tag:blogger.com,1999:blog-79077522024-03-18T16:38:03.667-05:00In Medias ResEssays, notes, and fragments--personal, political, and philosophical--from the midst of things<br><br>
<center>"Provocative, yet flawed."--Stephen Schneck</center>Unknownnoreply@blogger.comBlogger1519125tag:blogger.com,1999:blog-7907752.post-82471989954872582422024-03-10T20:59:00.000-05:002024-03-10T20:59:02.365-05:00Do We Really Not Need Another Hero? (Thoughts About Dune)<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiECw_pBiT74Na5afNccBb_l-N8WBglPbmQ7ygI_gL3f5TpAn-hyGjChUfMk8cLrRN52a8Ziqlp5vv2gg5XBIHwf09EwrENDomcDuYX2gQsYVe81kkPH2kgsNWGQh-q2O4kK1umRvC2k4QZ57fywnqzbcjM0HgmWok-UVhql0hTlL_gTJbMH8dq/s804/DuneHero.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="387" data-original-width="804" height="193" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiECw_pBiT74Na5afNccBb_l-N8WBglPbmQ7ygI_gL3f5TpAn-hyGjChUfMk8cLrRN52a8Ziqlp5vv2gg5XBIHwf09EwrENDomcDuYX2gQsYVe81kkPH2kgsNWGQh-q2O4kK1umRvC2k4QZ57fywnqzbcjM0HgmWok-UVhql0hTlL_gTJbMH8dq/w400-h193/DuneHero.JPG" width="400" /></a><p>Exactly a week ago, I and bunch of local <i>Dune</i>-loving friends caught Denis Villeneuve's <i><a href="https://en.wikipedia.org/wiki/Dune:_Part_Two">Dune Part 2</a></i> in IMAX. It was glorious--a fantastic, rousing, compelling science-fiction spectacle which built upon and brought to a satisfying (but also very open-ended) conclusion the story which was begun in his <i><a href="https://en.wikipedia.org/wiki/Dune_(2021_film)">Dune Part 1</a></i> back in 2021. I thought it was fabulous, and strongly recommend who hasn't seen it yet and has even the slightest interest in doing to go see the movie immediately, preferably on the biggest screen you can.</p><p>But that's just the spectacle part--what about Villeneuve's two-part <i>Dune</i> as a <i>story</i>? Here, as always, there have been opinions aplenty, everywhere on the internet; my friends and I definitely had more than a few of our own. For me, after thinking about it and reading about it, I believe I have to say that, as much as I praise these two films, they're missing something: they aren't <i>mythic</i>. Does that matter: as a matter of cinematic narrative, or--perhaps more importantly, especially to us geeks who know and love <a href="https://en.wikipedia.org/wiki/Dune_(novel)">Frank Herbert's original story</a>--as a matter of adaptation? Maybe.</p><p>As <a href="https://inmedias.blogspot.com/2021/10/my-tale-of-two-actually-one-and-one.html">I confessed when I watched <i>Dune Part 1</i></a>--with mostly this same group of dorky sci-fi-loving friends--nearly 2 1/2 years ago, I'm biased here. My first exposure to <i>Dune</i> wasn't, in fact, Herbert's novel(s); it was David Lynch's seriously compromised, definitely flawed, but still delightful 1984 <a href="https://en.wikipedia.org/wiki/Dune_(1984_film)">adaptation</a>. I was a 15-year-old Dungeons & Dragons-playing, <i>Lord of the Rings</i>-reading, "Star Trek"-watching (both the Original Series and the 1980s movies, of course) teen-age nerd; while I was familiar with <i>Dune</i>--I regularly saw Herbert's first four <i>Dune</i> books in a nice boxed set sitting prominently on a much-perused shelf at a gaming store I often visited, and was generally familiar with the story--I'd never read any of them. Watching Lynch's <i>Dune</i> on the big screen changed all that for me. By 1984 I'd already begun to develop an at least somewhat critical appreciation of film as its own story-telling medium (enough that I can distinctly remember thinking to myself, while sitting in the theater opening day watching <i><a href="https://en.wikipedia.org/wiki/Return_of_the_Jedi">Return of the Jedi</a></i>, "you know, parts of this movie aren't very good"), so I think even then I probably was aware, <a href="https://www.youtube.com/watch?v=Bj7R_2WWdKs">even while grinning like a madman when Toto's guitars blasted out during the worm-riding sequences</a>, that I wasn't watching any kind of masterpiece. But I didn't care. The movie's visionary story of Paul Atreides, a product of both generations of secretive breeding and training but also of a mother's genuine love, surviving terrible betrayal only to emerge as the foretold messiah of a persecuted and honorable people, was romantic and sumptuous and I loved it. So, of course, I had to buy the books, and devour them. Which I tried to do, with some success: I loved <i>Dune</i>, mostly enjoyed <i>Dune Messiah</i>, had serious problems with <i>Children of Dune</i>, and couldn't handle <i>God-Emperor of Dune</i> at all. (And yes, I know, much later there were a couple more, but by then my interest in Herbert's epic was completely exhausted.) My declining engagement with Herbert's treatment of Paul Atreides and his world was, in retrospect, perhaps predictable, for reasons worth exploring.<br /></p><p>Those who know the books well--like some of my friends, for whom <i>Dune</i> lives much stronger in their imaginations than it ever did in mine--might have already spotted my difficulty. Lynch's version of the first <i>Dune</i> novel profoundly downplays one of the book's explicit plot-threads: that the messianic prophecy held to by the Fremen of Dune (or Arrakis) was in fact spread among them over a period of millennia by the Bene Gesserit, an all-female cult whose use of the spice melange, which is only available on Arrakis, has enabled them to read minds and see into the future, and they've used those skills to master strange physical and mental arts, and plan for the eventual emergence of the "Kwisatch Haderach," a male who would wield the same powers as the Bene Gesserit. The messianic prophecy of the Fremen, the promise of an off-world "Lisan al Gaib" that would lead the Fremen in a holy war against all the other powers in the known universe, was therefore actually one of presumably hundreds, if not thousands, of legends which the Bene Gesserit had purposefully cultivated to enable their Kwisatch Haderach, when he is finally born, to more easily step into the domineering role which the sisterhood imagine for him (and through which they would control him, from behind the scenes). Paul's messianic role, in other words, was manufactured on his behalf, not organic to Fremen, much less a reflection of the actual eschatology of the universe.<br /></p><p>[I'm really proud of that one-paragraph summary of the dominant--though by no means exclusive--plot in Herbert's intricate and multifaceted overarching story, by the way.]</p><p>While Lynch's <i>Dune</i> is up-front about Paul Atreides being the genetic inheritor of a breeding program which the Bene Gesserit planned out, it basically elides the Machiavellianism which lurks behind it entirely. Lynch's troubled journey to his finished <i>Dune</i> included a 4-hour rough cut, which he aimed to turn into a 3-hour film (after the plan for two films which he'd originally scripted was shot down), and which he was then obliged, with great frustration, to turn into a finished movie of just a little over two hours. A huge amount, obviously, was left on the editing room floor, and a many last-minute reshoots were made to stitch the drastically shortened film together. If Lynch had been able to follow through with the sequence he'd originally imagined, then after <i>Dune</i> he would have turned to <i>Dune Messiah</i>, the second book of Herbert's original series, and <a href="https://www.wired.com/story/david-lynch-dune-sequel-script-unearthed/">the partially completed script for that movie</a> which has only recently been finally recovered makes it clear that the Lynch was ready to dive into the plots-within-plots story of the Bene Gesserit attempting to take back control of the power which Paul, as the Fremen's messiah, had unleashed, as well as his own doubts and frustrations over the enormous costs--over 60 billion lives--of the wars his rise as resulted in. But even without that sequel, in the best, unofficial, reconstructed versions of Lynch's never-completed 3-hour cut (like the famed <a href="https://www.youtube.com/watch?v=faHQA_0d9Mo">SpiceDiver cut</a>, which my friends and I all gathered to watch before <i>Dune Part 1</i>), you can see the Lynch truly wanted to bring in details from the book which would complicate the story, make Paul's tale less of a revelation and more politically ambiguous.</p><p>But that was not to be. And honestly, I'm not entirely bothered by that. A little bothered, to be sure--but not entirely.</p><p>Before catching <i>Dune Part 2</i>, I went with some of these same friends to see the 40th anniversary re-release of Lynch's 1984 original on the big screen--and seeing it that way, as a whole, separate from alternative cuts and closed-off possibilities, reminded me of what I'd see four decades ago: a science-fiction story of a myth brought to life, of a promised messiah acting out their own legend and becoming more than human as a result. It's absolutely hokey, that's undeniable. The film is crowded with too many details from the books, all of it designed to serve a straight-forward hero's journey. And yet I could only, once again, applaud the genius of how Lynch compressed and rewrote elements of Herbert's <i>Dune</i> so as to tell a story--almost certainly not the one he'd wished to tell, but the one he was obliged to carry across the finish line anyway--that truly <i>works</i>, dramatically speaking. </p><p>Just one example: the Bene Gesserit's "weirding way," a set of physical and mental disciplines, including extensive combat training, appears only as a commanding voice in Villeneuve's films--which is, admittedly, its most famous (and plot-important) aspect. But in the midst of all the other stuff he crammed in--the Mentats, the Navigators Guild, and more--Lynch decided to turn the weirding way into "weirding modules" which Jessica, for the love of her husband, let House Atreides in on the secret of, and by which the Bene Gesserit's trained vocal powers could be weaponized. This gives the Fremen a secret weapon to use against their enemies, one that Paul is essential to their mastering. And, of course, it turns out that Paul's own Fremen name, "Muad'Dib" is a <a href="https://www.youtube.com/watch?v=TQeP6GWU0e4">particularly explosive force</a>. In these and other ways, Lynch's film works to make everything, all around Paul, manifest his legend, whatever the pain involved and whatever the cost may be.</p><p>Villeneuve's films reject that approach, which is an eminently defensible way to tell the story. First, because he had the budget and the technical skill to put on the screen five hours worth of <i>Dune</i> adaptation, so he could take much more time to emphasize characters and scenes (the expanded focus on<i> </i><span>Liet Kynes, the Judge of the Change when House Atreides arrives on Arrakis, is a great example of this) that contextualize the complicated, plans-within-plans reality of Paul's fate. But second, and more importantly, Villeneuve clearly loves the original books, and as such, really <i>doesn't</i> love the prospect treating the story Paul's rise as something explicitly heroic, and definitely not as the authentic embodiment of a mythological truth contained within an otherwise manufactured Fremen myth. Hence Villeneuve introduces factions among the Fremen, with Paul's great love and the eventual mother of his children Chani being presented as one of the most vocal resistors to accepting the </span>Lisan al Gaib legend, insisting at multiple points in the film that such stories only exist to pacify and control the Fremen. And while that colonial-resistance spin isn't at all present in the books, since Herbert truly did believe that 1) all messiahs are to be feared, and 2) all messiah stories are manufactured anyway, this addition of Villeneuve's really does reflect Herbert's bottom-line secularism and cynicism well.</p><p>All of this is fine--it's Herbert's story, after all, and while the author may be dead and authorial intentional nothing like it used to be, there is still something to be said for respecting the explicit text. Except <i>that</i> is exactly the problem, or at least one potential problem. Because Herbert was too good a writer to turn his whole epic in the just plots-within-plots, all the way down. Paul Atreides really <i>does</i> have something special about him, and he really <i>does </i>become something more than he was. He really <i>does</i> put on a Fremen stillsuit the correct way the very first time, without any previous instruction; that's right in the text. He really <i>does</i> summon a massive worm to ride upon, without any ability (and that point in the story, anyway) to communicate with them. Herbert actually voices this mysterious ambiguity--that a person bred to step cunningly into the role of a prophet might actually, innocently, <i>be</i> a true prophet all the same--explicitly, having Princess Irulan (the child of the emperor who set up House Atreides to be destroyed, and whom Paul and his Fremen will completely overthrow) at one point write in her diary about Paul, "How much is actual prediction…and how much is the prophet shaping the
future to fit the prophecy? Does the prophet see the future or does he
see a line of weakness, that he may shatter as a diamond-cutter
shatters his gem with a blow of a knife?" In other words, could the Kwisatch Haderach, this immensely skilled and impossibly perceptive individual, <i>also</i> be a figure in some actually, only-coincidently-Bene Gesserit-orchestrated, prophesied eschaton? As Timothy Burke--<a href="https://timothyburke.substack.com/p/reworking-empire-dune-2">who supports whole-heartedly the approach which Villeneuve has taken in these films</a>, seeing it as a way to avoid a "sad but necessary"-type of justification for White imperialism arguably present in the story's subtext--put it, "<span>the problem in the end is that Paul Atreides is both a fake messiah and a genuine superhuman.</span>" Villeneuve has his own, still unfolding, way of responding to that dilemma, Lynch had his much more direct solution. And maybe there's something to be said, beyond just my own 40-year-old nostalgia, for the latter? <br /></p><p>I can think of three possible arguments. The first is the question of the dramatic <i>style</i> incumbent upon any story told in this particular genre. <i>Dune</i>, in any of its incarnations, is not a romantic comedy, is not a documentary, is not a one-act play. It is a sprawling science-fiction epic about the dramatic reversal of fortune which those who thought to destroy House Atreides and take control of Arrakis suffer at the hands of Paul Atreides and the Fremen, filled with vicious betrayals, spectacular action, and terrible violence. If you're going to film this story, you simply <i>have</i> to make your protagonist at least somewhat mythic; otherwise the whole project collapses. Freddie deBoer, in <a href="https://freddiedeboer.substack.com/p/screw-you-guys-i-root-for-muaddib">a delightful piece</a> in which he admits that, on the level of imagination anyway, he's totally ready to sign up for the Fremen jihad under Muad'Dib, put it this way:</p><p><i><span>On a serious note--if Paul and his movement aren't seductive, if
the audience doesn't feel the pull to romanticize them, then there's no
movie. It's like </span>Fight Club<span>, another story that
gets aggressively explained a lot--driven, to be fair, by
misinterpretation from both fans and critics alike. It's true that Tyler
Durden is not a figure to be consciously admired, let alone emulated.
(Please do not emulate him.) But he has to be </span><b>cool</b><span>.
