Jesus Christ Supercrap

Thanks to the Ubuweb podcast, I have been alerted to the existence of visual artist Robin Kahn singing all of Jesus Christ Superstar, solo and by memory. It's really something, by which I mean, it's something really horrible.

If you can get past "What's the buzz" without wincing or just turning it off, bravo. This is kitsch of the highest order, and not in that strange transcendent way that Florence Foster Jenkins was.

It's more like someone miked a bored 8-year old in her room. And it may ruin Jesus Christ Superstar for you, which is sad, because it's an awesome work.

Anyway, it's horrible, but not nearly as horrible as oh say, the political culture in North America, so maybe it's worth something then. You've been warned.

***

Now I know that we here at the Transcontinental , by which I mean me, have been, shall we say, inconsistent in our approach to blogging.

Sometimes things are serious, sometimes things are about classical music. Worse, often things are vaguely, lamely political maybebecauseicantreallytalkaboutpoliticsallthatmuchbecauseofcircumstancesbutwantto....

I think that at the bottom, I want some kind of conversation. But that doesn't seem to be happening. Maybe that's because I don't have anything interesting to say. I'll accept that.

Anyway, my apologies for not sparking those conversations, especially to those five of you, and that robot in BC who visits this site like 80 times a day, who don't come here to read my post about Ossington street.

I find my writing dull right now, lacking in the vim and vigour that I occasionally managed to achieve back in the day. Maybe it will return, but until it does, I hope you will bear with me!

The New York Times Doesn't Care About Canada

So the Paper of Record has not said a word about the Canadian election since it was called.

However, CBC's retraction of Heather Mallick's column about Sarah Palin did make it into the paper.

Is it wrong to find that really depressing? And let's forget the old "Canada is boring" schtick..

I suppose we can take heart that Mexico fares even worse. Very odd.

Nuit Blanche

Stereoscope. This was actually the last thing we saw. More about it later.

This is my third Nuit Blanche festival, and this year I decided to wander a little further from home and check out what was going on downtown. Ironically, it turns out the the best stuff, unlike previous years, was all close to home. At least that's what I heard.

So Zone A, curated by Gordon Hatt, "includes 15 installations that explore feelings of belonging and alienation in an ephemeral and playful manner." And with that in mind, I bring you:

Waterfall! A giant waterall next to a building! But wait, let's look a little closer...no, is it really...plastic water bottles and lighting?

There was a nice alchemy to this piece. It did indeed look like a waterfall from a distance. But as you got closer, and you did something like, deliberately use your flash while snapping a photo, the conceit is revealed:



For many, the alchemy was too much. There were steps leading down to the waterfall, and one could have even gone behind it. I wondered why no one had thought of this. This is conceptual art, and intention is everything, nicht war?

Anyway, my son thought about it. He went down, and he started to kick the crushed plastic water bottles around. Some people on the other side of the waterfall began to freak out. They began to freak out because the massive pile of crushed water bottles meant to represent the plunge pool, you know, the frothy mass at the bottom of a waterfall, was being disturbed. They screamed at him to stop touching the exhibit. Perhaps they feared he would drown.

I laughed and let him do it a little while longer, and I thought to myself "People think that this is art".

***

I am not a nominalist when it comes to what is or isn't art. Calling something art and going from there is easier than consigning everything that doesn't have an elaborate gilded frame around it to the "not art" flames. However, something I began to notice at Nuit Blanche this year was the effect of people's long relationship with art as a feature of institutions, that is, art as a specific mode of presentation.

We have a lot of public art in Toronto, and usually, no one seems to have an issue with touching it. My suspicion about is that this is because no one looks or cares about public art. However, at Nuit Blanche, the sacredness of art reigns.

As many noted, downtown Toronto was turned into an art gallery. Yet, as most know from the ominous and omnipresent security guards at most public art galleries, this means that the art is, in some sense, off limits. It is to be looked at, to be admired, to be honoured.

