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Friday, May 30, 2025

Listening to Lennon #1: Plastic Ono Band

So, as promised, my review of Lennon's solo albums begins.

By January of 1970, the last time the Beatles ever worked together as "The Beatles" was more than four months in the past. Lennon had been divorced from his first wife Cynthia for over a year, and he'd been married to Yoko for nearly one; he'd also recorded and released two big solo hit records, "Give Peace a Chance" and "Cold Turkey," and was working on a third, "Instant Karma," which would do even better on the charts than either of the previous two. He'd cut his hair short, he and Yoko had (for the moment) quit heroin, and he'd long since privately told his fellow Beatles that the band was over, though they'd all agreed not to make any public announcement. Through all this, it's not clear what the end of the Beatles meant for John; in interviews while he and Yoko were traveling Europe and then again when "Instant Karma" came out, he'd talk about how what was ending wasn't so much a band as an "image," and that the current confusion as to the direction of the band might easily be a "rebirth." Lennon seemed happy--which was always a difficult thing to determine with him, but the signs were there.

But then the spring of 1970 brought Paul's release of his first solo album, McCartney (honestly, I don't think it's very good), triggering John's defensive, jealous spirit; Paul's incredibly ill-conceived (however frustratingly justified) promotional interview which was taken as a public declaration that the Beatles were finished, which John saw as a presumptuous betrayal; the release of both Let It Be the album and Let It Be the documentary film, with its (incorrectly!) depressing take on the "Get Back" sessions that produced both of the above, and the latter of which reduced John to tears when he saw it; and, finally, John's discovery, in March, of the psychotherapist and wanna-be guru Arthur Janov, whose book The Primal Scream convinced Lennon--a man who, as Rob Sheffield put in in Dreaming the Beatles, had always been "deeply attracted to conversion experiences and renunciation scenes"--that he desperately needed to scream his way out of his problems, his frustrations, his abiding and confusing hates and regrets. He and Ono spent four months, in London and Los Angeles, going through Janov's therapy. In the meantime, Yoko miscarried, Lennon turned 30, and had a terrible row with the father who had abandoned him as a child, whom he never saw again after his birthday. I'm hardly the first to say that you can't make sense of Lennon's first solo album, Plastic Ono Band (his name for the floating line-up of musicians that played with him and Yoko) without considering all of this.

So the entire album is a work of therapy? Not quite; there are a couple of songs on it that could have been developed in any context. "Love" is a sweet, stripped-down tune, with Lennon's voice stretching to sing lyrics as sappy as anything Macca ever wrote (I mean, "Love is asking / To be loved"?), while "Look at Me" is a polished if rather plain ditty that had its roots in something Lennon was working on way back in India in 1968. But besides those, every song on Plastic Ono Band, to one degree or another, is an explicit expression or a reflection of John's resentments, his immaturities, his angers, his fears. "Working Class Hero" is a masterful political statement, a perfectly tight bit of quiet, controlled folky fury, which Lennon apparently obsessed over more than any other song on the album. "Hold On" is more an idea than a fleshed out song, but his use of tremolo, complemented by Ringo's superb drumming, makes it seem like genuine moment of hope in the midst of comprehensive despair. "I Found Out" and "Well Well Well" are both darkly bitter, pulsing, insistent songs of righteous indignation and John's shouting, all about making do and living life despite the betrayal of others. "Remember" and "Isolation" are both full of dissonances and rhythmic shifts; they're worth pairing together, though the sadness of the first is staccato and accusatory, and on the second its bluesy and reflective. I think they're all pretty solid tunes, however inseparable they are from the album's overall vibe.

That just leaves Plastic Ono Band's bookends, "Mother" and "God" (leaving aside the creepy, brief, monotone "My Mummy's Dead" ditty at the album's conclusion). "Mother" is the fullest artistic work on Plastic Ono Band, I think, and really is kind of a masterpiece of raw, musically expressed pain; his repeated, increasing hoarse cries at the end--"Mama don't go; Daddy come home!"--deepen and propel the song towards its conclusion. "God," though, is odd. It's an artfully arranged but sing-songy incantation, a kind of anti-mantra; if it wasn't for the tremendous combination of Billy Preston's gorgeous piano and Ringo's furiously controlled drumming, the whole thing would sound kind of petulant. Or at least I think that--but then, I've never been famous, and there's basically no chance I or anyone else who reads this will ever be remotely as famous as Lennon was. So maybe I've no place to say that his plaintive concluding lines--"I don't believe in Beatles....I was the walrus / but now I'm John. / And so, dear friends, / you'll just have to carry on. / The dream is over."--don't deserve the ponderousness he delivered them with. Like I said before, the end of the Beatles was huge--and to the extent that John was considered by many the Beatles' wounded artistic muse--thanks in no small part to John spending the first years after the break-up constantly telling himself and everyone else that--his pronouncements in "God" perhaps deserve all the respect they received. (As far as I'm concerned, though, the best thing about "God" is that it inspired Bono to write "God Part II," a mostly forgotten track from Rattle and Hum which is, I think, the best rock tune U2 ever recorded.)