If he's not seductive, if there's no sense that we want to be like him,
then there's no stakes and no lessons; there's nothing to be gained by
holding up a figure that we all admit is wrong and bad, in that kind of
story.</span></i></p><p>Given that deBoer is talking about the Paul Atreides played by <span>Timothée Chalamet in Villeneuve's <i>Dune Part 1 </i>and <i>Part 2</i>, I should emphasize that I'm not attempting to flip his comments against his own appreciation of these films. Villeneuve really does give us an exciting, engaging Paul; his story, as played against a tableau of remarkable sci-fix visuals, is compelling and great fun. But there is nonetheless, I think, a degree in which <i>Dune</i>'s story, as it is told in these two recent films, cannot be carried by Paul alone. Which again--is fine! The story is not made any less, at least not in terms of the overall sweep of it, by introducing additional protagonists with agency, humor, and anger. But if we were to focus solely on Villeneuve's and Chalamet's Paul, it's undeniable that they want him to recede before the whole weight of <i>Dune</i>'s epic-ness. He treats his visions as frightening, disturbing, an annoyance, a threat: in other words, as a disruption. Lynch's Paul, as played by Kyle MacLachlan in a way which makes his every interior thought explicit, with a kind of radical openness, is clearly communicated to the audience as <i>believing</i> his visions, of making them a part of him, and growing along with the story's unfolding myth accordingly.</span></p><p><span>Second, let's think about the cinematic situating of characters who, because of the story they are part, are arguably <i>necessarily</i> mythic. That is: grand, awesome, larger than life. There are plenty of ways to tell stories which invert those myths, the focus on the god's clay feet, etc. But at some point, if that is all you're doing, you then have to ask yourself: why tell this story at all? Surely there are better ways to dramatize the stories of the little people that those in power use or abuse or pass over, than to spend a great deal of time reconstructing the life of these characters, and not allowing them to be seen in the way that history, for better or worse, as brought them forward to us today, the audience. Noah Millman <a href="https://modernagejournal.com/let-us-now-praise-famous-men-or-not/238007/">makes this point very thoughtfully</a> by considering four recent films that he considers sad failures: <i>Napoleon</i>, <i>Ferrari</i>, <i>Maestro</i> (about Leonard Bernstein), and <i>Priscilla</i> (about the wife of Elvis Presley):</span></p><p><i>All of the foregoing films are, in some fashion, telling stories about
greatness: world-historical greatness on a political and military level,
the race for glory in a competitive sport with death and bankruptcy
always around the corner, the drive to create great art and to touch a
mass audience. I can certainly understand the desire to avoid
simple-mindedly worshipping great people, or people who sought
greatness. But these are not films that focus on the price exacted by
that quest for greatness, or that are alive to the ironic role of
contingency in history, or that emphasize how any great achievement
rests on the shoulders of innumerable unknowns, or any of the many ways
that one might complicate a “great man” narrative and make it more
interesting than hagiography. No, what they have in common is an
apparent disbelief in the quality of greatness itself.</i><span> </span> </p><p>Again, it would be wrong to directly apply this against Villeneuve's adaptations of the <i>Dune</i> story, not least because Noah is talking about movies that were all, to one degree or another, biopics, while none of the faux-documentary conventions which attach themselves to that genre apply to science fiction. Even if you can make the comparison, it's not as though Chalamet's Paul isn't presented as competent, smart, charismatic, etc. (the extended Fremen attack on the spice harvester in <i>Dune Part 2</i> nicely fits into making Paul larger than life among his fellow rebels). But once again, I can't help put wonder if telling a story about an individual who achieves universe-changing significance, who is received by the Fremen who brought him as the universe's messiah, and who demonstrably manifests--in the books, definitely in Lynch's version, and even in Villeneuve's as well--awesome powers, isn't served as well quite as it might have been otherwise by constantly reminding people (mostly, in Villeneuve's films, through Paul's mother Jessica, who becomes increasingly Machiavellian with every scene) that the prophecy Paul is inheriting isn't a "real" hope?</p><p>(I feel like doubling down on this point. Once more, I really enjoyed the divisions Villeneuve introduced into the world of the Fremen; in the by-now classical model of the hero surrounded by doubts (including their own), it's handled very well. But when Chani, after Paul has drunk the Water of Life, after he has become what the Emperor's Bene Gesserit Reverend Mother denounces fearfully as an "abomination," after he is just casually <i>reading the minds and telling the futures of everyone around him</i>, Chani still denounces the whole idea of Paul being the Lisan al Gaib as a myth that oppresses the Fremen. Really? For that acting choice to make sense to me, I'm going to have to go with Chani being angry, confused, frustrated, whatever--not as her being a reliable narrator of what's "really" going on in the story, because what's really going on is that Paul, whether or not it was something the Bene Gesserit ever wanted, has kind of become a god. Perhaps Lynch's underlining of this point by having Paul make it rain on Arrakis was too much--it's not in the reconstructed 3-hour versions of his film--but damn, it actually kind of <i>follows</i>, whereas I think Chani angrily riding away on a sandworm in the final scene of <i>Dune Part 2 </i>doesn't entirely.)</p><p>Third and finally, let me invoke one Max Rockatansky, the protagonist of the <a href="https://en.wikipedia.org/wiki/Mad_Max">Mad Max films</a>, a property that admittedly doesn't have anything remotely like the political, emotional, or ecological range and depth of Herbert's <i>Dune</i> universe (but which has some great stories under its belt nonetheless). Specifically, let me talk about <i><a href="https://en.wikipedia.org/wiki/Mad_Max_Beyond_Thunderdome">Mad Max Beyond Thunderdome</a></i>, where Max, wandering the post-apocalyptic desert, is adopted by a community of child survivors, who imagine he is the legendary "Captain Walker," returned to them, to help them return to and rebuild a world which none of them have any real memory of: <br /></p><p><br /><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/rn4aIinTJBQ?si=pbRSTLJKuh-8SN8s" title="YouTube video player" width="560"></iframe> </p><p>Mad Max, of course, isn't Captain Walker--we know this, because we'd just seen the latest turn in Max's history in the first 45 minutes of the movie, and it has nothing to do with being a returned or resurrected airline pilot, a messiah, that could fly these children to a new life. And yet, in fighting to make it possible for this small community to live and escape and build anew somewhere else, didn't he fulfill their crazy, chanted prophecy after all? <br /></p><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/wkXwcntEfvM?si=QW0afG8_ghzHtYt3" title="YouTube video player" width="560"></iframe><p>My point, in the end, is no more than the heart of <i>The Music Man</i>: "<a href="https://www.youtube.com/watch?v=WObDLtSj6XM">I always think there's a band, kid</a>." There's something to be said for stories that are centered on myths and heroes, because embracing myths, believing in them, is <i>part</i> of making it possible for heroes, for people who transform the presumed possibilities of one's world (or for boy's bands, for that matter), to be. Of course, this is kind of pedantic at this point: it's not like we're lacking in movies with heroes! Every <i><a href="https://en.wikipedia.org/wiki/Mission:_Impossible_(film_series)">Mission Impossible</a></i> film, every movie the Rock stars in, is actively engaged in the myth-making business. So why complain that <i>Dune</i>, a book which makes the manipulation of myths a key part of its overall tale, is adapted in such a way as to center that manipulation, rather than the myth itself?</p><p>Maybe no reason other than nostalgia after all. Or maybe because the book itself, as reflected in Lynch's flawed and interfered-with but still majestic interpretation, makes it impossible, arguably even against Herbert's own intention, to thoroughly dismiss the possibility that the Bene Gesserit, like any group of story-tellers anywhere, may have mythologized better than they could have possibly known. That wasn't Herbert's own self-understanding of what he wrought, and that hasn't been the dominant understanding of what <i>Dune</i> has to say over the decades; most readers, I think, have always gotten the point that Paul Atreides is supposed to be understood at least as much as a pawn as a protagonist, as least as much a murderous villain as a national liberator. Lynch himself saw that in the books as well. But in being forced to finish his adaptation on terms other than his choosing, he still found a way to double-down on the book's heroic, mythological elements that didn't, I think, entirely undermine what Paul Atreides meant, or at least could mean. I'm going to hold out the hope that when Villeneuve finishes his three-part tale, with an adaptation of <i>Dune Messiah</i>, he'll leave the door open for us viewers to see that Chani, or even Paul himself, may be scrambling to understand just how <i>real</i> the myth they are a part of, the myth which inspires Stilgar and the other Fremen, the myth which has arguably outstripped the Bene Gesserit's millenia-old machinations, may be. Because for this view, at least, if only for the time I'm taking in the story on the screen, it's real to me.<br /></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7907752.post-15087283838406081402024-02-27T08:41:00.004-06:002024-02-27T08:51:37.606-06:00What the Constitution Says About Parents, Public Schools, and Students' Gender, and What it Doesn't (Yet)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwK6h_ONcQ3b0mGwB8wS4IwHWH9QR2NKS_hCH3zlCQwyO_kDoNd6oq3rAQaO9kgjM_xaHCnfcAQwUS5Zdip-m3BJqHBNKvEdTuvcnJnyDOafi3NDA3h6RiLkQsiJ6AkVtJxyUgtCvqL3FeNM7xedgjMQ34Twxc4_vG8BoDXqjPn1FyCxuKeeW7/s555/Kobach-Lefler.JPG" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="227" data-original-width="555" height="131" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwK6h_ONcQ3b0mGwB8wS4IwHWH9QR2NKS_hCH3zlCQwyO_kDoNd6oq3rAQaO9kgjM_xaHCnfcAQwUS5Zdip-m3BJqHBNKvEdTuvcnJnyDOafi3NDA3h6RiLkQsiJ6AkVtJxyUgtCvqL3FeNM7xedgjMQ34Twxc4_vG8BoDXqjPn1FyCxuKeeW7/s320/Kobach-Lefler.JPG" width="320" /></a></div><p><!--[if gte mso 9]><xml>
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</p><p class="MsoNormal"><i>[An expanded version of a piece which appeared in the <a href="https://www.kansas.com/opinion/guest-commentary/article285930781.html">Wichita Eagle</a> and elsewhere on February 27, 2024.]</i> <br /></p><p class="MsoNormal">What does the law actually say when it comes to a young
person’s right to privately decide what gender they identify with, and to their
parents’ right to engage in or even direct the decisions they make? As usual, the
law is a lot more ambiguous and contentious than many might wish.</p>
<p class="MsoNormal">Recently Dion Lefler--arguably the best-known journalist in
Wichita, Kansas’s largest city-- <a href="https://www.kansas.com/opinion/opn-columns-blogs/dion-lefler/article285283457.html">picked
a fight</a> with Kansas’s Attorney General Kris Kobach--arguably the best-known
politician in the whole state--over essentially this exact problem, and Kobach--who, despite his protestations, has never been retiring when it comes to defending his beliefs--<a href="https://www.kansas.com/opinion/guest-commentary/article285546377.html">picked
back</a>. Both of them drag multiple ancillary issues into their argument, but let’s focus on the legal heart of their dispute, and see what we can clarify.</p><p class="MsoNormal">Last December Kobach sent <a href="https://cdn.fbsbx.com/v/t59.2708-21/426996237_1373611433299120_8275965584595727633_n.pdf/letters-to-schools-and-kasb.pdf?_nc_cat=104&ccb=1-7&_nc_sid=2b0e22&_nc_ohc=xrVs78-ryEoAX9NYUap&_nc_ht=cdn.fbsbx.com&oh=03_AdSQqmYjEBOX6sFDCfW8JVMCQVBKkFVaJmp7MiME4YuTxg&oe=65D3CE38&dl=1">a
letter</a> to six Kansas school districts regarding policies which allegedly require
teachers of students who identify as trans or non-binary to avoid revealing
information about the students’ self-identification to their parents unless the
students give consent. In his letter, Kobach cited multiple Supreme Court cases
defending “parents' right to direct the care, upbringing, and education of
their children,” and implied that he would treat these policies as a violation
of those constitutional rights. (In response, two school districts publicly changed their policies, while four others continued to defend them.)<br /></p><p class="MsoNormal">With the news of this letter became public, Lefler called
Kobach a “bully,” and said that seeking to intimidate school districts into abandoning
these policies was “endanger[ing] transgender kids without legal grounds.” His claim
about the absence of any specific legal ground is correct: while a bill was proposed
in the Kansas legislature last year that would have extended parental rights in
this exact context, it lacked the support to make it out of committee, and as a result, these policies do not violate
any current state law.</p><p class="MsoNormal">But Kobach responded that his job was to “protect the
constitutional rights of Kansans in court, regardless of whether the Kansas
Legislature has passed any statute on the subject,” and this is also correct:
Kansas officials swear to uphold the U.S. Constitution as well as our state one,
after all. So the real question is: what is the merit to Kobach’s conviction that
the U.S. Constitution, as presumably reflected in the multiple Supreme Court
cases which he cites, is on his side?</p><p class="MsoNormal">It is true that federal cases <a href="https://supreme.justia.com/cases/federal/us/262/390/">stretching back a
century</a> (and most of which rested upon substantive definitions of "privacy" as central to personal "liberty," a claim which <i><a href="https://en.wikipedia.org/wiki/Dobbs_v._Jackson_Women%27s_Health_Organization">Dodd v. Jackson Women's Health Organization</a></i>, the anti-<i><a href="https://en.wikipedia.org/wiki/Roe_v._Wade">Roe v. Wade</a></i> decision, may have unintentionally (?) declared invalid, interestingly enough) have established that parents have a fundamental right to make decisions
about the education of their children. However, none of them are directly
applicable to the present debate over names, pronouns, and privacy. Moreover, <a href="https://casetext.com/case/parker-v-hurley-2">other cases insist</a> that
parents have to demonstrate a harm which “strike[s] at the heart of parental
decision-making” before public schools, which are required by federal law to
consider the needs of all students equally, can be forced to change policies which
had been locally and legally decided upon.</p><p class="MsoNormal">In his response to Lefler, Kobach did mention one Kansas case
that was directly on point—<a href="https://casetext.com/case/ricard-v-usd-475-geary-cnty">a 2022 federal
district court decision</a> which forbade Geary County’s USD 475 from enforcing
a policy to not share private information regarding a student’s gender identification
because it violated how the student’s teacher understood her religious faith. Why
didn’t he mention that case in his original letter? Likely because he knows there
are other federal district court decisions (like Massachusetts’s <i><a href="https://www.bloomberglaw.com/public/desktop/document/FooteetalvLudlowSchoolCommitteeetalDocketNo322cv30041DMassApr1220?doc_id=X3T38OEAVQ98HVAGVI971HP48HS">Foote
v. Town of Ludlow</a></i>) which have taken up nearly identical cases and found
for the school district instead. In the end, the Supreme Court will have to
decide.</p><p class="MsoNormal"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">So ultimately, what is being fought about is
unsettled law. I suspect that Kobach, ultimately, will end up being found correct, or at least mostly correct, in his interpretation by the Supreme Court--partly because of the contemporary dominance socially conservative justices enjoy on the Court, but also partly because some of these policies can be legitimately interpreted as requiring public school teachers to purposefully hide information from or even lie to parents, and the case law supporting parental rights, stretching back long before the current make-up of the Supreme Court, will make that possibility very difficult to uphold. But in any case, for now Kobach's his letter reflects broad cultural
assumptions rather than controlling constitutional principles. So round one, I
think, has goes to Lefler.</span></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7907752.post-65952861951329852532024-01-15T07:07:00.001-06:002024-01-15T11:17:14.096-06:00Some Thoughts on Martin Luther King, Mormonism, and the Unfinishable Christian Witness Against War<p></p><!--[if !mso]>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 5"/>
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<![endif]--><i><span style="font-family: "Times New Roman", serif; line-height: 107%;"><span style="font-size: small;">Minerva Teichert,
“Christian Converts” (1949-1951), Brigham Young University Museum of Art </span></span></i><p></p><p class="MsoNormal"><span style="font-family: "Times New Roman", serif; font-size: small;">[Cross-posted to <a href="https://www.religioussocialism.org/some_thoughts_on_martin_luther_king_mormonism_and_the_unfinishable_christian_witness_against_war">Religious Socialism</a>] </span><br /></p>
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Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
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<p class="MsoNormal"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%;">Except, of course, none of it—the “beloved community,”
the “peaceable kingdom,” the whole Christian vision—is <i>actually</i> hopeless,
at least not if one understands “hope” in the way King and those who know his
ideas and words best did and still do today. This is a hope that does not
ignore practical planning for tomorrow, but is nonetheless mostly
eschatological, one that accepts the unknowable and miraculous potential of the
future, and acts, with faith, accordingly. It is a hope familiar to socialists
of nearly all stripes: the hope for a different world, and the motivating
determination to believe in its possibility. Setting aside the historical
determinism of Marx, even most secular socialists hold fast to it, whether they
realize it or not. As the radical sociologist Erik Olin Wright </span><a href="https://www.sscc.wisc.edu/soc/faculty/pages/wright/OVERVIEW.html"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%;">reminded</span></a><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%;">
all those inspired by socialist possibilities: “what is pragmatically possible
is not fixed independently of our imaginations, but is itself shaped by our
visions.” King’s vision of non-violent change brought him, as he laid out in
his <a href="https://www.americanrhetoric.com/speeches/mlkatimetobreaksilence.htm">famous
sermon against the Vietnam War</a> at Riverside Church in 1967, to see the witness
of peace as something that must be held comprehensively, in regards to foreign
policy as well as interpersonal relations. Such a vision might be, in Wright’s
words, a “utopian ideal,” but doesn’t mean it can’t also be realistically
practiced all the same—assuming one is prepared, <a href="https://www.biblegateway.com/passage/?search=Matthew+16%3A24&version=RSV">as
Christianity teaches</a>, to take up the heavy cross it implies. </span></p>
<p class="MsoNormal"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%;">For my vision, I’m particularly influenced by the work
of Stanley Hauerwas, a theologian whose approach to the visionary message of
Jesus is famously radical. In a nutshell, he thinks (and he believes King also
thought, or at least came to so think) that accepting the message of Jesus both
obliges and invites believers to enter into a relationship with one another and
with God that rejects the world of violence entirely. Setting aside the conventional
“in the world, but not of the world” gloss on John 17, Hauerwas adopts what has
been described as a “neo-Anabaptist” or a “pacifist-communitarian” perspective
on those New Testament verses and many others. Christians are, </span><a href="https://www.watermarkbooks.com/book/9781426781902"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%;">as
the title of his most famous book puts it</span></a><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%;">, “resident
aliens” in a fallen world, called to collectively live lives and witness truths
(in a body he calls “the church,” without reference to any particular
denomination) that reflect to our very real and violent world a redeemed
reality. The most important aspect of that reality being that, for believers, “war
has been abolished”:</span></p>
<p class="MsoNormal"><i><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%;">[T]he Christian alternative to war does
not consist of having a more adequate “ethic” for conducting war…The church
does not so much have a plan or a policy to make war less horrible or to end
war. Rather, the church is the alternative to the sacrifice of war in a
war-weary world. The church is the end of war….</span></i></p>
<p class="MsoNormal"><i><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%;">Christ has shattered the silence that
surrounds those who have killed, because his sacrifice overwhelms our killing
and restores us to a life of peace. Indeed, we believe that it remains possible
for those who have killed to be reconciled with those they have killed….This is
the reconciliation made possible by the hard wood of the cross….[B]ecause King
understood nonviolence to be the bearing of Jesus’s cross, King was able to
choose the path of vulnerable faithfulness with a full awareness that such a
path would be costly. King operated with the conviction that the victory had
been won, but also with the realization that the mopping up might take longer
than expected</span></i><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%;"> (Hauerwas, </span><a href="https://www.watermarkbooks.com/book/9780801039294"><i><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%;">War
and the American Difference: Theological Reflections on Violence and National
Identity</span></i></a><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%;"> [Baker Academic 2011], 68-69, 92).</span></p>
<p class="MsoNormal"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%;">This radical reading of the Christian message, as
exemplified by Martin Luther King’s life and words, is not especially strong in
my own religious tradition of Mormonism. (The Utah legislature actually refused
to acknowledge Martin Luther King, Jr. Day for 17 years after it was first
established by the national government in 1983, recognizing what they called
“Human Rights Day” instead, tying with South Carolina as the final state to
finally endorse MLK Day in 2000.) But the Book of Mormon, the religious text
which gave the Church of Jesus Christ of Latter-day Saints (our denomination’s
official name) its most common designation, actually includes a story that
exemplifies this pacifist vision supremely well.</span></p>
<p class="MsoNormal"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%;">First, some context. The Book of Mormon purports to be
an ancient record, one that Joseph Smith was led to by what most of the Mormon
faithful accept as angelic visitations, and found buried in a hillside in New
York state in 1823. From that point he was blessed with the spiritual power to
translate the book, which was eventually published in 1830, then becoming the
cornerstone of the Mormon church.</span></p>
<p class="MsoNormal"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%;">The text of the Book of Mormon itself unfolds as
having been assembled, over a period of many years, by the descendants of an
ancient Hebrew family that fled Jerusalem before its destruction by the
Babylonians over 2500 years ago. This family was led by God across the desert
and the ocean, eventually settling somewhere in the Western Hemisphere, where
over the centuries they grew in number and divided, all while prophets regularly
emerged to remind the people of God’s commandments, most of whom were ignored
as the people made war on one another. The patriarch of the original clan that
fled Jerusalem was named Lehi, and the son of his who took command of their
divided community was called Nephi. Those names echo down through the hundreds
of pages of the text, taken up by different descendants of theirs in different
contexts, all in the midst of explicit prophecies about the future coming of
Jesus Christ, as well as tales of civil conflicts and rivalries and conversions
stretching out over many generations and many distant communities, all related
by a variety of narrators. In time, the narrative presents readers with a small
group of members of a distinct tribe who are converted (or re-converted) to the
words of God through the actions of a missionary, and they, rejecting the
larger warlike population (called the “Lamanites”) which they were part of, took
the name “Anti-Nephi-Lehi” for themselves. And that is where this story, so
relevant to our time, is told. As is recounted in the part of the Book of
Mormon knowns as the Book of Alma:</span></p>
<p class="verse"><i>And now it came to pass that when…all the people were
assembled together, they took their swords, and all the weapons which were used
for the shedding of man’s blood, and they did bury them up deep in the earth.
