History

David Simpson, from 9/11: The Culture of Commemoration

September 11, 2012
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David Simpson, from 9/11: The Culture of Commemoration

The dissemination of a war against terror has depended on a locution full of historical and contemporary ironies, for terror began its lexical life as the policy of the state, and wars are traditionally waged by states, so the war against terror can be (and has been) deciphered as the war of the state against itself. But international events are not the only sources of interruption of or distraction from the working out of memorial vocabularies for the dead of 9/11. There is also the ongoing negotiation between commerce and commemoration at the WTC site, a process that pits the declared obligations of memory and due respect against those of a future civic life, both economic and cultural. It is easy to cast the moguls of Manhattan as insensitive and materialistic, but the memorial process has also been aggressively suborned by the politicians, whose avowed respect for the dead is not beyond suspicions of present and future self-interest. Debates about the use of the site have not been unmarked by the assumption that the dead should bury the dead and thus by an embarrassingly hasty inclination to get on with life. Many residents have made . . .

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Disneyland Dream and utopian home movies

July 19, 2012
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Disneyland Dream and utopian home movies

“Put another way, tradition and community are not mere inheritances passively received form the past and certainly not merely fetters on human freedom. Tradition, to early nineteenth-century workers, included both their craft skills and the rights they claimed for this “human capital” against the incursions of inhuman capital. Tradition is in part the process by which successful claims to rights are reproduced in each generation. Some of these rights may be encoded in formal law; all are underpinned by transmissions of culture and understanding. Not only does the reproduction of tradition require action (and therefore always involves the production of new culture at the same time). It may also require struggle, when the claims posed within tradition—to justice, for example, or fairness or food when hungry—are attacked by other ideas—say of efficiency or one-sided revisions of property rights. Likewise, community is both an achievement and a capacity. It constitutes a field of action within which people can pursue the objects of their lives. It may be more or less egalitarian but usually empowers some more than others. It constrains more than enables. But is also incorporates investments made—sometimes over generations—in building it. It is not only a . . .

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Madame Defarge’s belated Bastille Day quiz

July 16, 2012
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Madame Defarge’s belated Bastille Day quiz

Traditionally, Bastille Day celebrates in perpetua an inaugural anniversary (1790′s Fête de la Fédération), itself commemorating an infamous fortress-prison’s storming (July 14, 1789) that tipped-off the eighteenth century’s uprising among uprisings. Vive la démocratie!

How does one celebrate Bastille Day? Once, when very young and in Battery Park, by listening to Stereolab play a set after Yoko Ono. Now, many years later and much more curmudgeon-like, with Defargian undertones acknowledged (“. . . opportunity had developed her into a tigress. She was absolutely without pity. If she had ever had the virtue in her, it had quite gone out of her.”), I’m not so sure. Hopefully this Saturday past found you tipping a glass of Burgundy to the Declaration of the Rights of Man and of the Citizen, or at least re-reading Peter Weiss’s Marat/Sade—if not, thankfully, we have Julia V. Douthwaite to school us, quiz-bowl style, on what we were missing out on.

In The Frankenstein of 1790 and Other Lost Chapters from Revolutionary France, Douthwaite posits the French Revolution as a key moment in the history of printed matter, a period that—fueled by the passions of political change and its accompanying fervor for new . . .

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Bob Dylan | Bob Dylan

May 24, 2012
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Bob Dylan | Bob Dylan

Robert Allen Zimmerman (b. May 24, 1941)

GEMINI

GEMINI

GEMINI

GEMINI

GEMINI

“Oh, the streets of Rome are filled with rubble,/Ancient footprints are everywhere./You can almost think that you’re seein’ double/On a cold, dark night on the Spanish Stairs.”—”When I Paint My Masterpiece” (1971)

On August 30, 1964, a Sunday, Manhattan lay swathed in the heat of a summer afternoon. In their air-conditioned luxury suite high above the intersection of Park Avenue and 59th Street, the Beatles could hear the faint screams of fans who had gathered reverently on the sidewalks around the Delmonico Hotel, hoping to catch a glimpse of Paul, George, John, or Ringo peering from behind a curtain. Those screams had rung in the Beatles’ ears for seven months as the cresting wave of Beatlemania rose higher and higher with no end yet in sight. In April the top five places in Billboard Magazine’s Top One Hundred chart were Beatles songs. On August 12, the film A Hard Day’s Nighthad opened in more than 500 theaters nationwide, earning more than $1.3 million its first week and making Beatlemania a performance for millions of . . .