What my son experienced in kicking those crushed water bottles was the conflict between an aestheticized existence and a bureaucratic approach to the experience of art.

I suspect the artist wouldn't have minded what my son was doing, indeed, if they didn't want people touching it, why let them near it like that? And yet, as we were leaving the exhibit, a small child passed us with her dad, and asked, can I touch the waterfall?

The father said, "I don't think so, honey."

I replied, "Yes you can."

***

Just up the street, near my office, was this:

My son loved this, mainly because his favourite word in the world is "la Lune". It is, I am rather sad to say, one of the only French words he knows, but it's something, right? This was Time-Piece.

It was kind of hypnotic, and pretty to boot. The photos actually make it look much more space-like, the projector becoming a star that doesn't exist, peeking out from behind the nearly disappeared moon.

My favourite piece that night was this:

It was a video of someone driving along the Toronto's hated Gardiner Expressway. It confirms my own prejudices about the road, which is that it provides a stunning view of the city, and is a kind of sacrificial lamb in our city's civic culture.

If we kill this road, then the decision to erect a gazillion condos along the waterfront will be expiated, and even better, when the waterfront still sucks we can mourn those lazy summer afternoon drives along the Gardiner, where Toronto felt a piece with the Metropolis. It was art in the Marxist tradition. Benjamin would have been proud.

***

In the middle of Eaton Centre, one found a giant balloon.

From below, it reminds one of a lit colon...


***

After all this, oh, and the alley of Massey hall outfitted with an office roof, we headed toward City Hall for what was the most spectacular work of Nuit Blanche - Stereoscope.

My son was tired, and hungry, so we sat down for a hot dog in front of city call to watch Stereoscope. Again with the scrims, this time with lights behind them, set up to do the public's bidding through the magic of interactivity. So here people were allowed to "touch" , that is, manipulate the lights, albeit in a very controlled fashion. You could play pong, on City Hall.

So as we drew near, I began to look (long?) for the most infamous work of art in the city's history, The Archer by Henry Moore. Of course, no one was paying any attention to it, what with the light show and dance music.

It sat there, lonely, unlit, forgotten. I'm not kidding when I say that no one remembered it, on this night, the all-night art happening. Thousands of people around, and no one noticed the work that divided this city, toppled a mayor, and was erected only through the work of a private fundraising campaign.

This work changed Toronto's relationship with modern art, and seeing Moore's forlorn sculpture, next to the light show, it occurred to me that the light show behind me was not art.

Oh my God.

The thought appeared rather suddenly, but there it was. In the presence of Art, this elemental force, Moore's studied work, the Pong dance show was pure entertainment, pure event without the corollary of experience.

Stereoscope and so much of what saw last night was art as a teenager, wanting desperately to be liked instead of respected, and willing to do anything to get that attention. It struck me that Stereoscope would be the perfect vehicle for advertising. (Let's see how that plays out)

Stereoscope is the complete triumph of postmodernism over modernism. It's a work that allows our remarkably self-absorbed culture remain just so.

You can be a star for 15 seconds while everyone watches you play space invaders. You can decry Stehpen Harper's arts cuts because you were at Nuit Blanche and were overwhelmed by technology and spectacle. It fulfills all the fantasies that art can also be entertaining.

As art, however, it was utterly sterile.

The Archer ruined Nuit Blanche for me, because it reminded me that there's a history of art, and that Stereoscope, and a lot of other modern art, has no place in it. I wonder if it hasn't pretty much ruined Queen Street and so much of the other art we're all supposedly fighting for right now.

Context is everything, and I wonder now if I am ready to kick at the waterfall.

Salome in Low Land

Via Parterre, a rather odd adaptation of Richard Strauss' Salome.

Is this Kitsch? I really don't know. The recording is great, and there's something cute about it, but brilliant? I don't know. What do you think?

German Literature as Vocational Training

To all of you naysayers who have contested the economic value of my getting an MA in German Languages and Literatures, I submit for your consideration this story.