And this they did, it being in their view a testimony to God, and also to men,
that they never would use weapons again for the shedding of man’s blood; and
this they did, vouching and covenanting with God, that rather than shed the
blood of their brethren they would give up their own lives….</i></p>
<p class="verse"><i>And it came to pass that their brethren, the Lamanites, made
preparations for war, and came up to the land of Nephi for the purpose of
destroying…the people of Anti-Nephi-Lehi out of the land.<span class="verse-number"> </span>Now when the people saw that they were coming
against them they went out to meet them, and prostrated themselves before them
to the earth, and began to call on the name of the Lord; and thus they were in
this attitude when the Lamanites began to fall upon them, and began to slay
them with the sword.</i></p>
<p class="verse"><i>And thus without meeting any resistance, they did slay a
thousand and five of them; and we know that they are blessed, for they have
gone to dwell with their God.</i></p>
<p class="verse"><i>Now when the Lamanites saw that their brethren would not flee
from the sword, neither would they turn aside to the right hand or to the left,
but that they would lie down and perish and praised God even in the very act of
perishing under the sword…they did forebear from slaying them; and there were
many whose hearts had swollen in them for those of their brethren who had
fallen under the sword, for they repented of the things which they had done.<span class="verse-number"> </span>And it came to pass that they threw down their
weapons of war, and they would not take them again, for they were stung for the
murders which they had committed; and they came down even as their brethren,
relying upon the mercies of those whose arms were lifted to slay them.<span class="verse-number"> </span></i></p>
<p class="verse"><i>And it came to pass that the people of God were joined that
day by more than the number who had been slain; and those who had been slain
were righteous people, therefore we have no reason to doubt but what they were
saved</i>. (<a href="https://www.churchofjesuschrist.org/study/scriptures/bofm/alma/24?lang=eng">Alma
24: 17-26</a>)</p>
<p class="MsoNormal"><a name="_Hlk155703967"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%;">In the formalized Sunday
School curriculum of the Mormon church, one that is followed in congregations
worldwide, the Book of Mormon is read in its entirety every four years. When it
last came around for faithful members, in 2020, there were, of course, vicious
conflicts and wars being waged around the world, as there tragically always
are. Then, the wars which inflamed the passions and made the option of
non-violence seem hopeless were in Afghanistan and Sudan; today, in 2024, the
same can be said about Ukraine and Gaza. With all these conflicts very present
in minds of us all, the potential of using this story—among whatever audience,
Mormon or otherwise, willing to take it seriously--to present a radical,
pacifist reading of how Christians are to respond to violence (much less the
prospect of endorsing or supporting it) shouldn’t be ignored. (Pairing such a
story with the practical ideas of peace activists like </span></a><a href="https://wagingnonviolence.org/author/georgelakey/"><span style="mso-bookmark: _Hlk155703967;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%;">George Lakey</span></span></a><span style="mso-bookmark: _Hlk155703967;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%;"> or the </span></span><a href="http://thisisanuprising.org/"><span style="mso-bookmark: _Hlk155703967;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%;">Engler
brothers </span></span></a><span style="mso-bookmark: _Hlk155703967;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%;">wouldn’t
be a bad idea either!)</span></span><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%;"></span></p>
<p class="MsoNormal"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%;">Hauerwas, reflecting upon King’s call to exercise a
“love for the enemy-neighbor from whom you can expect no good in return, but
only hostility and persecution,” argued that “non-violence…seeks not to defeat
or humiliate an opponent, but to win a friend….to awaken in the opponent a
sense of shame and repentance” (Hauerwas, <i>War and the American Difference</i>,
90). I, at least, can’t think of a more dramatic literary demonstration of both
the costliness of non-violence to the practitioner, and the space for
redemption and reconciliation which bearing that cost opens up, than the story
of the Anti-Nephi-Lehies. </span></p>
<p class="MsoNormal"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%;">That space, it must be emphasized, is not uncontested;
as it is with Hauerwas’s or any others’ radical readings of Jesus’s message of
non-violence, there are, in my tradition, </span><a href="https://scholarsarchive.byu.edu/cgi/viewcontent.cgi?article=1536&context=jbms"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%;">many</span></a><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%;"> </span><a href="https://latterdaysaintmag.com/does-the-book-of-mormon-teach-pacifism/"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%;">who</span></a><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%;">
reject the pacifist interpretation of these Book of Mormon passages. More
importantly however, this space, even if it is embraced, cannot be understood
as self-justifying; to stand with faith in a space which renounces war is to
stand in a place where the results of one’s non-violence--to say nothing of the
justice of such--are unknown. The Anti-Nephi-Lehies obviously couldn’t—and
never did, at least insofar as the Book of Mormon’s narrative tells us—know the
result of their refusal to defend themselves: they were killed by their enemies
in the very moment when they prostrated themselves before them, proclaiming
their conviction that, as a people redeemed by God’s grace, they dared not do
violence to any other creature. To them it was, simply, an act of loving,
utopian faith.</span></p>
<p><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">Few of my fellow Mormons are pacifists, much
less people who embrace socialist hopes. But this MLK Day, I take some small
inspiration from the knowledge that in my own tradition, like in Christianity
more broadly, for all its endless faults and compromises with the warlike
reality around us, one can find stories of Jesus and others which point toward
a utopian, perhaps unfinishable, but still better, more peaceful world. King’s
courageous insistence upon justice was grounded in such stories; may ours be a
well.</span></p><p><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[For an even more explicitly Mormon version of this essay, see </span><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;"><a href="https://bycommonconsent.com/2024/01/15/on-martin-luther-king-mormonism-and-the-more-excellent-way/">here</a>.] </span> <br /></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7907752.post-87472791823511808352023-12-31T07:00:00.025-06:002023-12-31T07:17:13.122-06:00Songs of '83 Special: "Puttin' on the Ritz"<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgba9WQizwiRXoj5tjebJbJhjFEYPik4zeOMHwzbVaHCerdfFwxmO4C_MAv7BnMqKACwMmZvfbGPHq7kxLyjAHeNGDJEtNAA6ZRIHduFQcKguzGj6Mmmsc_z1zRHCKEqqtHjM7Baa27w1zyqo4qb5lKSnMG1Gg_OZ2yPxBlUsDzP5v9GNyEQvbI/s640/Ritz.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="640" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgba9WQizwiRXoj5tjebJbJhjFEYPik4zeOMHwzbVaHCerdfFwxmO4C_MAv7BnMqKACwMmZvfbGPHq7kxLyjAHeNGDJEtNAA6ZRIHduFQcKguzGj6Mmmsc_z1zRHCKEqqtHjM7Baa27w1zyqo4qb5lKSnMG1Gg_OZ2yPxBlUsDzP5v9GNyEQvbI/w200-h200/Ritz.jpg" width="200" /></a><p>Before I call this year to an end, just one more hit. My obvious and unstated foundation throughout this whole year is that I love the popular music of 1983. Maybe not as much as the swampy mix of hard rock and country and punk and more that to this day <a href="https://inmedias.blogspot.com/search/label/1978%20Songs">kick around in my memories of 1978</a>...but still, the stuff that came over the airwaves the year I turned 15-years-old, the stuff which carried with it (as I only slowly learned later) the results of years of club experimentation and technological change and urban evolution? I think it was mostly brilliant, and I'm entirely happy to defend it all. Or, well, nearly all of it. Some of it wasn't that good. And some of it, though clever enough in its time, in retrospect is kind of creepy. And thus we come, on this last day of the year, to the long-promised, skipped-over, third German-language artist who hit it big on American radio in 1983: Taco, with his funky, synth-pop version of the Irving Berlin composition and the Fred Astaire classic, "Puttin' on the Ritz."</p><p>Why'd I skip over this song, which was cut in 1982 and become a one-hit wonder on American radio 40 years ago back in June? Because, as anyone who remembers knows, and as anyone who is patient enough to search through the internet can easily find out, the makers of the original video thought that a clever way to connect with a musical world that was, at the time, more than 50 years in the past (and today is nearly a century gone), was to feature tap dancers in blackface. It's not racist; it's ironic! It's a snappy, winking, faux-controversial homage! It's "European"! Yeah, no thanks. I suppose one could argue that, in his way, Taco's recording and video unintentionally serves as a synecdoche for the huge mess of multi-racial, gender-bending, cosmopolitan, and technological trends and controversies which 1983 pop radio encapsulated...but I'm not going to attempt that myself. Instead, I will sign off from this wonderful year-long exercise by thanking all 14 of you for following along, and share with you Taco performing his hit (appropriately lip-synched!) on a German New Year's Eve television special, 40 years ago tonight, complete with immensely bored showgirls. Enjoy everyone, and keep on listening!</p><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/4OUnedMCCW0?si=XZHtTK0lBhgrUQn5" title="YouTube video player" width="560"></iframe>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-7907752.post-86805337591186777542023-12-29T06:51:00.000-06:002023-12-29T06:51:25.254-06:00The 10 Best Books I Read in 2023<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0Uf4t4ugFfj7ocaFuHxUcBPRtvp0OT9TZ9sNctu9RqGLIj3kKFYuuykWqJKp1Id7GUJI07_e0IIWBCMSArx6z_YxeSoIrEs7YLDwmFq7KIlqiiNul3UO-GhrGxBpbkdzDcHXmt9PZLvGr5rztxm0bahN993Stf9ZMxbNWxt5-owews-FoZ8Z5/s488/Dissent.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="488" data-original-width="488" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0Uf4t4ugFfj7ocaFuHxUcBPRtvp0OT9TZ9sNctu9RqGLIj3kKFYuuykWqJKp1Id7GUJI07_e0IIWBCMSArx6z_YxeSoIrEs7YLDwmFq7KIlqiiNul3UO-GhrGxBpbkdzDcHXmt9PZLvGr5rztxm0bahN993Stf9ZMxbNWxt5-owews-FoZ8Z5/w200-h200/Dissent.jpg" width="200" /></a>Andrew Bacevich and Daniel Sjursen, eds., <i>Paths of Dissent: Soldiers Speak Out Against America's Misguided Wars. </i>This is a fine and often (though not always) insightful collection of
personal essays, all of which describe how the authors came to their
criticisms of America's wars in Afghanistan and Iraq over the past
twenty years. All of the authors are veterans of these wars to one
degree or another, and their range of experiences in and interactions
with America's military establishment was probably the most informative
part of the book to me. There are essays by deeply committed soldiers
who fully embraced the bureaucratic realities of managing a global
military presence, and came to oppose America's "forever wars" for
strictly strategic reasons, their own positive experiences leading them
spend a great deal of time explaining the how American generals failed
to understand intricacies of counter-insurgency strategy, failed to
appreciate and account for the logistics and costs of military
technologies, and much more. But there are also essays by soldiers who
were never on board with the rationales given for invading Iraq, or even
Afghanistan for that matter; included in these essays are stories of
the drug abuse, racism, incompetence, sexism, random violence, and
massive waste and fraud on the part of their fellow soldiers--and
sometimes themselves--while supposedly serving America's security
interests and spreading democracy in the Middle East. Some of these
authors look back on their time in these conflicts with pride but also
deep regrets about all that went wrong; others look back with shame and
horror; and others look back just grateful they escaped with their lives
and limbs, when so many others did not. Ultimately, the largest point I
take from these various multifaceted, but always militarily informed
criticisms was simply: George W. Bush's time as president was a moral, a
political, and a strategic catastrophe. By ordering the invasion of
Afghanistan, and then keeping troops there beyond the immediate collapse
of the Taliban, and much worse by ordering the invasion of Iraq, Bush's
administration not only led to the deaths of hundreds of thousands, but
ruined millions of lives, and unleashed pathological regrets and
resentments, in the USA and abroad, that may never be put to rest. <p></p><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlJqXsyaMdtzXWHHKhuI73ePCBt8LwRUXSayfZBTSGxpKCHBTObjkgwDa_xtonCk2vDKyEkDIrHzLUY7QyyYJ1mKiHS0s36unXEFIRHfNu_4zEElMv-VkzWvOnoC-5vCQIB_4OkxwREePAbN_0D8wllSCrhogUt41LZj6sQXefLHOcoxEMMckU/s1000/War.jpg" style="clear: left; display: block; float: left; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="1000" data-original-width="667" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlJqXsyaMdtzXWHHKhuI73ePCBt8LwRUXSayfZBTSGxpKCHBTObjkgwDa_xtonCk2vDKyEkDIrHzLUY7QyyYJ1mKiHS0s36unXEFIRHfNu_4zEElMv-VkzWvOnoC-5vCQIB_4OkxwREePAbN_0D8wllSCrhogUt41LZj6sQXefLHOcoxEMMckU/s200/War.jpg" /></a>Stanley Hauerwas, <i>War and the American Difference: Theological Reflections on Violence and National Identity. </i>Hauerwas definitely isn't everyone's cup of tea. A born essayist--in the
most fundamental sense of the term, constantly "essaying" new ideas,
rarely completing the one he had before the new one--his radical
Christianity isn't developed carefully and consistently, thus leaving
any remotely suspicious reader capable of dismissing his arguments as
incomplete and unpersuasive. But for any of the tens of millions who
can't help but recognize the radical, even absolutist, character of
Christian teachings and expectations when it comes to matters of
violence and peace, the many kernels of truth spread throughout
Hauerwas's explication and explorations of theses basic doctrines are
enormously valuable. His points about how we are addicted to violence
and war in part because we don't want to cast impurity and guilt upon
heroes of the past; about how violence and war is tied up in the very
structures of state sovereignty and thus politics as we know of it
today; about how American history can't help but associate war with
idealistic causes which having been mythologized into the proper, "pure"
understanding of our own identity...all of it is first rate. Hauerwas's
reflections are, ultimately, an inspiration to Christians who want to
understand a way to find in themselves a true conviction of peace, and
that's a beautiful thing. </p><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmDZ_KFLWgPHrM5M8qUKcowk-g1TCAvbXIy0ODrRdh8_t2-3oZduwexCHN-z_8RjAvYz-0OxTFtrCHvF6mKpvaDftts0Yl8OXQIFtYcciT6PNN7yMeIeP0TrrJB8U05eTIKAak6GHfced1fCJpFzSnKlM6oLwCtmWSPcmyw-TvLqjS-n8L7SvI/s445/Civic.jpg" style="clear: left; display: block; float: left; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="445" data-original-width="295" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmDZ_KFLWgPHrM5M8qUKcowk-g1TCAvbXIy0ODrRdh8_t2-3oZduwexCHN-z_8RjAvYz-0OxTFtrCHvF6mKpvaDftts0Yl8OXQIFtYcciT6PNN7yMeIeP0TrrJB8U05eTIKAak6GHfced1fCJpFzSnKlM6oLwCtmWSPcmyw-TvLqjS-n8L7SvI/s200/Civic.jpg" /></a>Peter Levine, <i>What Shall We Do? A Theory of Civic Life. </i>This is a top-notch work of analytical and practical political and
social theory, one that I've been meaning to read for a year. Through a
sharp analysis of Elinor Ostrom, Jurgen Habermas, and the civil rights
activism of Mahatma Gandhi and Martin Luther King, Jr., Levine sketches
out and concrete and deeply thoughtful set of insights and suggestions
for people looking to engage in civic life, and make some democratic
difference in their localities. He identifies key elements of each of
the three above-listed traditions of participatory democracy and civic
action, but also recognizes and explores the theoretical limitations of
each, and from their provides a synthesis of recommendations. This is a
book that, as a citizen and a teacher, I'm going to be pondering a
while, considering how best to set boundaries, engage in deliberation,
and model just behavior as I try to get local action to matter.
