Tim McMullen's Missives and Tomes
Showing posts with label Emerson. Show all posts
Showing posts with label Emerson. Show all posts

Wednesday, July 11, 2012

Encouraging De Tocqueville's Slippery Slope


In a recent post on my brother’s Facebook page, one of his friends commented on a graphic deriding those who could not differentiate between Joseph Stalin and Barack Obama. He quoted Alexis De Tocqueville, from Democracy in America, as follows:

"A democracy cannot exist as a permanent form of government. It can only exist until the voters discover that they can vote themselves largesse from the public treasury. From that moment on, the majority always votes for the candidates promising the most benefits from the public treasury with the result that a democracy always collapses over loose fiscal policy, always followed by a dictatorship. The average age of the world's greatest civilizations has been 200 years.”

He then added, “Sounds like Obamacare and many more of the entitlement programs to me.”

I am offering this lengthy treatise because I think that we fall too easily into the use of catch phrases, code words, and intellectual short cuts to demonize rather than think about real issues. “Obamacare,” “entitlements,” “nanny state,” “socialism,” “big government,” “liberal,” “conservative,” “tax and spend,” “job killers,” etc., are pejoratives used to obfuscate and denigrate rather than to understand problems and find real solutions.

Benjamin Franklin, in his “Speech to the Convention, 1789,” after a very clever use of irony and self deprecation in his intro, said, “In these sentiments, Sir, I agree to this Constitution with all its faults, if they are such; because I think a general Government necessary for us, and there is no form of Government but what may be a blessing to the people if well administered, and believe farther that this is likely to be well administered for a course of years, and can only end in Despotism, as other forms have done before it, when the people shall become so corrupted as to need despotic Government, being incapable of any other.”

Forty-five to fifty years later, De Tocqueville made a great number of astute observations and suggestions about democracy in America in Democracy in America. In the above quote, De Tocqueville echoed much of Franklin’s sentiment.

I would suggest that, in this case, his prediction and admonition in Chapter XX, comes much closer to what has actually happened in the last forty years. He said, “I am of the opinion, on the whole, that the manufacturing aristocracy which is growing up under our eyes is one of the harshest that ever existed in the world; but at the same time it is one of the most confined and least dangerous [What do you think he would say now?]. Nevertheless, the friends of democracy should keep their eyes anxiously fixed in this direction; for if ever a permanent inequality of conditions and aristocracy again penetrates into the world, it may be predicted that this is the gate by which they will enter.”

Speaking of “slippery slopes,“(another of the commentators suggested this premise), we actually have two occurring, both of which are conflicting impulses found in De Tocqueville. One slippery slope that he championed was equality and social justice. He saw the rise of these trends over hundreds of years of history, and the demise of the aristocracy was one of the most important in the evolution of equality and social justice. He deeply admired America for having created the world’s best effort at accomplishing these principles both consciously, through the creation of its institutions, and unconsciously, through the character and aspirations of the people.

The other slippery slope is the rise of another aristocracy that could exploit what he called the principles of “manufactures” to the point where the workers are essentially disenfranchised, and the “owners” control the government; thus, another route to despotism other than “majority” wanting to feed off the largesse of government.

Only thirty years after De Tocqueville published his tome, we had the rise of the “Robber Barons” and the exploitation of wage slavery until the rise of labor began to curb some of the most egregious excesses. With Theodore Roosevelt, we get the first inklings of “progressive” government as an actual protector of the “people’s” interests and rights and a hedge against the exploitation and domination of bosses and corporations. Jim Crow, of course, was still alive and well, and women were still disenfranchised, but workers began to have a glimmer of hope in achieving the equality and social justice that the author of Democracy in America envisioned.

Until the latter part of the 1960’s, we saw a steady rise in equality and justice which some might argue created a strong middle class and others might suggest resulted from that strong middle class. Either way, pensions, health care, overtime, five day work weeks, concern for the environment, concern for the health and safety of workers and consumers, all became attainable.  These improvements were, of course, fought viciously every step of the way by those who profited from a workforce at the mercy of their masters (as De Tocqueville called them). After the massive defeat of Barry Goldwater’s brand of fiscal conservatism, the corporatocracy put millions of dollars into think tanks and media manipulation. Eventually, they found their front man in the form of affable but feisty Ronald Reagan who gleefully attacked government as “the problem” and espoused deregulation and the free reign of business to exploit and manipulate at will.

A slavish acceptance of Milton Friedman’s fantasy “free market” philosophy, a whole-hearted adoption of Arthur Laffer’s laughable (but devastating) “supply-side” economics, combined with a similar cherry-picking of Ayn Rand’s antithetical distortion of Emerson’s “Self Reliance,” and you get forty years of lax regulation, deregulation, and manipulation of the marketplace that have lead to the destruction of journalism and objective reporting, the savings and loan debacle, the energy fraud (Enron), the dot com bubble collapsing, the housing crisis, the banking crisis, “too big to fail,” ad infinitum.

