Horner's Corner

Fast Tube by Casper">basie

Children picking up our bones

Will never know that these were once

As quick as foxes on the hill;

And that in autumn, when the grapes

Made sharp air sharper by their smell

These had a being, breathing frost;

And least will guess that with our bones

We left much more, left what still is

The look of things, left what we felt

At what we saw. The spring clouds blow

Above the shuttered mansion-house,

Beyond our gate and the windy sky

Cries out a literate despair.

We knew for long the mansion’s look

And what we said of it became

A part of what it is . . . Children,

Still weaving budded aureoles,

Will speak our speech and never know,

Will say of the mansion that it seems

As if he that lived there left behind

A spirit storming in blank walls,

A dirty house in a gutted world,

A tatter of shadows peaked to white,

Smeared with the gold of the opulent sun.

Wallace Stevens

This was originally published in the truly excellent Left Business Observer:

Move your money…

Few pieces in the 23-year history of LBO have attracted as much hostile correspondence as “Web of nonsense” in #119. It was a critique of the mode of thought, almost foundational to a brand of populism on both the left and the right, “that sees the problems of capitalism—like the polarization of rich and poor and the system’s vulnerability to periodic crises—as primarily financial in origin.” While this tendency has a long history, and pervades a lot of the pseudo-radical tradition in the U.S., it always achieves special prominence at the time of financial crises.

To reprise for a moment before taking on a fresh eruption of the syndrome: capitalism is a system organized around money. Almost nothing is undertaken in the realm of production for reasons other than the accumulation of money. As the money accumulates, something must be done with it, which is why financial wealth expands over time. But even though that financial wealth often seems to inhabit a world of its own, it is ultimately connected to what Wall Street calls the “real” sector. For example, all the mortgage securities that caused the recent mischief were ultimately connected to one of the most basic needs of all, shelter. There is no way to separate neatly the monetary from the real. The social problem emanating from the securitization of mortgages isn’t only the increasingly baroque development of financial assets but also the commodification of the house and its transformation into a speculative asset. Which is why populist financial reforms can’t take you very far: they address symptoms, not pathogens.

Read More:via …and it’s still money.

Louis Armstrong was one of the greatest figures in 20th century music. His music is unsurpassed, its influence is immense. The smiling entertainer is only part of it: the man’s artistry was -is- awesome (CH)

Terry Teachout’s Pops: Culture-Changing Genius

Terry Teachout’s fine reconsideration of the man called “Pops” solidifies Louis Armstrong’s standing as not just the greatest horn player since the angel Gabriel, but an all-transforming artist at the level of James Joyce or even Shakespeare, and a black American freedom fighter of character and conscience, too.

Louis Armstrong’s power to astonish was never in doubt. Hoagy Carmichael, the songwriter of “Stardust” and “Georgia,” dropped his cigarette and gulped his drink the first time he heard Louis, barely out of his teens, in 1921. “Why,” Hoagy moaned, “isn’t everybody in the world listening to that?” Over the next 50 years the whole world heard Louis, and marveled, but there were always questions, too: Could honky-tonk music from red-light New Orleans get standing, really, with Schubert and Bach? Was Louis in artistic decline after the Twenties? Was he an Uncle Tom in all that Satchelmouth clowning?

All the modern answers as Terry Teachout documents them are over the top now in favor of Louis Armstrong. Listen to the testimonies his fellow horn players Ruby Braff and Wynton Marsalis gave me on Louis’s legendary centennial, July 4, 1900: that if Louis wasn’t actually God, he was at least proof of God. His grandeur, complexity and consistency as man and artist seem now beyond question. Harold Bloom, keeper of the cultural canon and an astute jazz listener, too, pairs Armstrong with Walt Whitman as the greatest American contributor to the world’s art, the genius of this nation at its best. It turns out we could believe our ears after all.

Read ( and listen) to more via Radio Open Source » Blog Archive » Terry Teachout’s Pops: Culture-Changing Genius.