technology in favour of, well, advertorial. Mr Reynolds may well survive the onslaught, but any number of lesser names may not be so lucky.

In other news, I had a go with the program, and this happened:

PS: Also this, from The Times. “Artistic types” indeed.

About the B-52’s

In a farewell to the B-52’s, Kathleen Hanna of Bikini Kill and Le Tigre opines: “...there are tons of different people who have made incredibly iconic, important music, who aren’t straight white guys, and I think it’s important to acknowledge that.” Nice of her to rescue the likes of Cole Porter, Leonard Bernstein, Tchaikovsky, Prince, Aretha Franklin and Kate Bush from the obscurity to which the critical consensus has consigned them over the decades.

Sarcasm aside, to be fair, I think she’s leaning towards a good point; that the Georgia band made a virtue of spurning the dumb machismo that has long afflicted rock music. A few years ago I saw an exhibition of rock instruments at the Met in New York and while others drooled over the guitars of Hendrix, Page, Townshend and the like, I only had eyes for the Farfisa organ that made this happen:

About Lydon

It’s not the fact that John Lydon’s Public Image Limited is in the running to represent Ireland at this year’s Eurovision Song Contest that’s startling. It’s that the song – about his love for his wife, in the throes of dementia – is actually rather good.

About blogging

LC, one of the mainstays of our little virtual gang when this whole thing felt like the future, directs us to this article by Monique Judge, suggesting that blogging needs to make a comeback. Except I think what she really wants is something that isn’t Twitter.