</p><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRf34Ue9uqyM5B_71vdv7AsvPpuwZDPwJVdBHMsJYdKL_EGpHXORF38nxlDOHZsS-EpGsH0IRLLX3NtzfwlCzAGEfpZzRJ2Dewqjuu6nvFw2FJq90jeZ6ndSa-TX-RQP0fouwPMrjJPPQeyXaEWqap0U02RolNoCo72_EaYK_a9oKEksbSQpFO/s188/City.jpg" style="clear: left; display: block; float: left; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="188" data-original-width="125" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRf34Ue9uqyM5B_71vdv7AsvPpuwZDPwJVdBHMsJYdKL_EGpHXORF38nxlDOHZsS-EpGsH0IRLLX3NtzfwlCzAGEfpZzRJ2Dewqjuu6nvFw2FJq90jeZ6ndSa-TX-RQP0fouwPMrjJPPQeyXaEWqap0U02RolNoCo72_EaYK_a9oKEksbSQpFO/s200/City.jpg" /></a>Warren Magnusson<i>, Local Self-Government and the Right to the City. </i>I finally got around to finishing this collection of essays by the
political theorist Warren Magnusson, and I loved it. His insights are
scattered, sometimes repetitive and not always well connected, but they
remain brilliant all the same. His reconceptualization of "local
self-government" in light of the "locality" of states in the
international order, and the "locality" of individuals within a
sovereign, contractarian state, is profoundly radical, opening up, to my
mind anyway, all sorts of new ways of understanding the traditional
definition of local government--specifically, its municipal form in
towns and cities. Magnusson in these essays is a profound critic of
sovereignty and subsidarity, seeing both of them as theoretical forms
that define and delimit the kind of democratic mutualism and variability
and practice that characterizes that huge, undefinable range of what
I'll call "governmenting" (I'm definitely being influenced by David
Harvey's use of the term "commoning" here) which takes place in cities.
Magnusson wants us to think hard about a democracy, and right to
self-government, that is not dependent upon territorialization, not
dependent upon constitutional definitions. This puts him very much in
the camp of left-libertarian or anarchist thinkers, but while he's
familiar with the philosophical ideas behind those theories, he
approaches their conclusions with a language all his own, and one that I
find kind of brilliant. This man's thinking is a small treasure.
</p><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVArnKeygm5FAdipdZidO1rrrLnzrKH-959ki_o6pmoMkbWCJbBGcx-3QHlud34vwTo9AOvISakosdEfatB_YnLNJkIXiBq93W6k-he7gllPpyZKN3PQ8-fTOjQt4JMB69AWWTivP-ojyt6XaWii5lnaYcIBKK3d5XUqQKMAWiz377ZvTrkCLh/s218/Eyes.jpg" style="clear: left; display: block; float: left; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="218" data-original-width="189" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVArnKeygm5FAdipdZidO1rrrLnzrKH-959ki_o6pmoMkbWCJbBGcx-3QHlud34vwTo9AOvISakosdEfatB_YnLNJkIXiBq93W6k-he7gllPpyZKN3PQ8-fTOjQt4JMB69AWWTivP-ojyt6XaWii5lnaYcIBKK3d5XUqQKMAWiz377ZvTrkCLh/s200/Eyes.jpg" /></a>Paul McCartney, <i>1964: Eyes of the Storm. </i>I found <i>1964: Eyes of the Storm</i> outside my front door this
morning: a gift from a friend. I tore through the whole thing in a
single day—of course, it's mostly photographs, so no big accomplishment,
but still, it was a delight. I loved Macca's introductory essays; I
felt as though I could see him sliding back and forth between repeating
old stories automatically and being derailed by old memories he hadn't
articulated in decades, if ever, obliging him to put words for the first
time to the thoughts he remembers having had decades before. There's a
good amount of unreflective, unimproved emotionality throughout the
book, I think, in the short essays but also in the labels to his
wonderful, candid photographs: the way he writes about his picture of
George with the girl in the yellow bikini in Miami, for example, or a
shot of a pensive Ringo leads him to write movingly about him as still
the "new guy" in the band. And there's a two-page spread with photos of
John and George where it's not hard to imagine the look of their faces
weighing on Paul with all the weight of 60 years. The historical essay
on 1964 by Jill Lepore is fine, but nothing special; just your standard
coffee-table stuff, I suppose. But the photographs? An incredible
treasure, and a delight.
</p><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisgqEXXvHPMR4pZLsAcawzXlwW9b2aceV85g4W5mj3WnvaQIzUXCCc0Lx46xc0rCEWUaIf6tEL7-UaE1ayTPJ3bdOW4f3S8NGuXeYGSOQr7ZsZtcZT2nvkie8pt2Ob-tNCrfIfbvPO67X0wdbt7E9pZEVfzdzyVleKOHZYNRiBvXKq4dWK4yA3/s445/Capitalism.jpg" style="clear: left; display: block; float: left; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="445" data-original-width="295" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisgqEXXvHPMR4pZLsAcawzXlwW9b2aceV85g4W5mj3WnvaQIzUXCCc0Lx46xc0rCEWUaIf6tEL7-UaE1ayTPJ3bdOW4f3S8NGuXeYGSOQr7ZsZtcZT2nvkie8pt2Ob-tNCrfIfbvPO67X0wdbt7E9pZEVfzdzyVleKOHZYNRiBvXKq4dWK4yA3/s200/Capitalism.jpg" /></a>Bernie Sanders, <i>It's Okay to Be Angry About Capitalism. </i>This is a politician's memoir, and so I expected, and forgave, the many
moments in the book, especially in the first few chapters, in which
Sanders tells the stories of his own presidential campaigns both
uncritically and somewhat simplistically. What I didn't expect, and
greatly enjoyed, was seeing Sanders elaborate upon the things that he is
truly passionate about--most particularly, the fact that contemporary
capitalism makes it impossible for so many working people to not only
get by on what they earn, but to also feel any kind of attachment to or
gain any kind of dignity from their work. For all Sanders's talk about
health care and education and billionaires, it is in regards to work,
and the communities of labor and mutual recognition and respect for
effort which ideally make the world of work something other than just
tragedy which we must endure to survive, where he comes closest to
genuinely and consistently articulating a democratic socialist vision.
There are elements of a true visionary in his otherwise often
boiler-plate left-liberal positions, and that's something that I am
certain that, whether they could articulate it or not, millions of
voters were captured by: that Sanders was presenting not merely a list
of preferences, and not merely a roll-call of enemies, but also a vision
of a better society. It comes through in this book, and that makes it
great. </p><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1h3VigVM4a050zVQjMlAJ1HUksWwnqtoldP4cYHgRP7VnKTEXa_W1Uw-InPe3iR3lzkc6g130lL3cAT43SNamx3s0uUYk3sLkvQYHQFXGmITe4oW5lu2wr_WifMj7iTzlCL0jWYqBJuBG1O4nJ1lDlJpm3B4YpEfN_yPHAjtUB8bkK6niPbcy/s218/Walkable.jpg" style="clear: left; display: block; float: left; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="218" data-original-width="142" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1h3VigVM4a050zVQjMlAJ1HUksWwnqtoldP4cYHgRP7VnKTEXa_W1Uw-InPe3iR3lzkc6g130lL3cAT43SNamx3s0uUYk3sLkvQYHQFXGmITe4oW5lu2wr_WifMj7iTzlCL0jWYqBJuBG1O4nJ1lDlJpm3B4YpEfN_yPHAjtUB8bkK6niPbcy/s200/Walkable.jpg" /></a>Jeff Speck, <i>Walkable City: How Downtown Can Save America, One Step at a Time. </i>A brilliant update and expansion of an important book. He's really like a
left-leaning Charles Marohn, someone able to concisely cut through the
complicated institutional realities which have pushed our cities in
directions that are not only unsustainable, but central players in all
sorts of economic, racial, and environmental harms. All of his new
material is wonderful, but because of the genuinely inventive way he
ties terrible road design to invasive policing to basic questions of
freedom, I have to say I liked "More Engineering Confessions" the best. </p><p> </p><p> </p><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik4dyFJehEY0QzDe8l63HDKTMhDX3EbVWRhVbD6pQR75PjfsT3Gn1oMcIJJS2OPYk0M7l8vlb3oG4_R5Mn34O89n7-9FHbGw_0-NXVEgqvNlKywfBTq_XM-RC89X6FGumb9P2pS-l3rnGwoOeJALnqcKwUoARNmRP99SZK2JiygXxFtr82p8Qj/s445/Sustainability.jpg" style="clear: left; display: block; float: left; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="445" data-original-width="296" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik4dyFJehEY0QzDe8l63HDKTMhDX3EbVWRhVbD6pQR75PjfsT3Gn1oMcIJJS2OPYk0M7l8vlb3oG4_R5Mn34O89n7-9FHbGw_0-NXVEgqvNlKywfBTq_XM-RC89X6FGumb9P2pS-l3rnGwoOeJALnqcKwUoARNmRP99SZK2JiygXxFtr82p8Qj/s200/Sustainability.jpg" /></a>Paul Thompson and Patricia Norris, <i>Sustainability: What Everyone Needs to Know. </i>A superb introductory book, which defines and lays out the broad usages
of the ecological language of stocks, flows, feedback, and all the rest
when talking about the environment, business, the economy, governance,
and much more. Not a polemical book, and in fact one that probably bends
too far over backwards to avoid taking a strongly anti-capitalist
stance, but overall, one I can't believe I haven't been using in my
Simplicity and Sustainability classes all along. </p><p> </p><p> </p><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilUkfi0VicjAArD1_v8lC7aXKty_yrkhdrvqTyoA8bH8OheN-P9A6xRkgI_Mw7vMe0Z2hvaNbkmjjZ04ChfL2heVTJEnLfJTF_iT_VO71dwAWm6_jerohmkBMj8zuhJ7Y0T9MJlhTQArucO07km5JvFqbu8b9y-YGMlYleJjxRPBPo4pj37d51/s425/Simarillion.jpg" style="clear: left; display: block; float: left; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="425" data-original-width="348" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilUkfi0VicjAArD1_v8lC7aXKty_yrkhdrvqTyoA8bH8OheN-P9A6xRkgI_Mw7vMe0Z2hvaNbkmjjZ04ChfL2heVTJEnLfJTF_iT_VO71dwAWm6_jerohmkBMj8zuhJ7Y0T9MJlhTQArucO07km5JvFqbu8b9y-YGMlYleJjxRPBPo4pj37d51/s200/Simarillion.jpg" /></a>J.R.R. Tolkien, <i>The Silmarillion. </i>At the beginning of this year, before the school year started up again, I decided to read <i>The Silmarillion</i>, mostly because I was uncertain if I'd ever read the whole thing all the way through before. I still had on my shelf an old, taped with
masking tape, paperback Ballantine edition of the book, which I remember
being on my shelves when I was in high school, or earlier. I still have
battered, paperback copies of <i>LOTR</i> too, but there's no mystery there; they're beat up because I read them to death. But <i>The Silmarillion</i>? Had I ever truly gotten through it? I honestly couldn't remember. Well,
I've gotten through it now, and it's a masterpiece of romance and
religion and myth. Tolkien's cosmology and legendarium includes echoes
of all the great stories, whether humble or cosmic: Atlantis is here,
and Rapunzel, and Oedipus. The rhythm of the writing sweeps you along;
there's no way anyone who isn't an autistic savant can possibly keep
track in their head all the names and places and dates through this
multilayered imagined genealogy of thousands and thousands of years, but
that's honestly not the point: the point is to be carried into an epic
world, a world of a profound and tragic and romantic and heroic saga of
elves and humans, monsters and gods, women and men. Tolkien carried me
along, that's for certain, and I loved the journey.</p><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdl1s4OijkovNWWFKDLOc9L2MoGfkeaEK36S4ByNZkFWY7LOtUOP3tCL5BqBgVsFtdfOJDiY5ciKzX3VpKJv6Wed4Zdk8-p66VVEOCQxHaDjlu_BqHJ18FYwennrSXH5jlf76QOBUr4qjZXMG6BhFfYBBWPzQpmYsZ-xqxV7crhK8uDhBi2sx4/s276/Sprawl.jpg" style="clear: left; display: block; float: left; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="276" data-original-width="183" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdl1s4OijkovNWWFKDLOc9L2MoGfkeaEK36S4ByNZkFWY7LOtUOP3tCL5BqBgVsFtdfOJDiY5ciKzX3VpKJv6Wed4Zdk8-p66VVEOCQxHaDjlu_BqHJ18FYwennrSXH5jlf76QOBUr4qjZXMG6BhFfYBBWPzQpmYsZ-xqxV7crhK8uDhBi2sx4/s200/Sprawl.jpg" /></a>Thad Williamson, <i>Sprawl, Justice, and Citizenship: The Civic Costs of the American Way of Life</i><i>. </i>A terrific dissertation-turned-book, stuffed full of good information an
arguments, pointing towards the value (but also the limitations) of a
civic republican perspective on addressing the problems of sprawl and
its unjust, undemocratic effects on our civic life. The conversation
about our built environment and how best to frame the ideological
arguments about it have changed much in the nearly 15 years since this
book was written, but as a primer to the basic theoretical arguments which surround the general topic of city life and transportation patterns and everything that flows from them, its value
remains.<i> </i></p><br />Unknownnoreply@blogger.com04RV69M68+HX-32.6385126 144.6674375-60.948746436178844 109.5111875 -4.3282787638211531 179.8236875tag:blogger.com,1999:blog-7907752.post-73254230152962845542023-12-27T10:06:00.005-06:002023-12-27T18:23:42.880-06:00The 10 Best Movies I Watched in 2023As always, this is a list of the best ten movies I watched for the first time this year, whether they came out in 2023 or not.<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2jvIHpqYQdsnYrkhgQsznO7GJooI3vaaFKyj2Q6Da91QQZ6YFhYRx9wkMMWzGgsL871JH8KV2zi1FmD5O8YlrJxZdqUerzrrV4ExCl5ZCEoM6ziLXB2gr3eh8yJcsLn1-5wpnEGBw5P1SSyN3TsuwAuzNid1n72aNJ3I_NEmUBOAPLqglBfAz/s275/First.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="275" data-original-width="183" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2jvIHpqYQdsnYrkhgQsznO7GJooI3vaaFKyj2Q6Da91QQZ6YFhYRx9wkMMWzGgsL871JH8KV2zi1FmD5O8YlrJxZdqUerzrrV4ExCl5ZCEoM6ziLXB2gr3eh8yJcsLn1-5wpnEGBw5P1SSyN3TsuwAuzNid1n72aNJ3I_NEmUBOAPLqglBfAz/w133-h200/First.jpg" width="133" /></a><p><i>First Cow</i>. A decidedly unconventional Western story (welcome to the multicultural 19th-century Oregon Territory!), an anti-capitalist story, a story of simple survival and small pleasures. I would have liked the film to have slightly more momentum, but the score and the scenery, as the the movie's quiet and small--but for all that, emotionally enormous--tragedy unfolds, was frequently captivating nonetheless. I love that so much was left to the viewer, and not just in the ending; even without having read the book, you can tell this is a deeply literate adaption, not allowing the story-telling tricks of the cinema to tell more of a story than is on the page.</p><p> </p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihZqEYHTH3_pPiupmLEu7iIqEH9Wk8pSP8ZoRhASqKqdHOGvpJwlSqpOkgHVF6gHHgoEJBSVb2jLcPdYLPxw0PLOwlbmpBJPynmwrXwIDuyUEqU0kCrFNzYiL2_3N15RaTCslkefr7zv_KN7ZA56FcteKq009Zx1LiZKkr8u0P51wYYwYxpV6D/s2048/GodzillaMinusOne.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1448" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihZqEYHTH3_pPiupmLEu7iIqEH9Wk8pSP8ZoRhASqKqdHOGvpJwlSqpOkgHVF6gHHgoEJBSVb2jLcPdYLPxw0PLOwlbmpBJPynmwrXwIDuyUEqU0kCrFNzYiL2_3N15RaTCslkefr7zv_KN7ZA56FcteKq009Zx1LiZKkr8u0P51wYYwYxpV6D/w141-h200/GodzillaMinusOne.jpg" width="141" /></a><p><i>Godzilla: Minus One</i>. Is it an apology for World War II? A revisionist history? A what-if fantasy? Whatever it was, the way this superb, hammy, utterly melodramatic movie leaned hard into updating and re-imagining the trauma and guilt and horror of WWII for the Japanese people, with token narrative throw-aways to somehow contextualize the whole thing as taking place in the midst of MacArthur's occupation of Japan and the