What qualifies her to run this gallery? Isn't it obvious? With one fell press release, Ryerson redeems us all, not with a sacrifice, but with an ascension...

Doina Popescu, Herzlichen Glückwunsch!

Caleb Burhans

There's a great profile in today's NY Times about Caleb Burhans, one of these guys who makes me look like one who is hopelessly backwards and stuck in the past...maybe I just need to get out more.

Mr. Burhans proves that the future of music seems to be eclecticism. Orchestras, you've been warned!

I'm singing now again, but this guy does everything. He makes me want to take up the cello again, and dust off my lute:

Thresholds

Three months ago, I took up running again. When I say "again", I had done it off and on for a few months about eight years ago, but never seriously, and once I stopped, that was it. Until three months ago.

The metaphors around running and self-improvement are tired, especially since the late 90's, when running essentially became all about self-improvement. However, and I simply cannot avoid this aspect, for me, running has had a transformative aspect to my life and how I think about things, and the reason for that is that I am not training to finish, I am training to win.

You see, nearly 20 years ago, I was a long distance runner. I was one of these kids who was encouraged to go out there and run, because I could, because I was good at it. Well, like everything else I was good at, being good was a license to stop trying. Who needs to try when they're good? Who needs to strive when the work that really matters (social validation) has been accomplished before you've even run your first 10k?

So I ran my first one, and I had to walk part of it, because I had not run at all. But I finished it, in under 50 minutes, so I felt that my label of "good", still stuck, especially because the doughy masses who followed me, you know, the ones who had trained for months just to stagger across the finish line in under an hour, they weren't as good as me.

And so it went. I ran four more races in a one year period, and never trained, and perhaps unsurprisingly, never beat my first running time. Not knowing my limitations was probably what got me to run that first one, and so I realised that if I just avoided pushing myself, I could always clock in a respectable time, people would be impressed, and I could be good at something.

So even when I stopped, I held up "good at running" as a label that suited me just fine. And I did that for 15 years. And then, for reasons which will not be divulged here, I came to a point where I needed to find an outlet for a particular kind of existential rage, you know, perhaps the kind that had been the result of 15 years of not pushing.

So I bought a pair of shoes, and the next morning, went and ran five kilometres. And I started to tell people I did this, and they started to say, "wow, that's really good", and I started to feel that this could very easily wind up getting me right back to where I started, right where I no longer wanted to be.

So instead, I set a lofty goal for myself. I would find a 10k to run three months from starting up, and try to beat myself at it. That is, I will try to beat the lazy 17 year old, the one who dropped running because his then girlfriend trained competitively and he realised that in competing with her, he might lose his status as being "good at running".

So that means running 10k in under 45 minutes.

When I started, this seemed ridiculous. The application to the 10k asked me when I expected to finish the run, so I put an hour, realising that I too am one of those doughy folks struggling to finish.

Except I am not. Right now, I am three minutes off my goal, and today, I ran 11 kilometres, which is the longest distance I have ever run. Not only that, but I ran it while pushing my son in his stroller.

Like many people, I have had this vague goal to run a marathon, and I had set it as a goal to accomplish before I hit 35. That doesn't look realistic, but I think I will make 30k in Hamilton days before my birthday, and it will be enough.

I'm kind of glad, because I have realised that the goal for me is no longer to finish these races, or "accomplish" something, which seems to be the great motto of our society, to buy the gear and strive for the minimum, in our lives, in our cultural consuption, in pretty much every aspect of our lives.

I want to compete again, to get in there, get dirty, and outrun everyone else. This is no longer about being good, it's about being better than anyone else. In other words, I'm not running a marathon next March because I don't want to run a bad marathon, even though I don't quite know what that means yet.

The dialectic of my body and the bodies of all these other runners has just begun. But the desire to compete has already started to infect the ways I think about other things, like my music, my work, and even this lowly blog.