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The Wonderful World of Chemistry

May 23, 2012
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The Wonderful World of Chemistry

“With Antron and Nylon and Lycra and Orlon and Dacron, the world’s a better place. You know we all have a smile on that started with Nylon and stretches across each happy face.” King of the jingle (and prince of the cabaret), Michael Brown wrote and directed DuPont’s “industrial musical” The Wonderful World of Chemistry, which would air an unprecedented 14,600 times, or 40 times per day, during the two-year run of the 1964–65 World’s Fair in New York City. (It should be pointed out that a bit of research on Timothy D. Taylor’s forthcoming The Sounds of Capitalism: Advertising, Music, and the Conquest of Culture led us here. The book hones in on the indiscriminate blurring between advertising copy and popular music, unearthing an as-yet unclaimed piece of our cultural history—the musical aesthetics of consumerism, and its buzz-buzz-buzzing.) Brown was a children’s book author, lyricist, and producer, who penned tales about Santa Mouse and put the words, literally, in Carol Channing’s mouth during a run of Sugar Babies. The Wonderful World of Chemistry was his masterpiece, among songs scribed for notable Broadway musicals (like “Lizzie Borden” in Leonard Sillman’s New Faces of 1952) and other “industrial” pieces. Even his . . .

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Welcome to the Great Society

May 22, 2012
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Welcome to the Great Society

Forty-eight years ago today, then-president Lyndon Johnson formally introduced his platform for the “Great Society” at the University of Michigan, Ann Arbor’s commencement on May 22, 1964. Coined by speechwriter Richard N. Goodwin (who also wrote for Robert F. Kennedy—he’s still living, and is the spouse of historian Doris Kearns Goodwin), the Great Society sponsored a series of social initiatives that helped Johnson win election later that fall in a landslide victory, and many of them—decades later—remain with us today, including Medicaid, Medicare, and the Older Americans Act.

Several agencies and institutions were first endowed by Great Society–funded legislation, including the National Endowment for the Arts, the National Endowment for the Humanities, and the Hirshhorn Museum and Sculpture Garden. Among the landmark legislation passed in Johnson’s term was the Economic Opportunity Act of 1964, Civil Right Act of 1964, the Voting Rights Act of 1965, and the Civil Rights Act of 1968; the Social Security Act (1965), the Food Stamp Act (1964), and the Immigration and National Services Act (1965); and, the Elementary and Higher Education Act (1965), the Higher Education Act (1965), and the Bilingual Education Act (1968). The Cigarette Labeling Act. The . . .

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Police Power and Twenty-First Century America

May 21, 2012
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Police Power and Twenty-First Century America

I.

In Cop Knowledge: Police Power and Twentieth-Century America, Christopher P. Wilson writes about narratives of police power in mass culture—from crime fiction and film to the denizens of contemporary political discourse who make use of the squad room, the beat, and the badge. His conclusion? That the stories we tell about police power are intimately linked to the course and outcome of modern liberalism, including a current resurgence of neoconservatism.

II.

In January 2003, Slavoj Žižek penned the article “Gerhard Schroeder’s Minority Report and Its Consequences,” which explored themes from Steven Spielberg’s adaptation (2002) of the Philip K. Dick short story—in which criminals are arrested before they can commit their crimes, thanks to the efforts of a specialized police department, working under the government’s protective wing. For Žižek (and also for Spielberg, who went on the record), the police state evoked by the film was clearly transposed to U.S. international relations post-9/11, where the Bush doctrine suggested with a heavy hand that American military might should remain “beyond challenge” in the foreseeable future. Žižek goes on in the piece to point out the election of Gerhard Schroeder—the German Social . . .