I give Plastic Ono Band a solid B, maybe even a B+; it's better as a personal artistic document than as an album of popular music, but it's not entirely lacking in the latter. It'll be interesting to see if I decide that Lennon ever did better than this dark but mostly compelling first solo album of his.

Friday, May 23, 2025

Thoughts on MacIntyre

Via Alan Jacobs, I’ve learned that Alasdair MacIntyre passed away on Thursday, at the age of 96. Unlike other philosophers, theologians, and political theorists I’ve written memorials to on my blog over the years, MacIntyre’s work—which engaged deeply with issues of ethics, Aristoteliansim, and rationality—never had a major impact on my own. Still, I don’t see how any English-speaking student of politics or philosophy from the past half-century could have avoided being shaped by After Virtue, his short and explosive argument against the then-prevailing assumptions of Enlightenment liberalism, which was published in 1981; I was, like everyone else, and in that sense I owe him as much a debt as any other thinker I linked to above.

For a long time, my understanding of that debt was inextricable from the liberal-communitarian debates which academic philosophers and political theorists (including folks like me who were trained to become such, and for whom even if it didn’t quite work out that way, still can’t get that debate off my mind) who are today in their 50s were inundated with in graduate school. MacIntyre always denied being a communitarian, though he was lumped in with them anyway, and I think not inappropriately so. Beyond all the sturm und drang which attend any kind of intellectual argument over the drawing of disciplinary and ideological lines, there remains the simple fact that MacIntyre self-professed “revolutionary Aristotelianism” ultimately pointed to the local community, to the centrality of tradition, and to the continuity of stories and language—in other words, to things and phenomena very much beyond the ambit of the sovereign, rights-bearing individual—as the starting point to any of kind rationally defensible moral philosophy, to say nothing of any kind of actual civic health. By making the—I still think highly persuasive—argument that liberal individualism leaves us with what he called a mere “emotivism” as a basis for understanding, interpreting, and judging our own and others’ actions, he absolutely add significantly to a broad set of communitarian ideas which are still valid today.

Of course, today it is the postliberals who are most interested in claiming the communitarian MacIntyre for themselves. As bizarre that MacIntyre himself apparently found the prospect that his writings had somehow inspired people like Rod Dreher, Patrick Deneen, and others to embrace the goal of a retreat from and an overturning of the current liberal order, MacIntyre’s contempt for the conservative acceptance of capitalist inequality (when asked in 1996 what he still retained from his pre-Aristotelian Marxist phase, MacIntyre simply stated “I would still like to see every rich person hanged from the nearest lamp post”) probably isn’t enough to prevent that appropriation. Fred Dallmayr—who, as I’ve written, understood what it means to move beyond liberalism much better than most of those who parade that label—noted in a chapter from his book Post-Liberalism: Recovering a Shared World that MacIntyre’s thinking, which he called “stellar,” nonetheless evinces a certain “metaphysical realism” and “functionalism,” thereby undermining ways of thinking about our situation which call for a more immanent, more attendant, more patient approach. MacIntyre’s revolutionary Aristotelianism absolutely does not call for a revolutionary communitarian imposition, but it’s possible the way in which he formulated those ideas opened up an interpretation of them that he firmly disagreed with.*

But it would be wrong to make any set of reflections of MacIntyre’s immense philosophical achievements to rest entirely upon the political contestation over his prioritization of community. Far better, I think, would be to say something about how MacIntyre defined the communities of tradition, locality, and story in question. Because that can take us in an interesting direction.

In a book of MacIntyre’s that doesn’t appear to me to get much critical praise, but which was very important to me once upon a time (maybe even more so than After Virtue), he explored a fundamental, philosophical challenge to communitarian ideas, though he didn’t use that language to set up the problem. Essentially: if you’re not going to employ universalist concepts whose rationality are available to all individuals equally, and rather are going to insist upon the priority of concepts that have some communal, historical, or cultural particularity, then how can you avoid relativism? In short (and as the title of the book in questions asked): if you’re going to tie the possibility of rational, moral judgment to particular communities, then Whose Justice? Whose Rationality? should we employ? MacIntyre’s answer to these questions is dense and rewarding, and pretty much impossible to briefly summarize. But the first step is recognizing how forthright he is in accepting the puzzle. There is no attempt to sideline what it means accept that Aristotelian phronesis, or practical judgment, cannot be made logically universal:

But since practical reasoning, as Aristotle understands it, involves the capacity to bring the relevant premises concerning good and virtues to bear on particular situations and since this capacity is inseparable from, is indeed a part of, the virtues, including justice, it is also the case that one cannot be practically rational without being just. And for reasons which are in essentials the same as those which entailed the conclusion that one cannot be just apart from membership in some particular polis, one cannot be practically rational apart from membership in some particular polis. That one’s rationality should be not merely supported by but partly constituted by one’s membership in and integration into a social institution of some particular type is a contention very much at odds with characteristically modern views of rationality (p. 123).