beginnings of the Cold War between the U.S. and the Soviet Union, was simply marvelous. Put yourself in mind of the 1954 original, with its sadness and earnestness, and the desperate, romantic hopefulness of this version will seem well-earned. Godzilla always was, and always will be, best when considered incomprehensible enormity, something that makes no sense on its own terms but something that human science and human sacrifice can succeed against, so long as all the usual bastards don't get in the way. </p><p><br /></p><p></p><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUjzG5E7UioPJXDnZ6Nje2aVl0eeP8ZXZ0IXXiACCpTG0jLR1Kg_i6_96EWp1o49D-otOhPoyHYV1HfRuX5IH5-D3McvmYamW0qw-iXdvxT1FFRVvh2nMfLZ6wPCOT6OSZCUgCx-fMKmNr_WSlM1oNyjCgeuSyucc_0crV8s4V7UqEX-0kHzNK/s272/He.jpg" style="clear: left; display: block; float: left; margin-bottom: 1em; margin-right: 1em; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="272" data-original-width="185" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUjzG5E7UioPJXDnZ6Nje2aVl0eeP8ZXZ0IXXiACCpTG0jLR1Kg_i6_96EWp1o49D-otOhPoyHYV1HfRuX5IH5-D3McvmYamW0qw-iXdvxT1FFRVvh2nMfLZ6wPCOT6OSZCUgCx-fMKmNr_WSlM1oNyjCgeuSyucc_0crV8s4V7UqEX-0kHzNK/s200/He.jpg" /></a><i>He Got Game</i>. Another near-brilliant Spike Lee movie, with deeply persuasive performances and an Aaron Copland + Chuck D score than goes from sweepingly pastoral to intensely personal to back again. Denzel is simply a marvel, with so many great scenes that communicate the struggles and choices of a confused, angry, caring, limited, gifted, haunted man. Practically everyone else in the movie is a stereotype or a mixture of stereotypes of one sort or another, and as usual with Lee movies, some of that borderline racist/sexist/classist stuff edges right up to being discomforting outrageous or overripe. But all together? A wild cinematic ride, from one of the great directors of the past 30 years.</p><p> </p><p></p><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5hN0k_Zl8jc1hIHxzflX3nDHOJZE1jlypEOuAw9NQLoh7V1RWn944ws_JzX-JtXAQn0LTAQvgPQ_hUUjhdKvH4XQQn_FScvGxQZS1Cg4RAKTvdmeN6A-_WLUjNy8fMPt0nLvB06bZcm4I2HCVBFCATq6GBT_KDzbhG9AChXzNsbrVXP-GR5oe/s319/Mood.jpg" style="clear: left; display: block; float: left; margin-bottom: 1em; margin-right: 1em; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="319" data-original-width="220" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5hN0k_Zl8jc1hIHxzflX3nDHOJZE1jlypEOuAw9NQLoh7V1RWn944ws_JzX-JtXAQn0LTAQvgPQ_hUUjhdKvH4XQQn_FScvGxQZS1Cg4RAKTvdmeN6A-_WLUjNy8fMPt0nLvB06bZcm4I2HCVBFCATq6GBT_KDzbhG9AChXzNsbrVXP-GR5oe/s200/Mood.jpg" /></a><i>In the Mood for Love</i>. Just brilliant, emotionally and stylistically. If I've seen a better, more captivating film about marriage and pain and desire and love and loss than this one, I can't remember it right now. Tightly contained throughout most of its running time, but I never felt that movie was claustrophobic; also, a succinct, briskly cut movie, and yet I never felt rushed through the story. Simply the best constructed, most emotionally powerful film I watched in all of 2023, hands down.</p><p><br /></p><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9Li_GWQs4r6zr2VW5z88vLBU0l-bZj39yjn9-esE43JQ24HCDr6yGkQ11zk2rgzQqY36Twk7qd1uJfVfkgoNFOb1j_cRoouUH_U2PTJX7XTTBlGImo9eqfQIVEHh9Aa7orXuQp-p5geR3x1sRnceYh2_4rANkW5XjE9aprrYD_eNGOQrVXGzr/s600/Jiro.jpg" style="clear: left; display: block; float: left; margin-bottom: 1em; margin-right: 1em; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="600" data-original-width="422" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9Li_GWQs4r6zr2VW5z88vLBU0l-bZj39yjn9-esE43JQ24HCDr6yGkQ11zk2rgzQqY36Twk7qd1uJfVfkgoNFOb1j_cRoouUH_U2PTJX7XTTBlGImo9eqfQIVEHh9Aa7orXuQp-p5geR3x1sRnceYh2_4rANkW5XjE9aprrYD_eNGOQrVXGzr/s200/Jiro.jpg" /></a><i>Jiro Dreams of Sushi</i>. A beautiful and intimidating portrait of a serene and enormously talented monster of a human being. This film needs to stand as a text alongside every other study of virtue: we talk about practice making perfect, we talk about dedication to one's craft, we talk about the deep humility and wisdom that comes from embracing the constraints of a particular art and submitting oneself entirely to them, but in the end, what does any of that look like? This documentary of sushi master Jiro Ono is one answer. I love in particular the fact that his tremendous achievement is partly dependent upon many other people--fish and rice merchants, in particular--who in their own, presumably less monstrously dedicated, but nonetheless impressive ways, reflect that same devotion to their vocation. A lovely, haunting film.</p><p> </p><p></p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYp5sA3k3peaQfEYGHAkXgZWRvN0A3pYspYwPznzXpt74EasSqoeqmoni1EtOfOCuRqFcOe18pRUIBbHy7Kh_Q4_sGn_so40zMWk08M1FItyYA_T_eE-3vmtJt_E8ceOQbNSJpYH6eJ6vIKzU_oGwhILQxFf3BKrHxtP9QxzO8D4acqZCF0Jla/s1500/Killers.jpg" style="clear: left; display: block; float: left; margin-bottom: 1em; margin-right: 1em; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="1500" data-original-width="1000" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYp5sA3k3peaQfEYGHAkXgZWRvN0A3pYspYwPznzXpt74EasSqoeqmoni1EtOfOCuRqFcOe18pRUIBbHy7Kh_Q4_sGn_so40zMWk08M1FItyYA_T_eE-3vmtJt_E8ceOQbNSJpYH6eJ6vIKzU_oGwhILQxFf3BKrHxtP9QxzO8D4acqZCF0Jla/s200/Killers.jpg" /></a><p><i>Killers of the Flower Moon</i>. A tremendous movie, one that, in my opinion, makes entirely justified use of its massive running time; with only one partial exception (the long burn scene at the Hale ranch), I don't think I was aware of the passage of time all the way through. Scorsese's direction of the film is brilliant; completely aside from visually arresting costuming, set design, and cinematography, he oversaw the creation of a film that is not structured like, and doesn't play out like, a horror film, and yet for a good two hours of its running time, between its musical cues and staging, it absolutely <i>felt</i> like a horror film, even while also being captivating Western and tragic study of evil, endurance, and plain gross capitalist stupidity. A friend and I spent 40 minutes talking about the movie afterwards in an empty, post-midnight parking lot, deconstructing it all (including the audacious, but in retrospect I think defensible, ending), and we could have stayed longer. I was a big fan of <i>The Irishman</i>, Scorsese's other recent 3+ hour movie, but this is an even greater accomplishment in almost every way.</p><p> </p><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2EIU4sKjJTPV2zUnNM952rjgTu-_jcPPr8kr0kH_SMOSrYulRiU7TAOYQtR1LmwG4dPzebZMG7IT90stq-o1-MNsSLR7VaqZP8t1LmeyRctsacz9prGPwI6_Nw1Msw5nmCFZMXvo1ZEwCqXYHj2WCQdT4DJb3gQnh63_WAU31oKvRvfbpVF1B/s378/Mother.jpg" style="clear: left; display: block; float: left; margin-bottom: 1em; margin-right: 1em; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="378" data-original-width="264" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2EIU4sKjJTPV2zUnNM952rjgTu-_jcPPr8kr0kH_SMOSrYulRiU7TAOYQtR1LmwG4dPzebZMG7IT90stq-o1-MNsSLR7VaqZP8t1LmeyRctsacz9prGPwI6_Nw1Msw5nmCFZMXvo1ZEwCqXYHj2WCQdT4DJb3gQnh63_WAU31oKvRvfbpVF1B/s200/Mother.jpg" /></a><i>Mother</i>. A brilliant, creepy, surprisingly mix of horror, police procedural, and family drama. Compelling acted all the way through, and narratively tight as a drum; no loose ends whatsoeever. Like he did in <i>Memories of Murder</i>--which this movie really made me want to rewatch--Bong Joon-ho just triggers me endlessly with his visuals of the quotidian details of the poorer side of South Korean life: the tiny shops, the make-shift apartments, the trash collectors, the sleazy drinking parties, the slovenly yet somehow orderly routines of the police, the ridiculous bus tours, etc. It's not like I knew any of this intimately, but I lived in the midst of it for long enough that Bong sends me back to Seoul or Suwon, scene after scene.</p><p> </p><p></p><p></p><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO2S6c_eRemSGuqcdXrzugdxAO0O8Ga3ZFDkbU7P8F-W-StexhuDM74vdcsf6CjXTx2t7LlpovcU918JB8YR5ONfo0OIfRte4yHH1dE_oKRiUGjPhJH4MuPwhXF6jzVWzVER7UbWI0W1PL-1GkvBZe_Ayc4qCVaIebuh8r4ZLol_J1fLAAOnQf/s312/RRR.jpg" style="clear: left; display: block; float: left; margin-bottom: 1em; margin-right: 1em; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="312" data-original-width="220" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO2S6c_eRemSGuqcdXrzugdxAO0O8Ga3ZFDkbU7P8F-W-StexhuDM74vdcsf6CjXTx2t7LlpovcU918JB8YR5ONfo0OIfRte4yHH1dE_oKRiUGjPhJH4MuPwhXF6jzVWzVER7UbWI0W1PL-1GkvBZe_Ayc4qCVaIebuh8r4ZLol_J1fLAAOnQf/s200/RRR.jpg" /></a><i>RRR</i>. 110% CINEMA!!! Singing, dancing, ultra-violence, chaste hand-holding--what more could anyone want?! ("Can I see a man punch a tiger in the face?" Yes, you definitely can. "Can I see a phantasamogorical alternate-history critique of British colonialism and <i>also</i> a man punching a tiger in the face?" Yes, you can get that too.)</p><p> </p><p> </p><p> </p><p> </p><p></p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZ_VSBusx4Zku7eg6G30dalr-pMk8xlWCZJRIscxjhMi0pIDLuH3VErW3PMC_J58oUIHK2jemKvzTh_f_NYhKtfrz97c__sm1DXcWNsoiV4xdlWmVcM4RJPvyTR85Nxk8-HQpdhF0InMAu-wbyNARPUn6GrJ6snveUsGx4TGAvZlFdVX3SbGM2/s1481/Sound.jpg" style="clear: left; display: block; float: left; margin-bottom: 1em; margin-right: 1em; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="1481" data-original-width="1000" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZ_VSBusx4Zku7eg6G30dalr-pMk8xlWCZJRIscxjhMi0pIDLuH3VErW3PMC_J58oUIHK2jemKvzTh_f_NYhKtfrz97c__sm1DXcWNsoiV4xdlWmVcM4RJPvyTR85Nxk8-HQpdhF0InMAu-wbyNARPUn6GrJ6snveUsGx4TGAvZlFdVX3SbGM2/s200/Sound.jpg" /></a><p><i>Sound of Metal</i>. An engrossing, fascinating, completely believable story of a musician losing his hearing. The final sequence of the movie, after our main character leaves the home for the deaf and attempts to reunite with his girlfriend, seemed slightly less organic, slightly more rushed to hit all the required story-telling beats than everything that came before, in which every step both logically followed what came before and yet was a surprise--kind of like life! But overall, the whole thing was quite wonderful, deeply honest and, as a matter of sound editing, brilliantly creative in its depiction of the world of the deaf. A must see. </p><p><br /></p><p></p><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguULeYsUEiE1yJMwUeRZAQ15fLBHXBEaVL5rWGm-IQHvI1oycNFjaQjA2aazvxr-T5RQCn8VuqYKlqNwYbH0VoCcQOpvmvzPt7Q0vux_W-ytjwhLfYLe0wkS92b5S96qr9ynVGah-hTsmxITgb17J30Ir6NrYOpTcUDGwpwtR9ufwKu0n1mJPc/s274/Across.jpg" style="clear: left; display: block; float: left; margin-bottom: 1em; margin-right: 1em; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="274" data-original-width="184" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguULeYsUEiE1yJMwUeRZAQ15fLBHXBEaVL5rWGm-IQHvI1oycNFjaQjA2aazvxr-T5RQCn8VuqYKlqNwYbH0VoCcQOpvmvzPt7Q0vux_W-ytjwhLfYLe0wkS92b5S96qr9ynVGah-hTsmxITgb17J30Ir6NrYOpTcUDGwpwtR9ufwKu0n1mJPc/s200/Across.jpg" /></a><i>Spider-Man: Across the Spider-Verse</i>. Tremendous comic-book story-telling, and simply peerless comic-book animation. But I have to say: Mayday Parker is cute and hilarious and all, but making her directly part of the adventure--and lying to Mary Jane about it!--is just bad parenting, and I think more highly of Peter B. Parker, redeemed hero, the Spider-Man all us middle-aged White guys with a paunch should aspire to grow up to be, to accept that he would actually do such a thing. Boo!</p><p></p><p></p><p></p><p></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7907752.post-3849780591443121762023-12-25T07:00:00.004-06:002023-12-25T07:00:00.136-06:00Songs of '83: "Jingle Bell Rock"<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH4YeoK5j5W4YYtzsx1qFMwEkIBr60iq5yKV7Iw7R_9V1_J3KmipSsDxeqaTEcMgPeJeObrBhUb1rgkU7dVgSJn9DDf10e92AVbJsng9aaV6E2mKwM8iHsnoEKbMmdloKSdi5gWEIf4RH0QU_0aoZAJ_QfOSAn_EZHIh28LVTaI07-PM0irOp4/s225/Jingle.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="225" data-original-width="225" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH4YeoK5j5W4YYtzsx1qFMwEkIBr60iq5yKV7Iw7R_9V1_J3KmipSsDxeqaTEcMgPeJeObrBhUb1rgkU7dVgSJn9DDf10e92AVbJsng9aaV6E2mKwM8iHsnoEKbMmdloKSdi5gWEIf4RH0QU_0aoZAJ_QfOSAn_EZHIh28LVTaI07-PM0irOp4/w200-h200/Jingle.jpg" width="200" /></a>Merry Christmas, everyone! Guess who released a special single for the Christmas season 40 years ago? Daryl Hall and John Oates! And guess what radio juggernaut, simply because they didn't quite fit into my narrative and didn't release an album in 1983 (though a couple of singles off 1982's <i>H2O</i>, their single biggest selling album of all time, were released during the year), have I not mentioned thus far in this year-long series? The same! So today, as a gift to you, I make up for that elision, twice over: enjoy the Daryl-on-vocals version of their cover of the Christmas classic, and the John-on-vocals version as well.<p></p><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/5vyMuxxLsD0?si=Zj_MBxYfFLxzfHqM" title="YouTube video player" width="560"></iframe><p></p><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/ZhHD2ARORHQ?si=aRLiSkwTOEJDS5g-" title="YouTube video player" width="560"></iframe>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7907752.post-42692589157259646272023-12-18T07:00:00.005-06:002023-12-18T08:48:45.003-06:00Songs of '83: "Joanna"<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZqbhBdGcy5T8tp963AyvJDu-YygWcp0LKgrxJSTnJi2kX386CgRn0dW5N9sxH7QghBwUEzqPAWxRhi-KNs6nInjY81YMRTl4PlnAYAcTAgB4jDicJioXhEb82wIko84PuV81jcHEcb8yR4tARanMcWsqbVykwXsu8yHKXj_vfWT8lqDvOTkLD/s224/Joanna.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="224" data-original-width="220" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZqbhBdGcy5T8tp963AyvJDu-YygWcp0LKgrxJSTnJi2kX386CgRn0dW5N9sxH7QghBwUEzqPAWxRhi-KNs6nInjY81YMRTl4PlnAYAcTAgB4jDicJioXhEb82wIko84PuV81jcHEcb8yR4tARanMcWsqbVykwXsu8yHKXj_vfWT8lqDvOTkLD/w196-h200/Joanna.jpg" width="196" /></a><p>It would be a lie to claim that, as a White teen-age Mormon in Spokane, Washington in 1983, my ear glued to the radio, I was somehow <i>also</i> deeply familiar with R&B and soul. I wasn't. But American radio in 1983 wasn't yet quite as programmed and balkanized as it would later become; racial divides were many and, in retrospect, pretty obvious, but nonetheless, for every radio programmer concerned about how the Blackness of post-disco artists would play outside of the big cities, there was a <a href="https://inmedias.blogspot.com/2023/01/songs-of-83-billie-jean-also-michael.html">Michael Jackson</a>, a <a href="https://inmedias.blogspot.com/2023/02/songs-of-83-little-red-corvette.html">Prince</a>, a <a href="https://inmedias.blogspot.com/2023/07/songs-of-83-she-works-hard-for-money.html">Donna Summer</a>, or a <a href="https://inmedias.blogspot.com/2023/09/songs-of-83-all-night-long-all-night.html">Lionel Richie</a> to prove them wrong. So the fact is, I did know a little--enough to have insisted on monopolizing the television set for three hours one evening to watch the entirety of <i><a href="https://www.youtube.com/watch?v=WyozXIscRVE">Motown Returns to the Apollo</a></i>, among other things. One of those other things being Kool & the Gang, a great R&B group who were, by the early 1980s, coming to the end of the second wave of radio popularity in their, by then, 20-year-old history. "Joanna" wasn't their biggest hit ever--the ubiquitous "Celebration" holds that title--but it just might be their finest ballad, and I loved it.</p><p><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/hsklsxReSe0?si=pdmaG6bf7OHBx49T" title="YouTube video player" width="560"></iframe></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7907752.post-39372880177107749772023-12-11T07:00:00.003-06:002023-12-11T07:00:00.140-06:00Songs of '83: "99 Luftballons"<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivAM_tS40amtyE5ovfzF7rfKB16Nf-6T-82QnyV5xFkKqLoibkjlGDuk_bSwtEZ1pBJXmlbZVL7-lW8Pg_2Ny3-Z1C0vxGKA2T9hsq7uJvjvtLrUR8eMitS77BqPQ30L1Yymlk65X-FIz2CIr2tKFAWWDpcIqUoDwaYC-4_Jq2kqWemK6blaWR/s640/Luftballons.