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Chicago 1968 >>>>>>>> Chicago 2012

May 15, 2012
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Chicago 1968 >>>>>>>> Chicago 2012

INTRODUCTION

We choose our aphorisms wisely. George Santayana cautioned us against our doom in repeating the past and we pushed it to the point of cliché. Let’s incant with Karl Kraus, instead.

“The ugliness of our time has retroactive force.”

BODIES

This coming weekend brings the 2012 North Atlantic Treaty Organization’s (NATO) twenty-fifth anniversary summit to Chicago, exactly almost a half-century after we hosted the 1968 Democratic National Convention. We’ve traded Daleys for Rahm; our police force is run by a former football player instead of a former army provost-marshall; and the odds of inadvertently thwacking Dan Rather in the stomach have been significantly reduced by his retirement from network television—

According to NATO’s website, the organization has a threefold focus for their meeting:

the Alliance’s commitment to Afghanistan through transition and beyond; ensuring the Alliance has the capabilities it needs to defend its population and territory and to deal with the challenges of the 21st century; and strengthening NATO’s network of partners across the globe.

According to the Nation, Occupy Chicago’s social network and media feeds, and Timeout Chicago, those protestors native to Chicago and in town for anti-NATO demonstrations have prepared . . .

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Hemingway & Gellhorn: The Bride Stripped Bare by Her Bachelors

May 10, 2012
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Hemingway & Gellhorn: The Bride Stripped Bare by Her Bachelors

 

So much Hemingway, so little time. So little Hemingway, so much time? Something about little—not literal size; something about Hemingway—Hemingway and. . . . Hemingway and. . . . Hemingway and . . . Gellhorn?

James Gandolfini—indomitable analysand and crime boss Tony Soprano in The Sopranos, Patricia Arquette-beating goon Virgil in True Romance, and producer of more than one documentary on war veterans for HBO—signed on in June 2010 to serve as executive producer of a then-untitled biopic centered around Ernest Hemingway’s sojourn during the Spanish Civil War with Collier’s Weekly correspondent Martha Gellhorn. Fast forward to 2012: the film Hemingway & Gellhorn, starring Clive Owen and Nicole Kidman, and directed by Philip Kaufman (The Right Stuff, Henry & June), will premiere on HBO on May 28th. Another tough-guy with a (tortured) pen of gold tale? Not quite.

Martha Gellhorn married Hemingway in December 1940, after the pair lived together off-and-on for four years, which the movie charts from an  initial holiday encounter in 1936 Key West. Beginning with those early contributions to Collier’s, Gellhorn followed reportage during Franco’s protracted war with the Spanish government with a trip to Germany that chronicled Hitler’s rise, before she . . .

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Adrian Johns, derived from the Latin pirata

April 20, 2012
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Adrian Johns, derived from the Latin pirata

Adrian Johns is having a pretty good series of weeks. Earlier this month, the intellectual property specialist was named a 2012 Guggenheim Fellow. The chair of the Committee on Conceptual and Historical Studies of Science and the Allan Grant Maclear Professor in History at the University of Chicago, Johns plans to use his Guggenheim funding to study the intellectual property defense industry.

Johns is no stranger to prizes. His earlier work The Nature of the Book: Print and Knowledge in the Making won the Leo Gershoy Award of the American Historical Association, the John Ben Snow Prize of the North American Conference on British Studies, the Louis Gottschalk Prize of the American Society for Eighteenth-Century Studies, and the SHARP Prize for the best work on the history of authorship, reading and publishing. Piracy: The Intellectual Property Wars from Gutenberg to Gates, his most recent volume, won the American Society for Information Science and Technology’s Book of the Year Award and was a CHOICE Outstanding Academic Title.

Just yesterday, Johns was feted in a ceremony bestowing yet another honor on his work with Piracy, the Gordon J. Laing Prize for best faculty author, editor or translator of a book published in . . .

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