“… let us first establish a hierarchy of cuckoldry and introduce into this serious debate the beacon of analytic method, which the philosophers regard as the path to truth. ”
“Among cuckolds, it is possible to distinguish nine degrees of cuckoldry, both among men and women, for women are cuckolded far more often than men; indeed if the husband has horns as tall as a stag’s antlers, the wife’s may be said to be as high as the branches of a tree.” —The theory of the four movements
It was at the height of its fame and popularity from the 1890s through the 1920s and is still in business. The Folies Bergère inspired the Ziegfeld Follies in the United States and other similar shows.
“The phrase “popular music revolution” may instantly bring to mind such twentieth-century musical movements as jazz and rock ‘n’ roll. In Sounds of the Metropolis, however, Derek Scott argues that the first popular music revolution actually occurred in the nineteenth century, illustrating how a distinct group of popular styles first began to assert their independence and values. London, New York, Paris, and Vienna feature prominently as cities in which the challenge to the classical tradition was strongest, and in which original and influential forms of popular music arose, from Viennese waltz and polka to vaudeville and cabaret.
Scott explains the popular music revolution as driven by social changes and the incorporation of music into a system of capitalist enterprise, which ultimately resulted in a polarization between musical entertainment (or “commercial” music) and “serious” art. He focuses on the key genres and styles that precipitated musical change at that time, and that continued to have an impact upon popular music in the next century. By the end of the nineteenth century, popular music could no longer be viewed as watered down or more easily assimilated art music; it had its own characteristic techniques, forms, and devices. As Scott shows, “popular” refers here, for the first time, not only to the music’s reception, but also to the presence of these specific features of style. The shift in meaning of “popular” provided critics with tools to condemn music that bore the signs of the popular-which they regarded as fashionable and facile, rather than progressive and serious.
I was three years old when May 68 happened. May 68 was the direct precursor of the hippie movement here in Western Europe. Most of our teachers had been brought up in the “hippie” climate.
Yesterday E-L-I-S-E posted this burning Citroën DS (the photo is new to me and is unsourced at E-L-I-S-E). It brings me to repost one of my favorite quotes on art and politics.This is from one year before May 68.
A smashed telephone, a burnt car, a terrorised cripple are the living denial of the ‘values’ in the name of which life is eliminated. Delinquent violence is a spontaneous overthrow of the abstract and contemplative role imposed on everyone, but the delinquents’ inability to grasp any possibility of really changing things once and for all forces them, like the Dadaists, to remain purely nihilistic.
They can neither understand nor find a coherent form for the direct participation in the reality they have discovered, for the intoxication and sense of purpose they feel, for the revolutionary values they embody. The Stockholm riots, the Hell’s Angels, the riots of Mods and Rockers — all are the assertion of the desire to play in a situation where it is totally impossible.