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="634" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivAM_tS40amtyE5ovfzF7rfKB16Nf-6T-82QnyV5xFkKqLoibkjlGDuk_bSwtEZ1pBJXmlbZVL7-lW8Pg_2Ny3-Z1C0vxGKA2T9hsq7uJvjvtLrUR8eMitS77BqPQ30L1Yymlk65X-FIz2CIr2tKFAWWDpcIqUoDwaYC-4_Jq2kqWemK6blaWR/w198-h200/Luftballons.jpg" width="198" /></a><p>Of the three pop hits by German-language artists that American radio-listeners heard in 1983, Nena's "99 Luftballons" is, without doubt, the greatest, both in terms of chart success and overall musicality. <a href="https://inmedias.blogspot.com/2023/10/songs-of-83-major-tom-coming-home.html">Peter Schilling's "Major Tom"</a> was clever and the source of a decent amount of nostalgia, and the one German-language hit yet to be revealed has its own--more controversial--nostalgic whimsy about it as well. But "99 Luftballons"? That's a solid (if synth-heavy) rock and roll tune, one of the essential tracks of <i>Neue Deutsche Welle</i>, the label created by Dutch and German music promoters in the late 1970s and early 1980s to talk about--well, pretty much what I've been talking about all year: namely, the post-punk and post-disco club sounds that knocked around Europe and slowly made their way on to pop radio, only in this case, the West German Cold War <i>zeitgeist</i> was pretty essential as well.</p><p>"99 Luftballons" is unusual for a European song picked up by American markets, in that it by-passed the UK entirely; Nena--which is the stage name of their lead singer as well as the name of the band--didn't release the song there until 1984, after it had gotten huge airplay across Europe and Japan. American and English promoters wanted an English version of the song, and that was released as part of whole album built around the hit song, but different band members (including Nena herself) never liked the not-especially-clever translation which they sang. Far better was the original German version from March 1983, which by December had been grabbed and played by enough big-city radio stations across the USA that Epic picked it up and officially released it stateside, 40 years ago this week. It shot up the charts, eventually reading #2 on the Billboard charts by early 1984--around the time British radio listeners heard the English-language version for the first time. A strange journey for a savagely bitter--but also weirdly romantic--song about American military generals accidentally destroying the world in a nuclear war after being freaked out by some balloons floating over the Berlin Wall (the line "Hielten sich für Captain Kirk"--"They all thought they were Captain Kirk" is, of course, the best bit of the whole song). But regardless: it rocks.</p><p><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/Fpu5a0Bl8eY?si=RevSLZR3vFR1_84Y" title="YouTube video player" width="560"></iframe></p><p></p><p> And thirty-five years on, at least, back in 2018, it still did: <br /></p><p></p><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/oIO5lfJ9dhs?si=pTzdTVdi4RLmiIK5" title="YouTube video player" width="560"></iframe>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7907752.post-1981996770126060612023-12-04T07:00:00.001-06:002023-12-04T07:00:00.137-06:00Songs of '83: "Karma Chameleon"<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiN3MT9ZZhAJPK6rvkUaDtbNYKcgV360PpOo37hA7DHpoBfUwZ65uyDpTWpOvLNGogQ2j4VVZ89H8JL3xf7yIlWcWzki5beIDs3wk-QBQ3xj_nOmxMcc77QcqWs8wphyphenhyphenmoa2T_APlZx4Ru6cMGNNc_y2EkxmFXB5nQKOMsUNuwV5VapKg3iYFaJ/s300/Karma.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="300" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiN3MT9ZZhAJPK6rvkUaDtbNYKcgV360PpOo37hA7DHpoBfUwZ65uyDpTWpOvLNGogQ2j4VVZ89H8JL3xf7yIlWcWzki5beIDs3wk-QBQ3xj_nOmxMcc77QcqWs8wphyphenhyphenmoa2T_APlZx4Ru6cMGNNc_y2EkxmFXB5nQKOMsUNuwV5VapKg3iYFaJ/w200-h200/Karma.jpg" width="200" /></a><p>Culture Club, with their lead singer Boy George, were already a thoroughly familiar presence on American radio by this point of 1983. Their debut album, 1982's <i>Kissing to Be Clever</i>, managed to land four Top Ten hit on the Billboard charts during 1983 ("Do You Really Want to Hurt Me," "Time," "I'll Tumble 4 Ya," and "Church of the Poison Mind"). Boy George's ostentatious--and for the time, comparatively outrageous--androgyny made Culture Club the poster children, and a target, for every parent and pundit who insisted upon Making Their Views Known about this dangerous "new wave" of music escaping the clubs and poisoning American middle and high schools everywhere. (Years later, in his book <i>The Closing of the American Mind</i>, Allan Bloom negatively compared George's androgynous impact on popular culture to Mick Jagger's, suggesting that the former wouldn't last; given that the down-to-three-permanent-members Rolling Stones just released a new album, I suppose you could argue he was right?) </p><p>One of the weird things about all this, in retrospect, is that Culture Club were a pretty conventional pop band, all things considered. Their reliance upon synths and other technological club beats was fairly minimal, and while they soaked up the New Romantic and post-glam rock vibe of acts like late 1970s David Bowie, they also loved American R&B and country music--they even had <i>guitars</i>, for heaven's sake (take that, Human League)! "Karma Chameleon," the lead single of their second album, <i>Colour by Numbers</i>, a goofy little tune about--appropriately enough--changeableness and adaptation, ended up being their single biggest hit in both the UK and America. 40 years ago today, it premiered on the Billboard charts--and this time, there was no Michael Jackson or The Police standing in its way, preventing from going all the way to Number One.</p><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/JmcA9LIIXWw?si=0IOaL4pgCQy3DaaL" title="YouTube video player" width="560"></iframe>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7907752.post-8347879773631949142023-11-27T07:00:00.004-06:002023-11-27T07:00:00.143-06:00Songs of '83: "The Politics of Dancing"<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieCA8lLar0WDC0BiRPT3rYiSSgfSu4tk43bH-kHXJDhdiCe_ou0EI2tWFsXV8oK5xb71KsmgB5fW8NGHwCX5ACkuOSLbQ2M-TpQj45ipr1TJq9mbsmprzqwH9JB8U-wzXaN8giYNsh0gWeMa3Jg3Yl-s3sZyLB4BnHljJN4mye0uUYXEt3GRQ7/s220/Dancing.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="219" data-original-width="220" height="219" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieCA8lLar0WDC0BiRPT3rYiSSgfSu4tk43bH-kHXJDhdiCe_ou0EI2tWFsXV8oK5xb71KsmgB5fW8NGHwCX5ACkuOSLbQ2M-TpQj45ipr1TJq9mbsmprzqwH9JB8U-wzXaN8giYNsh0gWeMa3Jg3Yl-s3sZyLB4BnHljJN4mye0uUYXEt3GRQ7/s1600/Dancing.jpg" width="220" /></a>I'm so happy this song made my list; it's one my favorite, perhaps my <i>very</i> favorite, ridiculous and awesome New Wave tune. The London band Re-Flex didn't have a very long life; they had some intriguing interactions early on with Thomas Dolby, Level 42, and other artists and bands that navigated the new world of 1980s pop better than they did, but hey, not every musical outfit is destined for greatness. One-hit-wonderness, though, which they achieved with this single that entered the Billboard charts 40 years ago today and went on to be a Top Twenty hit? And, of course, had a wonderful video that mixes roller-skating with a Cold War spy thriller? That's not a bad fate at all, says I.<br /><p></p><p></p><p><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/GLzDFbGdL5M?si=n6ApLjLoYvvDWU9l" title="YouTube video player" width="560"></iframe></p><p></p><p></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7907752.post-82112695468452544142023-11-21T07:00:00.075-06:002023-11-21T08:13:09.290-06:00Songs of '83 Special: "Sunday Bloody Sunday"<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1DE3mXVLhaLGI_P3I1e9qiGJ6dZBYgF0lncGkpONvTf-eS5-Phfke52p5yHiCrriQb1lb6ilidmlIJT-8InYex0D-9IMBLPMbfrJUmlePdHeLefKb9HHPFx2CsYo2e0eZMbJraald9NM_P8TVaHL6Je8cHgAIiBbk3T6F_EDrUyaf8w6uMBlz/s225/Sunday1.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="225" data-original-width="225" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1DE3mXVLhaLGI_P3I1e9qiGJ6dZBYgF0lncGkpONvTf-eS5-Phfke52p5yHiCrriQb1lb6ilidmlIJT-8InYex0D-9IMBLPMbfrJUmlePdHeLefKb9HHPFx2CsYo2e0eZMbJraald9NM_P8TVaHL6Je8cHgAIiBbk3T6F_EDrUyaf8w6uMBlz/w200-h200/Sunday1.jpg" width="200" /></a><p>Forget <a href="https://inmedias.blogspot.com/2023/01/songs-of-83-billie-jean-also-michael.html">Michael Jackson</a>, forget <a href="https://inmedias.blogspot.com/2023/02/songs-of-83-little-red-corvette.html">Prince</a>, forget <a href="https://inmedias.blogspot.com/2023/03/songs-of-83-lets-dance.html">David Bowie</a>, forget <a href="https://inmedias.blogspot.com/2023/04/songs-of-83-rio.html">Duran Duran</a>, forget <a href="https://inmedias.blogspot.com/2023/05/songs-of-83-sweet-dreams-are-made-of.html">The Eurythmics</a>, forget <a href="https://inmedias.blogspot.com/2023/06/songs-of-83-every-breath-you-take.html">The Police</a>--for many, many, <i>many</i> of my Gen X peers, there is only song of 1983--and only <i>one</i> performance of that song--that can really tell the pop music story of that year. That's this one, right here. It's not part of <i>my</i> memories of that year though, except perhaps retroactively. So, like with Modern English's "<a href="https://inmedias.blogspot.com/2023/04/songs-of-83-special-i-melt-with-you.html">I Melt With You</a>," a little off-Billboard charts explanation is necessary.</p><p>I grew up in Spokane, Washington--though future NCAA powerhouse Gonzaga University is located there, it's not a college town, and the radio that I listened to growing up was mainstream pop and rock. By 1983, for all the reasons I've laid out in previous posts, the cosmopolitan and technological and stylistic post-punk and post-disco and multi-racial changes that had been building for years in the clubs of UK and in a few select big cities in North America were finally overwhelming institutional resistance (such as on MTV) and getting onto Top 40 American radio--but that still left a huge artistic ferment that wasn't being heard or seen by your average teen-age radio-listener across America. 1983 also was the year that "underground" or "alternative" or "college" radio really began to be a major profit-making market in the U.S., with R.E.M. and Violent Femmes and more all releasing their first albums that year. And then there was U2's breakthrough album <i>War</i>. Their classic song, "Sunday Bloody Sunday," was released in the UK and elsewhere earlier during that same year, but all that was unknown to me. </p><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-IhmYAv0kUR4SFLi92GkcjEqM8mA59egNt23FkbMPEJmsBZZMlXnIBMHlUgKnTCEFA0bpFGE8jXldCa6Nm-RHdjnMBayWVnXx9rpJ1f_FEe3ZduMBK5VzsaMyDeEnhl4xq0ETOCYkMAzVCmTAdc0tHx6wx8HBzaWv_N4XKaTae3j5RZ_QDSpP/s385/Sunday2.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="385" data-original-width="259" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-IhmYAv0kUR4SFLi92GkcjEqM8mA59egNt23FkbMPEJmsBZZMlXnIBMHlUgKnTCEFA0bpFGE8jXldCa6Nm-RHdjnMBayWVnXx9rpJ1f_FEe3ZduMBK5VzsaMyDeEnhl4xq0ETOCYkMAzVCmTAdc0tHx6wx8HBzaWv_N4XKaTae3j5RZ_QDSpP/w134-h200/Sunday2.jpg" width="134" /></a>I have friends from Spokane around my age who insisted they knew about and were serious fans of U2 and this album, at the same time I was still listening to <i>Thriller</i> and <i>Synchronicity</i>. I grant that they must be telling the truth, but it's hard for me to know exactly how, since there's no way "Sunday Bloody Sunday" was getting much airplay in Spokane in 1983, given that it initially wasn't even released as a single in the U.S. (and <i>War</i>'s lead single, "New Years Day," released in the UK and elsewhere in Europe earlier in the year, never even broken the top 50 on the American Billboard charts). But somehow or another, the power of this song--and specifically, the performance of the song which U2 gave at the Red Rocks Ampitheatre near Denver, Colorado on June 5, 1983--could not be contained. That absolutely electric performance--which reflected as well as any other recorded performance of theirs the crazy mix of messy messianic intensity and brilliantly clean sounds which characterized the first stage of U2's fame--was filmed and edited and released to the world, officially, on the concert film <i>U2 Live at Red Rocks: Under a Blood Red Sky</i> in 1984. Unofficially though, on November 21, 1983, 40 years ago today, the band released <a href="https://en.wikipedia.org/wiki/Under_a_Blood_Red_Sky">an 8-track live recording</a> of their 1983 tour, using the same title. And to promote that album, the video from Red Rocks of "Sunday Bloody Sunday" was made available (even though the audio of the song synced to that video was actually one recorded in Germany in August of that year). And that video just <i>blew up</i>. I remember seeing it on Friday Night Videos, perhaps sometime late in 1983, but more likely early 1984. Anyway, I had no idea who U2 were, though I think I may have identified them with a band named on some pins that a friend of my older sister (a high school junior at the time--practically a real grown-up!) wore. But that may be just a reconstruction; in all likelihood, I probably just thought I was watching some crazy experimental live recording from some cool but totally marginal indie band. And I guess, in a sense, I was right. It was years before I put it all together with my other pop memories, and realized what I'd missed (or rather, misunderstood).</p><p></p><p>Oh well. As for the song itself, I don't know when "Sunday Bloody Sunday" finally got airplay on Top 40 radio stations. Maybe it never did! Maybe, instead, it went straight from being a college radio favorite to a classic rock station standard. A strange journey one of U2's most famous songs. But regardless, even though it really doesn't fit into what I remember coming out of my radio during 1983, I had to put it somewhere. So here it is everyone. Enjoy your Thanksgiving, and your own U2 memories; mine are, however retroactive, very good indeed.<br /></p><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/EM4vblG6BVQ?si=U3k2EidoanNq66X6" title="YouTube video player" width="560"></iframe><p></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7907752.post-80371494695517949822023-11-20T07:00:00.014-06:002023-11-20T07:00:00.147-06:00Song's of '83: "That's All"<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW1YInq9fMsLoivuRNCevpo5OFE9_IiAlz_dSgU4o8X-mf4xAHEPTLiI1UJyAUCyrASClgZPIEomqdI0DmzTCDJ9ALt9rfaziXx7-G3shTjvZAxPhdBKQ8zFfWB4Wlq7QRcO3TiynEvDGTVDC0m6uHJ8184oupHyamxNVuhX6_PCDq3LoEjqEp/s529/All.