Thoreau said, in his essay, “On the Duty of Resistance to Civil Government (1848)” (aka “Civil Disobedience”), “The only obligation which I have a right to assume is to do at any time what I think right. It is truly enough said that a corporation has no conscience; but a corporation of conscientious men is a corporation with a conscience.” On the other hand, Milton Friedman declared that profit was the only moral duty of a corporation or a business man, and he lambasted the idea that business had any kind of social responsibility as “socialism,” which was, to him, of course, the most extreme negative attack in his arsenal of derision.

I see the current assaults on women’s rights, workers’ rights, immigrants’ rights, gay rights, health and safety regulations, environmental regulations, et al, as a last gasp of a newly emerged and rapidly expanded oligarchy to turn back the inevitable march of equality and social justice and promote the specious fable of a “meritocracy” that in reality rewards fraud, malfeasance, and injustice. Unfortunately, last gasps can last a long time, and if we, as a society, buy into the grotesque misuse of “Self Reliance” as a justification for “Social Darwinism,” a premise which the corporate oligarchs have been trying to sell us for over thirty years, rather than understanding the actual moral import of both Emerson’s essay or Darwin’s book, it will be a long slog indeed.

"The Greatest Threat to Democracy is Hypocrisy! Seek Truth! Speak Truth!"
Tim McMullen

Wednesday, October 5, 2011

Thanks for Sharing (An Homage to Three Who Passed Today)

Steve Jobs was a unique individual who made world changing contributions to the modern scene. He will be sorely missed.
Steve Wozniak and Steve Jobs with their vision of the future...


Ironically, two other people died today who also made world changing contributions to the modern scene, yet most people will never have heard of them.

As quoted from USA Today—The Rev. Fred Shuttlesworth, the civil rights icon hailed in his native Alabama as a "black Moses," died Wednesday. He was 89. Described in a 1961 CBS documentary as "the man most feared by Southern racists," Shuttlesworth survived bombings, beatings, repeated jailings and other attacks — physical and financial — in his unyielding determination to heal the country's most enduring, divisive and volatile chasm.

Rev. Shuttlesworth was said to have pushed MLK to come to Birmingham where the freedom movement finally caught the eyes of the world. His story is remarkable, and his kind of courage is seldom seen.

The Reverends Martin Luther King, Fred Shuttlesworth, and Ralph Abernathy 
at a press conference in Birmingham.


Finally, on a more personal note, the third unique individual, who shaped the world in a very different way, was the great Scottish guitarist, Bert Jansch, who died today at 67. He is the first guitarist that I heard doing absolutely remarkable things on the guitar. He did not play like anyone else (Yes, he was certainly influenced by Davy Graham, but, to repeat one of my original slogans: he did not imitate; he did innovate). He wasn't the fastest or the most polished. He did not play classical or flamenco like John Williams or Andres Segovia. He did not play flashy gypsy jazz like Django Rinehart, or cool country like Chet Atkins, or flying flat-pick like Doc Watson, yet his complex and eclectic style (which often sounded like two, and sometimes three, guitars playing at the same time) influenced the world of folk, and rock, and country, and jazz like very few people. His innovative approach to the acoustic guitar, along with his musical cohort, John Renbourn, inspired Paul Simon, Donovan, Jimmie Page, Neil Young, Bruce Cockburn, Will Ackerman and Alex DeGrassi (whose acoustic guitar albums helped usher in New Age as a genre), and thousands of other guitar players. Pentangle (the seminal folk-baroque-jazz-rock group with Jansch, Renbourn, Jacqui McShea, Terry Cox, and Danny Thompson) also broke new musical ground and paved the way for many cross-genre explorations.

John Renbourn and Bert Jansch, who offered an innovative vision for guitarists. 
Neil Young said that Bert was to the acoustic guitar what Jimi was to the electric—Neil was not wrong.


Bert was also an uncompromising vocalist and a powerful songwriter. He never surrendered his caustic Scottish brogue nor his willingness to break the rules to create unique musical experiences.

I had the great fortune to see him three times: once with Pentangle in a large venue, and twice at the wonderful, intimate McCabe's. His playing inspired me to create my own original guitar compositions (you can hear some of them on YouTube in my Instrumental Travelogues playlist).

Ralph Waldo Emerson, in his poem "Each and All," said,
     "Nor knowest thou what argument
      Thy life to thy neighbor's creed has lent."

It is true that we rarely understand the impact that we have on the lives of others, but my guess is that Reverend Shuttleworth, Mr. Jobs, and Mr. Jansch had an inkling of the positive impact they had on their society. Would that all our leaders, all our innovators, all our artists could catch a little of the spirit of innovation, creativity, and courage that these three men offered to the world.  

