Clarity Can Be An Enemy Of Art

If something can be easily understood, it can be easily dismissed, which may explain why many artists appear to get rather vague when asked to explain the genesis of their creations or what they mean.

"It means whatever it means to you," one often hears.

The Death of Jerry Herman and "Patricia"

In an earlier post, I mentioned that I have been attempting to have a neo-baroque operetta called "Patricia" composed.  This is an ongoing project, but if you would like to listen to demonstration recordings of two arias, you can find them here. Please feel free to comment on what you like or don't like about these songs, which have a feminist theme.

I mention this because Jerry Herman, the composer of "Hello Dolly" and other popular musicals recently died. As his obit in the New York Times noted, at a time when Stephen Sondheim and other contemporary composers were writing "dark, intricate melodies and witty, ambiguous lyrics, he (Herman) wrote song-and-dance music that stuck to the story line with catchy tunes and sunny phrases of hope and happy endings."

One of my gripes about contemporary opera is that it, like some contemporary musicals, doesn't have any memorable songs -- no melodies or lyrics that one can really remember or want to remember.  Indeed, it sometimes seems the singer comes last despite the fact that the main reason people go to the opera (as opposed to going to the theater, watching television or reading a book) is to hear great voices sing beautiful and/or powerful songs.

"There are only a couple of us who care about writing songs that people can leave the theater singing," Herman told the NYT at one point during his career.

Well, that's just what the composer with whom I am working and I are trying to do.

What Happened to Newspapers?

What Happened to Newspapers?

As a former journalist, I get asked from time to time to explain what happened to newspapers and where journalism is headed.  In that context, a friend recently sent me a book by Joe Strupp called “Killing Journalism: How greed, laziness [and Donald Trump] are destroying news and how we can save it.”

Suffice to say that while the book contains interesting insights, the title is misleading. This sort of sensationalism is exactly what Strupp accuses all too many publications of doing: in fact, it is one of his major themes. Why do it? Because it sells, which brings me to one point readers need to keep in mind: the old Pogo adage of “we have met the enemy and he is us.”

Townshend Sees Rock and Roll as a System of Spirituality

The New York Times Dec. 1, 2019 Sunday Magazine has an interview with Pete Townshend, leader of "The Who," in which Townshend is pressed to explain what rock and roll was all about now that it is apparently widely considered to be dead.

After dodging and weaving for a while, Townshend finally comes out with the following:

"What we were hoping to do was to create a system by which we gathered in order to hear music that in some way served the spiritual needs of the audience."

When one reads, endlessly it seems, about Woodstock and why people went, that quote resonates.

But, Townshend continued: "It didn't work out that way. We abandoned our parents' church, and we haven't replaced it with anything solid and substantial."

Despite that, he himself hasn't given up hope.

"I do still believe in it," he said.

What One Might Find on an Author's Website

The New York Times book review section had an interesting "Inside the List" column on the things one might find on an author's website -- beyond the expected stuff, such as biographical information,  a list of titles and various forms of promotional fodder.

The author of the column, Tina Jordan, checked out the websites of half a dozen very well-known authors, such as John Grisham and Ann Patchett, and discovered coffee for sale; letters to readers; music recommendations; news about dogs; movie reviews, and (no surprise) T-shirts for sale.

Which, of course, brings me to my own website -- www.fowlermartin.info -- where you will find, as you might expect, information on my two novellas ("Manhattan Morning" and "Gina/Diane)" plus the latest updates on my ongoing collaborative effort to have music composed for a proposed neo-baroque, one-act operetta called "Patricia," and a retrospective of an exhibition of prints by the British artist Patrick Caulfield.

Jordan mentions that Michael Connelly, an author of popular thrillers, has a photo gallery of real sites mentioned in his books.  So do I.  You can take a pictorial walking tour of the route of my protagonist, Dan, in "Manhattan Morning." Hmmm. Maybe I should offer T-shirts based on the cover of "Gina/Diane."

If you have read either of my books and have any thoughts about them, I would be delighted to post your comments on my website -- good, bad or indifferent.  Just reply to this blog and I will take it from there.

As for a performance of "Patricia," don't hold your breath -- yet.

A Curious Misunderstanding of Virginia Woolf in T Magazine

Perhaps I'm missing something, but the cover story of a recent issue of "T, the New York Times Style Magazine," contains a rather prominent misuse of Virginia Woolf's fiction.

The magazine runs an annual issue on "The Greats" and the lead article this time around is about Nick Cave, an African-American artist known for colorful, eclectic works of art. Megan O'Grady wrote the piece and in it, she describes Cave as having "a Dalloway-like genius for bringing people from different walks of life to the table in experiences of shared good will."

A Very Brief Word About the Theater

Why go to see a play?  Instead of, say, reading a novel?  They're both about stories, right? And some plays are even based on books, often well known.

"It's a night out," some might say.

"Or, I like to see live acting. No matter how many times it has been rehearsed, anything could happen and, arguably, no two performances are ever exactly the same."

Leaving comedy aside, the main reason to go to the theater, I think, is to experience emotional behavior of the sort that can't easily be expressed safely in ordinary life.  Often, such emotions are transgressive in nature -- the sort we often feel, but have to suppress because they are dangerous or antisocial. In this respect, one can argue the theater functions as a sort of safety valve.

I mention this because I just received a brochure in the mail from New York's Roundabout Theater Company, a respected non-profit entity that puts on Broadway plays. "Take A Ride On Our Emotional Roller Coaster," the cover of this flyer, announcing the 2019-2020 season, urges.

If you are interested, check out the company's website.