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="523" data-original-width="529" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW1YInq9fMsLoivuRNCevpo5OFE9_IiAlz_dSgU4o8X-mf4xAHEPTLiI1UJyAUCyrASClgZPIEomqdI0DmzTCDJ9ALt9rfaziXx7-G3shTjvZAxPhdBKQ8zFfWB4Wlq7QRcO3TiynEvDGTVDC0m6uHJ8184oupHyamxNVuhX6_PCDq3LoEjqEp/w200-h198/All.jpg" width="200" /></a><p>Early 1980s Phil Collins and Genesis receive far more critical crap than they deserve, at least if one takes into consideration what they were going through at the time. They were a fine--maybe not Yes-level, but still, a major--progressive rock bank all through the 1970s, never having much impact on the American radio market but selling tons of records and tickets all across the UK and parts of Europe. Then came the departure of lead vocalist and resident weirdo-genius Peter Gabriel, followed by the departure of lead guitarist Steve Hackett. And then Phil Collins, emerging as lead vocalist while continuing on as drummer for the remaining threesome, discovers both drum machines and his own immense--if very pop-oriented--melodic sensibility, and over a period of a few years becomes both a massive radio sensation (thanks to his first solo album, <i>Face Value</i>) and nearly omnipresent as a studio musician in both the UK and America (he played the drums on last week's "In the Mood"). My favorite Genesis work is what they produced when they were right in the midst of working through all those transformations: <i>And Then There Were Three</i> is wonderful, for example, and looms large in my reconstructed memories of rock radio from 1978. But after five more years of adjustments passed, Genesis had become a straightforward, and efficient, pop machine, for better or worse. Collins was determined to kick off their 1983 album, titled simply <i>Genesis</i>, with a Beatlesesque pop song, complete with him purposefully imitating Ringo Starr's fills on the album's lead single, "That's All." Premiering on American radio 40 years ago this week, this song became their first Top Ten hit in America, to be followed by many, many more. The fact that, as far as pop songs go, it's nice but pretty much entirely disposable is, perhaps, sadly, part of the point.</p><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/Vzyn60Zns-E?si=yius_Es2xco0zYUg" title="YouTube video player" width="560"></iframe>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7907752.post-46506648084892033292023-11-13T07:00:00.002-06:002023-11-14T15:23:21.273-06:00Songs of '83: "In the Mood"<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0vKa6eAs6UCljSEWf0eh324g6R211phtkxI0R1oSiVAl3bAVjT6GjK9-6pNgQnEwi-bU9S9MkDcwaD71FK01ptuAsI3MGcDKDQt3_0FUV_Z2cge2vF6FY-h5LVlSFIRTe2b9YQlFiUUNe0P96hYaheXc6g1HXtm4S-9gQC-gX1PGcg9rsexVv/s220/Mood.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="220" data-original-width="220" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0vKa6eAs6UCljSEWf0eh324g6R211phtkxI0R1oSiVAl3bAVjT6GjK9-6pNgQnEwi-bU9S9MkDcwaD71FK01ptuAsI3MGcDKDQt3_0FUV_Z2cge2vF6FY-h5LVlSFIRTe2b9YQlFiUUNe0P96hYaheXc6g1HXtm4S-9gQC-gX1PGcg9rsexVv/w200-h200/Mood.jpg" width="200" /></a><p>Far more than <a href="https://inmedias.blogspot.com/2023/11/songs-of-83-owner-of-lonely-heart.html">last week's fun rock tune from Yes</a>, and far more than next week's entry from yet another 70s outfit that went pop in the 1980s, this week's song--the, in my opinion, endlessly captivating pop-funk-via-hard-rock-via-synth-and-drum-machine song "In the Mood," by Led Zeppelin's Robert Plant--is one that truly stands the test of time. It wasn't the first cut off his second solo album, nor his biggest solo hit ("Big Log" takes the title for both of those, a song that I've always found somewhat pretentious and only middling at best), but I say it's his best solo work--and this is my list of my memories, so what I say goes. The strange fantasia video for the song, mixing pastoral images with hammy 1983 beat-boxing, just captures how inventive, how creative, Plant could be as an artist, sometimes. (The fact that a country version of song subsequently became a stable of his late career concerts provides even more evidence, as if any were necessary.) Anyway, enjoy.<br /></p><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/jj5nH0O8lmg?si=v8kVUNIpuLNOXuQM" title="YouTube video player" width="560"></iframe>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7907752.post-81420222543268362892023-11-06T07:00:00.001-06:002023-11-06T07:00:00.140-06:00Songs of '83: "Owner of a Lonely Heart"<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuyFa6KhlzrsbCWQE5LFqyVw6YOgDIJQTs7oreHWSMB_Y_SABTDY4Po5PzrWs4Wfeofb63WXggSR3-olWriHDIqo4f8mDwB9Z1TIDWi9v_7MZGEKIv_jOg_plmycqVBMjWTDILvgST3P3RQ3GqfugGld2YoM71cj0L6xO8kOk1DdWLQOAp0VJQ/s239/Owner.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="211" data-original-width="239" height="177" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuyFa6KhlzrsbCWQE5LFqyVw6YOgDIJQTs7oreHWSMB_Y_SABTDY4Po5PzrWs4Wfeofb63WXggSR3-olWriHDIqo4f8mDwB9Z1TIDWi9v_7MZGEKIv_jOg_plmycqVBMjWTDILvgST3P3RQ3GqfugGld2YoM71cj0L6xO8kOk1DdWLQOAp0VJQ/w200-h177/Owner.jpg" width="200" /></a><p>This week, and for the next two weeks to come, the songs which cracked into the American radio mainstream 40 years ago represented something that has only appeared a few times so far on this list: majors bands and performers that had achieved commercial success by producing the sort of songs which got airplay under the pop rules which obtained in the 1960s and the 1970s, now playing by a newly evolving set of expectations, ones much more technology-dependent and much more cosmopolitan in outlook. <a href="https://inmedias.blogspot.com/2023/02/songs-of-83-separate-ways.html">Journey</a> and <a href="https://inmedias.blogspot.com/2023/05/songs-of-83-come-dancing.html">The Kinks</a> nonetheless pushed ahead into the 1980s by doing what had always worked for them before; <a href="https://inmedias.blogspot.com/2023/02/songs-of-83-mr-roboto.html">Styx</a>, by contrast, attempted a synth-pop rock opera; <a href="https://inmedias.blogspot.com/2023/03/songs-of-83-lets-dance.html">David Bowie</a> kind of crystalized all the transformations of 1983 even while perhaps not fully embracing them. </p><p>And Yes, the first of our three 1970s dinosaurs, and arguably the most influential progressive rock band of them all? They came back together, after having disbanded in 1981 (having decided, reasonably enough, that their artistic moment had passed), and brought with them into the studio the two Trevors: Trevor Rabin, a rock guitarist whose musical sensibilities fit in well with the way post-disco develops were encouraging rock music to change, and Trevor Horn, a singer-turned-producer who had worked briefly with Yes before, while at the same time making the new electronic sound essential to British popular music, through such bands as The Buggles, ABC, Frankie Goes to Hollywood, and later the Art of Noise. The re-integration of the significantly changed band--though at the last minute, Jon Anderson, Yes's founder and former lead vocalist was convinced to come back on board--was hardly without tension, but it produced a sleek, sharp, utterly of-the-moment Cold War rock album, whose lead single, "Owner of a Lonely Heart" entered the American Billboard charts this week in 1983, and by January of the following year was a #1 hit. Was it the Kafkaesque video that did it? Perhaps. In Reagan's America, in a year of nuclear false alarms and talk of lasers in space, the visual expression of Yes's pop-rock alchemy was on the nose.</p><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/SVOuYquXuuc?si=Z_Yn6yW4XBHIlUut" title="YouTube video player" width="560"></iframe>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7907752.post-31399888095976975602023-10-30T07:00:00.002-05:002023-10-30T07:00:00.141-05:00Songs of '83: "Holiday"<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinXR_r3EFnVnPw_g8vHvihzhO0FgG2Xh_5vSfmX0QTfjsTkoxMjpxKxnHabKSsl0fx8AYVzAmXdVmq8ehnK81zssagLk8EsV0VLz00NeM4zJ84z7HddEJ0g1xeyFULoFjZrO2Kj-LtTMU4cwjV-Ub7OoZmAvJBtFbXZJ74M7qJh6wohyphenhyphen8Cx8Jb/s600/Holiday.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinXR_r3EFnVnPw_g8vHvihzhO0FgG2Xh_5vSfmX0QTfjsTkoxMjpxKxnHabKSsl0fx8AYVzAmXdVmq8ehnK81zssagLk8EsV0VLz00NeM4zJ84z7HddEJ0g1xeyFULoFjZrO2Kj-LtTMU4cwjV-Ub7OoZmAvJBtFbXZJ74M7qJh6wohyphenhyphen8Cx8Jb/w200-h200/Holiday.jpg" width="200" /></a><p>I was never a huge Madonna fan, especially not at first. That was almost certainly at least partly due to my teenage Mormon suspicion of her: that she was one of those "bad girls" that are to be avoided. Madonna herself surely would have entirely endorsed my response, circa late 1983, when she finally--after years of studying dance and networking at clubs and pitching herself (with more and more success as the 1970s turned to the 1980s) as a backup singer all around New York City--made it on to mainstream American pop radio. Whether it was her own Catholic background or the socially conservative religious or cultural hang-ups of literally anyone else, she delightedly (and, of course, strategically; she's always been a savvy self-marketer) figured how to flaunt her disregard for us squares, stylistically, sexually, or otherwise. In that sense, "Holiday," the first cut from her debut album to make it onto the Billboard pop charts (debuting 40 years ago this week), was entirely appropriate: her whole oeuvre has always been about selling an image of getting away and taking a break, "just one day out of life."</p><p>"Holiday" is a pretty lame song, all things considered, just as <a href="https://www.youtube.com/watch?v=5Rswx2Z7SDw">the original video</a> shot for it was (really it was more a dance audition than a video). Later cuts from her first album were better ("Borderline," for example, is simply a terrific pop song), and I enjoyed Madonna' stuff on the radio well enough. But it probably wasn't until I watched the tremendous documentary <i>Paris is Burning</i>, focused on "voguing" and the underground LGBTQ ballroom scene in New York City in general, that I started to view Madonna's choreographic skill, her cosmopolitan vision, and dedication to what came to be called "dance-pop" with some respect. Yes, she's an operator, no doubt about that. But in her own way, she's an artist too, one who was for years was determined to master, to lift up--or to rip off--whatever added to the liberatory power and delirious fun of cutting loose on the dance floor and in front of the mic. In that spirit, here's Madonna at the height of her powers, during the (regularly protested and condemned as "satanic" by Pope John Paul II!) Blonde Ambition tour. Put your troubles down, everyone; it's time to celebrate.</p><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/SPK53Ko1WO4?si=RnN5W5hmKW2IcTgS" title="YouTube video player" width="560"></iframe>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7907752.post-9276407193872286092023-10-23T07:00:00.002-05:002023-10-23T07:15:19.967-05:00Songs of '83: "In a Big Country"<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqXSeyKbtffFyFQYzVk0rKCPWKRFAytRsRAtlNwe9NnetGbN0Z3Z8dXfwauV3sa76bfG9AfUGWhphGDJZ378EnnQPdKbUuQGFCR6cx2h_ZdzFEvN9RRjKoc9P76q6dwWOmglA0xjPRPWFFpuJfHO4kDn1kdltBrPjDkgyl8g0oZ-RhKKVESV7J/s226/BigCountry.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="226" data-original-width="220" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqXSeyKbtffFyFQYzVk0rKCPWKRFAytRsRAtlNwe9NnetGbN0Z3Z8dXfwauV3sa76bfG9AfUGWhphGDJZ378EnnQPdKbUuQGFCR6cx2h_ZdzFEvN9RRjKoc9P76q6dwWOmglA0xjPRPWFFpuJfHO4kDn1kdltBrPjDkgyl8g0oZ-RhKKVESV7J/w195-h200/BigCountry.jpg" width="195" /></a>Big Country's "In a Big Country" debuted on the Billboard charts and American pop radio 40 years ago this week. The story of Big Country's origin was, like so many other post-punk UK outfits which emerged far from London's clubs, one of desperate experimentation--in this case, Stuart Adamson playing around on an effects pedal and an electronic bow and discovering a way to make guitars sound like bagpipes. Leaving behind the punk scene entirely, and connecting with a couple of studio musicians skilled in creating a 1970s classic rock sound (Big Country's drummer and bassist had both played with the Who's Pete Townshend on his terrific solo album <i>Empty Glass</i>), Adamson brought Big County together in 1981. Their first album got some decent airplay around the UK--but it was this goofy, utterly delightful video, featuring Adamson and his bandmates treasure hunting (and being hunted in turn) across Scotland, that gave the band their one hit in the U.S. The subsequent story of Big Country is not an entirely pleasant one--but for American radio-listeneres like me, they made 1983 a lot more fun.<p></p><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/657TZDHZqj4?si=Kh9XoVJD7i-r09-a" title="YouTube video player" width="560"></iframe>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7907752.post-48699189998360322052023-10-16T07:00:00.008-05:002023-10-16T08:35:42.096-05:00Songs of '83: "Rockit"<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhk7ItOTotRpKYNODiFPzhMGI592is9DRlhM-_arBCjpZH7HPlN4z_-hA15tSEHKD2dFSzquRIs8jk7AIxjS3UL3U3ibnWeJofrIDPYaLaKhZ0RGHWxlyUdEkGJ0oxyXHVDrLtB1KJMYjaLDuh_b98XL9bG3oQVdEVpxHDIv40_giNYuqWySSkm/s220/Rockit.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="220" data-original-width="220" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhk7ItOTotRpKYNODiFPzhMGI592is9DRlhM-_arBCjpZH7HPlN4z_-hA15tSEHKD2dFSzquRIs8jk7AIxjS3UL3U3ibnWeJofrIDPYaLaKhZ0RGHWxlyUdEkGJ0oxyXHVDrLtB1KJMYjaLDuh_b98XL9bG3oQVdEVpxHDIv40_giNYuqWySSkm/w200-h200/Rockit.jpg" width="200" /></a>I'm pretty certain I never heard Herbie Hancock's "Rockit" on the radio in 1983. Its presence in my memory, and its presence on this list (it was actually a released single, but it never even made it to the Top Fifty, cresting at #71 on the Billboard chart this week in October, 40 years ago), is entirely a result of Friday Night Videos, which played it <i>constantly</i>. I can only presume that in the months following Michael Jackson and other Black artists breaking MTV's informal racial line, the push was strong for other platforms to make up for lost time--and this crazy, artsy, funky video certainly qualifies. I have no idea how Hancock himself regards this recording today, but for a White kid starting high school far away from any college scenes or jazz clubs, it got stuck in my mind as a bit of a revelation.<br /><p><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/GHhD4PD75zY?si=h5FUrAVWdMJ4xDa0" title="YouTube video player" width="560"></iframe></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7907752.post-64916034659372444562023-10-09T07:00:00.002-05:002023-10-09T07:43:21.049-05:00Songs of '83: "Heart and Soul"<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEip2hFxE7eXb51R-N7yBpUZyoe6U19QDssHptQm04GbQHtzZrwUYXVpZzLj1-lLl1SMEqXb0rz787R9HzAlZepY2fRiOpc3HPl85uMW8YdsKWslyMLok8iP4nRCtCnVCsi_F4eKz1z1HVzig6WZV7UcJFR4gpyi0kSwNeeEahAA9Imxfqr10TaL/s321/HeartSoul.JPG" style="clear: left; display: block; float: left; margin-bottom: 1em; margin-right: 1em; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="309" data-original-width="321" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEip2hFxE7eXb51R-N7yBpUZyoe6U19QDssHptQm04GbQHtzZrwUYXVpZzLj1-lLl1SMEqXb0rz787R9HzAlZepY2fRiOpc3HPl85uMW8YdsKWslyMLok8iP4nRCtCnVCsi_F4eKz1z1HVzig6WZV7UcJFR4gpyi0kSwNeeEahAA9Imxfqr10TaL/s200/HeartSoul.JPG" width="200" /></a><p>There are multiple major radio stars from 1983 that, for a variety of reasons, I haven't highlighted, and won't highlight, on this list. Toto's biggest selling and most famous single, "Africa," hit #1 on the Billboard charts in February, and was unavoidable for much of the year--but it had been released months earlier, and I count it as a 1982 song. Billy Joel's <i>An Innocent Man</i> was released in August of 1983, and had four Top Twenty hits--but ultimately, the vibe of the Piano Man just doesn't fit with what I think 1983 really meant in terms of pop music trends. And so forth: Elton John, The Fixx, Bryan Adams, Bob Seeger and the Silver Bullet Band: all very much in the radio mix during this year, but they're not making my personal cut. But how could I, how could anyone, ignore the biggest, slickest, hardest-working White guy pop bar band of the era? No one could, and I'm sure not.