To be honest, I don't know what any of this means for this blog, except that it will either get better, or it won't be here at all.

Trolling for the Arts

Perhaps the most depressing feature of our current media landscape is the blogification of newspapers.

If you want to read a paper, with editors and maybe even fact-checking and all that, you have to buy one. If you want it for free, as many of us do, you know have to endure "comments" after pretty much every news story or article.

The Globe and Mail invites its readers to "join the conversation". Nice sentiment, too bad that the reality is more akin to people throwing up on each others shoes.

Like Mark Geelhoed, it's not clear to me what "value" these trolls add to anything, and I'm fairly certain that most journalists, hacks though many of them may be, probably don't appreciate the fact that their work is now essentially tagged by trolls just itching to get their message out, which is usually that they're really, really angry about, oh, I don't know, being alive.

Anyway, what's this got to do with anything? Well, further to my posts yesterday, I noticed that the consensus of the trollosphere towards Harper's comments was the old saw that in tough times, we need to buckle down, and frankly, supporting culture is just at the bottom of the barrel of things we need to support.

Why am I engaging the trolls? Because this line is pretty common wisdom. I asked a number of people yesterday, none of whom live under a bridge or eat bones, and they all said, yeah, times are tough and so we can't go funding the arts.

And besides, if the arts are such a big industry, what do they need government support for? Can't they be self-sufficient like everyone else? Stupid leeches!

Friends, let me present everyone else.

Artists, people in the know, people with a bigger pulpit than mine, why not pit the mirror down and instead of trumpeting how big the culture industry is, go out there and ask why automakers are deserving of a handout for their failed business, despite all that free-market and competition and stuff...you know, the things the trolls and everyone else seem to demand of the arts and pretty much nothing else?

Tough times for automakers? Here's a billion. Tough times for artists? Tant pis?

Anyone who's agreed with the whole line over the years, do you suddenly feel that you've been selling someones talking point all this time? And if so, why not ask yourself, why is it so easy here in Canada to believe that there's billions for industry but nothing for the arts, even though artists, uh, pay taxes and you know, contribute to society as much as the CEO and staff of GM do?

Or are we staring at something deeper? Something no one wants to talk about, which is the idea that most people have shitty jobs and crappy lives and that it's better for the government to support shitty jobs than it is to support people creating and performing, those who, at least in popular perception, deeply enjoy what they are doing?

Are we really so repressed and conformist that we would prefer to starve the artists to save the automaker? Or let me put it another way - which jobs are really worth saving in an ideal world, and which jobs would any of you prefer to have?

The Onion Rules

Further to my previous post. The danger in courting "working-class" voters, also known as people who don't care about the arts, is that they might actually care.

Yes, I know it's satire, but it's also one of the nicest appreciations of David Foster Wallace I've read! So there!

How did we get here?

Warren Kinsella is depressingly correct about our current Prime Minister's jab at "the arts" and how it must be handled. However, my suspicion is that it will likely be handled in exactly the way he cautions against...

But seriously, how did we get here? How did we get to a point where a major politician feels he can say something as radical as "ordinary Canadians don't care about the arts" and then wave his hands about arts galas as evidence for this?

Stephen Harper doesn't speak for ordinary Canadians any more than I do, but how did we get to a point where people, whose lives are in fact permeated by arts and culture, don't actually see it any more?

What we don't need right now is Paul Gross or Russell Smith talking about the arts cuts. Instead, people who oppose Harper and this approach need to find people like my mother, who, after years working various jobs, went back to school in her 60's to get a diploma in the theatre.

You can go and judge my blog and call me an elitist, and out of touch, but I dare you to call my mother one, Harper. She is exactly the kind of person you are very afraid of right now.

So my lone piece of political advice to anyone who's listening this election is, show "ordinary" people in the arts. Harper's comment is a clear indication that this is an issue that scares him, and gently reminding Canadians that "ordinary" people not only care about the arts, but are artists themselves, might be just the thing to knock him right over during this election.