Thursday, July 9, 2009

Inspiration, Cockburn, and Muehleisen—A Blog Comment to Craig Bickhardt's Ninety-Mile Wind

Craig Bickhardt is a great writer. He spent many years in Nashville as a highly successful songwriter, having placed songs with scores of top performers including Ray Charles, Johnny Cash, B. B. King, Alison Krauss, Vince Gill, David Wilcox, Poco, Baillie and the Boys, The Judds, Nicolette Larson, ad infinitum. A few years ago he gave up the Nashville gig, went back to Pennsylvania, and began performing full time. He writes a great blog for songwriters (and anyone else interested in the art of creation or the creation of art). It is called Ninety-Mile Wind (http://ninetymilewind.blogspot.com/) You can use the link on "My Blog List" on the lower right hand corner of this site.

I often feel compelled to comment on his insightful and inspiring pieces. This is a response that I wrote to his blog post entitled, "All the Spells." If you want to see the full context for the following remarks, check out Craig's blog first. Otherwise, check it out later, but by all means, check it out!


Craig—
Emerson and Thoreau linked inspiration, instinct, conscience—all things transcendental. In a sense, that is part of your point. If we make our constructs too rational, too conscious, they tend to become mechanical. On the other hand, it is exceedingly difficult to maintain that spark of inspiration throughout the creation of a completed song.

When working with young writers, I often encounter two warring impulses. On the one hand, it is hard for many beginners to get started. On the first day of class, I write only one short imperative sentence on the board: Stifle the critic! We discuss the possible meanings and implications of that statement for about twenty minutes, then we begin to write.

On the other hand, once they do get going, it is sometimes difficult to get them to revise or hone their work because they have a reverence for their "inspiration." "That's the way it came out of me!" I do understand the impulse; however, not meaning to be crude but needing to be clear, I point out that many things "come out of us," but we don't immortalize them simply because "that's the way it came out."

Holding onto the inspiration or maintaining "the heart" while crafting the exterior shell that effectively conveys it is an unfathomable mystery. The occasional song that simply writes itself, yet is as good as our best work, is an inexplicable miracle. Unfortunately, many a piece that spills out of us is a second or third-rate effort; the spilling itself is no guarantee of authenticity or worth (I mean this in the aesthetic sense, not the monetary one).

Though deeply and inherently cynical and skeptical, I have always been easily moved, and as I grow older, I find that I am more and more susceptible. Watching a movie, listening to a human interest story on the radio, the dénouement of a TV show, and most often, through song, that lump in the throat or the tear in the eye is an alarmingly common and daily occurrence for me. Thirty years ago, I wrote this fragment, “Loosing (or losing) a tear at some other fool’s pain,” that attempts, lightheartedly, to convey that feeling, but I have never taken it upon myself to incorporate it into a song.

When I get a new Nanci Griffith album, for example, I can be fairly sure that by the second song she'll have me in tears, and that it will continue repeatedly throughout the album. The same is true for a handful of writers including Cheryl Wheeler and Jesse Winchester. It's not maudlin; it's not merely melancholy; it's simply that beautiful mix of emotion, melody, poetry, and voice that speaks to the head and the heart simultaneously. Ironically, several of my very favorite songwriters, Danny O'Keefe, Townes Van Zandt, Jackson Browne, Loudon Wainwright, Joni Mitchell, Guy Clark, only occasionally hit that button, but I still connect deeply with their work—not to diminish their melodic creations, but I think, perhaps, I enjoy them more for the sheer force of their amazing wordsmithing.

Funny that you should mention Bruce Cockburn in this regard. I first saw him do a solo acoustic version of a song called, "He Came From the Mountains," on Ian Tyson's show, Nashville North, around 1970 while I was attending Chico State in California. I vowed on the spot that if I could write and perform a song like that I might consider becoming a believer. Some of Jesse Winchester's songs have that same pure, spiritual but non-"religious" quality. Though I wrote several of my very best songs at about the same time, I am afraid that the conversion did not take place.

Look as I might, and I am an avid collector, I could find nothing from Cockburn. Then, in late 1970 on the same day, I found Bruce Cockburn's first album as well as the only solo album by Maury Muehleisen, later to become Jim Croce's musical partner. Maury's songwriting on Gingerbreadd had a profound effect on Croce's own writing. I was blown away by both Cockburn and Muehleisen that day: That combination of musicality and poetry was at the heart of their work.

A few years later, after my own brief foray into full-time performing, I was using Cockburn's album, Sunwheel Dance, with my students: having them listen to his album while I projected the lyrics onto a screen. Since then, the wide-range of his musical forays, whether unmelodic chanting, angry political diatribes, religious affirmations, devout love songs, or whimsical ditties, have always maintained that poetic sensibility.

"If I had a rocket launcher,
Some son-of-a-bitch would die"

may be hard to reconcile with

"In His world we wait
In His hands our fate
Keep on climbing
We shall see His gate
In good time...."

but in the marvelous, creative universe of Bruce Cockburn, they share a very clear aesthetic based on deep and abiding inspiration.

Clearly, Craig, you have been surprisingly successful at finding that mix of heart and head, even in your more "commercial" outings, but I think that your new CD, Brother to the Wind, may have come closest so far to that perfect mix on nearly every tune. Thanks, not only for the thoughtful treatises on the art and the craft of songwriting, but for being such a consistent example of "practicing what you preach."
Tim McMullen
7/9/2009