</p><p>"Heart and Soul," the first single from <i>Sports</i>, hit the Top 40 four decades ago this week, and with it Huey Lewis and The News began a streak that lasted for nearly five years; with only one exception (1984's "Walking on a Thin Line"), every single they released until late 1988 became a Top Ten Billboard hit. Looking back over the decades, Huey Lewis has commented that the band, by the time they came to the end of their run, had become better musicians than they'd been back in their heyday, when the goal--their only goal, really--was to orchestrate in the studio whatever radio-friendly hooks their blusey-but-not-really mix of guitars and keyboards and drums and harmonica allowed. I never saw them live (one of my major musical regrets, to be honest), but I've heard from multiple friends who did that their shows were loose and loud and awesome--and also perhaps never quite as kick-butt as their recordings. It's interesting that once they hit their peak and the years passed, they started playing around more, releasing albums of doo-wop and soul music--but never letting their formula go entirely. It worked for them for years, and it was certainly working for them here.<br /><br /><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/8TdaXhpjHws?si=TaEWvvMAextLfKir" title="YouTube video player" width="560"></iframe></p>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-7907752.post-58488183394585275372023-10-02T07:00:00.006-05:002023-10-02T07:00:00.143-05:00Songs of '83: "Major Tom (Coming Home)"<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbgCKifnP059s5DiI6qAiJ_RVlXAbFMsfkJudRJkrt7B_UlZi_qlUNnJ-JbAl1Da6aaqonC89ru7cPTXEQfgmEbFlJiYqvZPRt_jZ_h0hYcd2hqPAdLgoCKOV9ly8Py88m8If4kuaQAkaTt28UOfkab7dcHcpZTioUADYGufqY7nbrGPaofi16/s600/MajorTom.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbgCKifnP059s5DiI6qAiJ_RVlXAbFMsfkJudRJkrt7B_UlZi_qlUNnJ-JbAl1Da6aaqonC89ru7cPTXEQfgmEbFlJiYqvZPRt_jZ_h0hYcd2hqPAdLgoCKOV9ly8Py88m8If4kuaQAkaTt28UOfkab7dcHcpZTioUADYGufqY7nbrGPaofi16/w200-h200/MajorTom.jpg" width="200" /></a><p>There were three German-speaking pop artists who had major hits on American radio in 1983. The 40th anniversary for one of them has already past; I'm going to come back to it later this year, for reasons that I'll explain at the time. Another, the biggest splash by a German-language pop song on the Billboard chart all year, won't have its turn in the spotlight for a couple more months. So this week we have the third entry: a witty bit of synthpop from Peter Schilling, a musician whose love of electronica always shaded into science-fiction--and in David Bowie's 1969 "Space Oddity," with its story of the eponymous astronaut stranded alone in his tin can far above the world, Schilling found his muse. He recorded the song in German--"Major Tom<i> </i>(<span lang="de">völlig losgelöst)," meaning "completely detached"--</span>and released it in January of 1983; it became a huge club hit throughout Western Europe, and the pressure was on to record and release and English-language version. When he finally finished and released the English translation, it climbed to the Top Twenty in the U.S. (and Number 1 in Canada), guaranteeing his place as one of the great one-hit wonders of the era. (Major Tom himself, of course, kept coming back again and again.)<br /></p><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/wO0A0XcWy88?si=dMsw8gGN-2jnX82F" title="YouTube video player" width="560"></iframe>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7907752.post-53198941633023026012023-09-25T07:40:00.000-05:002023-09-25T07:40:45.463-05:00Songs of '83: "Love is a Battlefield"<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimVI1wm9_CYeXPIakHT5S85O4IF005TA0a7G43MK1XVTHZ7l9FIO-a_ro2n1clbuvkIzFGdxcFlC1gGcuJXoN84TCuCQDTr2XU6VfVyq5hw3tye6tyu4MeQKE51B1V_S3APCumbR08Y7BcAchiEUHoWsyDgb651-7GwZN0tFf4X8LlI8SaanKI/s320/Battlefield.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="311" data-original-width="320" height="194" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimVI1wm9_CYeXPIakHT5S85O4IF005TA0a7G43MK1XVTHZ7l9FIO-a_ro2n1clbuvkIzFGdxcFlC1gGcuJXoN84TCuCQDTr2XU6VfVyq5hw3tye6tyu4MeQKE51B1V_S3APCumbR08Y7BcAchiEUHoWsyDgb651-7GwZN0tFf4X8LlI8SaanKI/w200-h194/Battlefield.jpg" width="200" /></a><p>Pat Benatar was, in retrospect, one of those driven talents that probably would have found a way to achieve success on the radio no matter what her stylistic environment. As it was, she came to the clubs of New York City in the late 1970s with the rock of Led Zeppelin and The Rolling Stones on her mind--not exactly the style of the time. But her vocal chops--especially once backed up by the guitar work and the producing talent of Neil Giraldo, her musical partner (and husband) for more than four decades--were not to be denied. "Love is a Battlefield," which first landed on the Billboard charts 40 years ago this week, was her single biggest radio hit, and a huge MTV smash--turning a three-minute single into a five-minute television drama, complete with a dance break, was still a relatively new thing in those early, post-Michael Jackson years. It's not my favorite Benatar song (that would be "Shadows of the Night," probably), but you can't deny: it rocks.</p><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/IGVZOLV9SPo?si=DPifNgwmAE30dG-Q" title="YouTube video player" width="560"></iframe>Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-7907752.post-78965549732036711212023-09-18T07:00:00.019-05:002023-09-18T08:58:25.010-05:00Songs of '83: "Cum On Feel the Noiz"<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiC7evrrsRjy4xkYTaYK7hyrFC1zlhqA7mYZ8RAJTPF4UbiBBwgpBm8fM56J800ocCLyo0DBk4suK_NfjjLycKIygWDVsUG96jOQMxMegQpCGVN3obtpD9M78gEhj7EKmT9GnR8Cdla-1JOWMsJAYw-ew1a_eLQ9CX9Pzr62nPrABIPK2tlHU1s/s600/CumOn.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiC7evrrsRjy4xkYTaYK7hyrFC1zlhqA7mYZ8RAJTPF4UbiBBwgpBm8fM56J800ocCLyo0DBk4suK_NfjjLycKIygWDVsUG96jOQMxMegQpCGVN3obtpD9M78gEhj7EKmT9GnR8Cdla-1JOWMsJAYw-ew1a_eLQ9CX9Pzr62nPrABIPK2tlHU1s/w200-h200/CumOn.jpg" width="200" /></a><p><a href="https://inmedias.blogspot.com/2023/02/songs-of-83-separate-ways.html">Journey</a>, <a href="https://inmedias.blogspot.com/2023/03/songs-of-83-your-love-is-driving-me.html">Sammy Hagar</a>, <a href="https://inmedias.blogspot.com/2023/03/songs-of-83-photograph.html">Def Leppard</a>, <a href="https://inmedias.blogspot.com/2023/07/songs-of-83-sharp-dressed-man.html">ZZ Top</a>, <a href="https://inmedias.blogspot.com/2023/08/songs-of-83-hot-girls-in-love.html">Loverboy</a>: as this list has always insisted, it's not as though the breakthrough into mainstream radio by the European clubs' multi-racial, gender-bending, drum-machine-and-synthesizers, post-disco and post-punk pop music somehow completely drove from the Billboard charts the sort of guitar-driven rock music which was performed and consumed almost entirely by young straight white men (and their female companions). In that spirit, I give you Quiet Riot's cover of the English glam-rock hit from the 1970s,"Cum On Feel the Noiz." Released 40 years ago this week, it is arguably the most influential American heavy metal single of all time, basically because it was the first that really mattered, commercially speaking: the first American hard rock band to have a Top Ten single (beating Van Halen, beating<b> </b>Mötley Crüe, beating Metallica, all of which were better bands, it goes without saying), and the first heavy metal album to go to number one. Was I a head-banger? No, not particularly. But did I crank this sucker up to 11 when it came on the radio while I was learning to drive that old white pick-up truck my family had? I did indeed.</p><p><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/ZxgMGk9JPVA?si=zxy8cUUkxcZeUI0_" title="YouTube video player" width="560"></iframe></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7907752.post-75387396007877443702023-09-11T07:00:00.005-05:002023-09-11T21:09:16.640-05:00Songs of '83: "All Night Long (All Night)"<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR9nL4Lkp79iiu8f0OJVInHIk2E9gjx2OZedWkYz87DYuIjd08-bVmrfEuntE2YLz7hRSY61kU5ZrDRmuV9syFYXpF_iPbnXYQTQKH-hCtJsbVHpna8ZN3fsuYqE6NCg5UohD02SYDSZw7YpSZTbgT5e8s8A5uVjVpnt-qsONXkTqoG7KrC4LN/s599/AllNight.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="596" data-original-width="599" height="199" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR9nL4Lkp79iiu8f0OJVInHIk2E9gjx2OZedWkYz87DYuIjd08-bVmrfEuntE2YLz7hRSY61kU5ZrDRmuV9syFYXpF_iPbnXYQTQKH-hCtJsbVHpna8ZN3fsuYqE6NCg5UohD02SYDSZw7YpSZTbgT5e8s8A5uVjVpnt-qsONXkTqoG7KrC4LN/w200-h199/AllNight.jpg" width="200" /></a><p>Of all the Black artists I've highlighted so far in this review of what I see as the year when all the new technological and stylistic and sexual possibilities of post-punk, post-disco pop music finally broke through to mainstream American radio, Lionel Richie has to be the one with the smoothest career arc, the one for whom these transformations seemed the most natural and effortless. <a href="https://inmedias.blogspot.com/2023/01/songs-of-83-billie-jean-also-michael.html">Michael Jackson</a> was the one who burst down the door to a new kind of pop musical (and video) stardom; <a href="https://inmedias.blogspot.com/2023/02/songs-of-83-little-red-corvette.html">Prince</a> blew a hole in the wall to make his own way to the charts; <a href="https://inmedias.blogspot.com/2023/04/songs-of-83-electric-avenue.html">Eddy Grant</a> slipped in through a side door no one had noticed; <a href="https://inmedias.blogspot.com/2023/05/songs-of-83-mornin.html">Al Jarreau</a> was following his own smooth jazz path and couldn't care less what pop radio thought of him; and <a href="https://inmedias.blogspot.com/2023/07/songs-of-83-she-works-hard-for-money.html">Donna Summer</a>, the Queen of Disco, simply ramped up her songs' vocal and guitar power and kept on pushing on those pop barricades. But Richie, a lead singer and primary song-writer for the Commodores, the smoothest of all of Motown's 1970s acts? The now-independent balladeer (he officially left the Commodores in late 1982, after the success of his first solo album) just <a href="https://www.youtube.com/watch?v=zg-ivWxy5KE">sailed on</a> through (pun intended). </p><p>I don't mean to suggest that Richie didn't have a lot of talent and didn't work hard; both of those things are true. But an artist determined to sweat it out in order to achieve musical and lyrical perfection he wasn't. The Afro-Caribbean rhythms and sonic backgrounds to "All Night Long," like several other hits off his second album, are solid additions to the final mix; the lyrics which accompany them are also--as Richie himself later admitted--complete gibberish. (He apparently wanted to hire a translator, but ran out of time and/or money, and so went ahead anyway.) But maybe Richie's music simply embodied exactly his ethos? Music is supposed to be fun, everyone; so quit trying to make art, and just dance. "All Night Long" hit the radio in mid-September, 40 years ago, and nothing was going to stop it from making it all the way to number one.</p><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/nqAvFx3NxUM?si=nZanD1DhXLISuM12" title="YouTube video player" width="560"></iframe>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7907752.post-49579237223418575852023-09-04T07:00:00.001-05:002023-09-04T07:00:00.140-05:00Songs of '83: "Suddenly Last Summer"<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjapazmLwi8-RtDsL6F95MLqVJMkwTqnzZIWYbDkZVsvSwMYMXTXg6qBqGQW628uNu531NaMNOktk0EkVht3H_THRuk8Ddr82XjFHXGOZ7ev6hdSDps2qDPFY16fTIhU6mVRv_JdTWp7RjraL1rAr0Neeg3dVn-RC-0XL9mKYcjG2fDXuDSLxQk/s500/Suddenly.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="500" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjapazmLwi8-RtDsL6F95MLqVJMkwTqnzZIWYbDkZVsvSwMYMXTXg6qBqGQW628uNu531NaMNOktk0EkVht3H_THRuk8Ddr82XjFHXGOZ7ev6hdSDps2qDPFY16fTIhU6mVRv_JdTWp7RjraL1rAr0Neeg3dVn-RC-0XL9mKYcjG2fDXuDSLxQk/w200-h200/Suddenly.jpg" width="200" /></a><p>Exactly 40 years ago, during the Labor Day weekend of 1983, a slight, synth-heavy tune by The Motels, with undercurrents both sinister and sweet, appeared on American radio. It would eventually crack the Billboard Top Ten, but far beyond that particular accomplishment, did any artist or band, throughout all of the 1980s, ever give us a better song for the end of summer, especially <i>that</i> summer, the summer when we were 15 or thereabouts, listening to the radio, and daydreaming, excitedly but also fearfully, about romance and sex and growing up and the future? I'm doubtful. </p><p><br /></p><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/b9Ox-lGm-wA?si=xvZsBdOrzv2kOVGc" title="YouTube video player" width="560"></iframe>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7907752.post-30306811289169598902023-08-28T07:00:00.003-05:002023-08-28T07:00:00.141-05:00Songs of '83: "True"<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1w50oPAmo19aBKXdlZN1Mu42Pwr257ofFM6Xzh6tH9babeuljMdtpOimZnkd-Tjg3CXHPyD1WEYIkSoPK-vsdtDgEYkH6ZlbFcRxp-xeFaG4ubsL-5ClCkiMeULX053sYTN-Tgbvm615dwJo7nePWVP3u2XfwmXa5ZhLFqMfkEcL-QTohPajr/s316/TRue.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="316" data-original-width="316" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1w50oPAmo19aBKXdlZN1Mu42Pwr257ofFM6Xzh6tH9babeuljMdtpOimZnkd-Tjg3CXHPyD1WEYIkSoPK-vsdtDgEYkH6ZlbFcRxp-xeFaG4ubsL-5ClCkiMeULX053sYTN-Tgbvm615dwJo7nePWVP3u2XfwmXa5ZhLFqMfkEcL-QTohPajr/w200-h200/TRue.jpg" width="200" /></a></div><p>My sister had a huge poster of Spandau Ballet, with the word "True" in dark letters printed across the bottom, up on her bedroom wall sometimes in 1983-1984. I wouldn't be surprised at all if at least one other heterosexual female and/or gay male person out there reading this had one as well. I don't recall when I first heard the term "New Romantic"--I'm not sure it really had any currency in the U.S., even in those few cities which had the sort of clubs or college radio stations that paid attention to the multi-racial, gender-bending, post-disco and post-punk New Wave coming from the UK--but when I finally did learn it, there were exactly two faces that came to mind: Roxy Music's Bryan Ferry, and that singer from Spandau Ballet, which Wikipedia informs me is Tony Hadley (who is also, apparently, a big fan of Margaret Thatcher, so hey, I guess it takes all kinds). Using their synths to produce a lush, sweeping sound, "True" debuted on the Billboard charts and American radio 40 years ago this month, beginning a slow climb over the months to come towards a comfortable Top Ten showing, a featured place in John Hughes's <i>Sixteen Candles</i>, and of course, my sister's (and probably many others') bedroom walls. Enjoy the slow dance, everyone.</p><p><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/AR8D2yqgQ1U?si=alDxnUdubRoX_UuC" title="YouTube video player" width="560"></iframe></p>Unknownnoreply@blogger.com0