Philosophical liberals will, of course, tear their hair out at that conclusion, but the rigor with which he makes this argument has stood the test of time: we are not self-constructing, but rather socially constituted beings, and thus mostly think, and judge, by and through those institutions and histories and forms which characterized our constitution. Okay—but does that mean all of them? Obviously not; some communal phenomena and constructions are far more relevant to questions of justice and rationality than others. For MacIntyre, the primary one—obviously so, given the importance he attaches to stories—is language, and the structural forms by which language is conveyed. On his reading of history, the boundaries of any shared, spoken, written language are what give us linguistic communities, which in turn provide our social communities. He never quotes Herder or Gadamer in Whose Justice? Whose Rationality?, but he’s plainly working in the same vein as them: trying to articulate, in Aristotelian terms, a philosophical hermeneutics, a way of understanding the constituting power of language over time and through the social bonds and interactions which define us.

The complaint about linguistic communities is, of course, obvious: languages change! They change through translation, through interpretation, through just the generational process by which stories that revealed to one set of listeners one set of references upon which they could reason, end up revealing to another, later, set of listeners an entirely different set of references, because of geographic or technological or cultural change. MacIntyre acknowledges this, insisting the every tradition is open--by definition, as a spoken, written, particular thing—to evolution: “[T]he time and place may come, when and where those who live their lives in and through the language-in-use which gives expression to [their tradition] may encounter another alien tradition with its own very different language-in-use, and may discover that while in some area of greater or lesser importance they cannot comprehend it within the terms of reference set by their own beliefs, their own history, and their own language-in-use, it [nonetheless] provides a standpoint from which, once they have acquired its language-in-use as a second language, the limitations, incoherences, and poverty of resources of their own beliefs can be identified, characterized, and explained in a way not possible from within their own tradition” (pp. 387-388).

That’s a long sentence, and appropriately so, because he’s talking about a long process. (Whether his own articulation of Aristotelianism supported it or not, his work on thinking through the real world process of phronesis absolutely had a patient, immanent character to it.) MacIntyre is telling us that in encountering differences, and as we learn about them and even embrace them, there will always be a constant need to maintain our own received traditions, stories, and language—not to defend them from some kind of pollution, but because it is through working through their interaction with one another that we can see clearly what one story can teach which another story cannot.

It's worth saying in conclusion that, dense as MacIntyre’s work often was, he could be viciously funny (at least in an academic sense). One of my favorite passages from Whose Justice? Which Rationality? has stayed with me for decades, because it’s such a thorough dumping on those who talk blithely about “the Western tradition” or “the Christian tradition” as something to be defended. Building upon his own careful philosophical consideration of linguistic communities and historical traditions, he takes the time castigate the type of teaching every one of us who has ever had to take on a survey course usually fall into, faulting both modernity, but also a flawed conservatism that doesn’t understand what it’s about:

The type of translation characteristic of modernity generates in turn its own misunderstanding of tradition. The original locus of that misunderstanding is the kind of introductory Great Books or Humanities course, so often taught in liberal arts colleges [guilty!], in which, in abstraction from historical context and with all sense of the complexities of linguistic particularity removed by translation, a student moves in rapid succession through Homer, one play of Sophocles, two dialogues of Plato, Virgil, Augustine, the Inferno, Machiavelli, Hamlet, and as much else as is possible if one is to reach Satre by the end of the semester. If one fails to recognize that what this provides is not and cannot be a reintroduction to the culture of past traditions, but is a tour through what is in effect a museum of texts, each rendered contextless and therefore other than its original by being placed on a cultural pedestal, then it is natural enough to suppose that, were we to achieve consensus as to a set of such texts, the reaching of them would reintegrate modern students into what is thought of as our tradition, that unfortunate fictitious amalgam sometimes known as “the Judeo-Christian tradition” and sometimes “Western values.” The writing of self-proclaimed contemporary conservatives, such as William J. Bennett, turn out in fact to be one more stage in modernity’s cultural deformation of our relationship to the past (pp. 385-386).

It’s not surprising that a man who could write a passage like that was the kind of professor who insisted on referring to his students as “Mr.” and “Ms.,” and once handed out a “B minus minus” as a grade. Thinkers like this leave a profound legacy, and even if MacIntyre’s is, I fear, fated to be misappropriated, his own arguments make it clear that, so long as we speak our language and tell our stories, there are always practical possibilities for some St. Benedict, like MacIntyre himself, to come along a remind us of the immense gifts of connection and continuity we possess. Requiescat in pace, sir.

*Update, 5/27/2025: Noah Millman’s tribute to MacIntyre is really superb, and in talking about his piece with our mutual friend Damon Linker, Damon made an observation which clarifies what I was gesturing at in this paragraph very well: “In the end, though, I’m not a MacIntyre admirer. I get my Aristotle from Strauss. And the problem Noah notes early on in his piece — of MacIntyre projecting Aristotelian theory onto the lived reality of the ancient and medieval worlds — is a big problem and the ultimate source of the influence he had on the ‘postliberal’ right. This influence made MacIntyre uncomfortable, but it was his own fault for eliding crucial distinctions in a way that made it sound like he was describing a lost world of moral wholeness and meaning that was banished by the Enlightenment, etc. That’s garden-variety reactionary romanticism, and it’s unfortunate MacIntyre gave it fuel.”