RIPOSTE
by RIP RENSE |
|
RACE NOTE
(June 4, 2010)
It’s
just beyond beyond-belief.
Now it’s racism.
This is why those
seasoned critics at major U.S. newspapers including the New York
Times and Washington Post were critical of Gustavo Dudamel.
It’s not his rubato
that’s the problem, it’s his latino. He’s not white!
Every day, the cancerous
insanity over race in this country leaves me nearly paralyzed
with incredulity. L.A. Times columnist
James Rainey has
completed the paralysis. I am frozen solid by this statement,
from his
May 19 column, “Are East Coast Critics Showing Their
Anti-Gustavo Bias?”:
“Is it possible — though
no one says it, or perhaps even thinks it consciously — that the
same critiques of Dudamel have become super-charged by his
‘otherness’ — the conductor who is too hot and too Latin for
some traditional tastes?”
Oh, the hypocrisy! The
man charges ethnic/racial profiling, then engages in cheap
ethnic/racial profiling in the same statement: "too hot and too
Latin." Watch out for those lazy blacks, cheap Jews, racist
WASPs, and. . .hot Latins! To quote Bugs Bunny,
something I find myself doing with greater and greater
frequency, "What a maroon."
Well, that elephant in
the room aside, let's take Rainey's charges seriously.
It's racism, he says.
This is why critics knocked Dudamel! Well, actually, he doesn’t use the term. He weaves
together what he imagines to be the slightest possible hint that Dudamel’s ethnicity might be coloring (so to speak) critics’
comments. He doesn’t pussyfoot, he pussyfeets. Why, in the
readers’ comments section following the column, Rainey denies
implying there is any racism involved in the matter at all.
"I did not call anyone
racist,” he declared in response to a comment from the peanut
gallery.
Well, yes, James, and Bill
Clinton did not have sex with that woman, Ms. Lewinsky.
But wait, there’s Monica
more:
“I suggested that
Dudamel's differences from previous-issue conductors may have
subconsciously influenced some, not all, reviewers,” Rainey
ahems on. “Could ethnicity be a part of it? Perhaps. But I
tend to think that the other biases I described are likely the
more compelling factors."
What’s that wind on my
face? Why, it’s the breeze generated by the furious backpedaling
of a chin-stroking Times columnist who has made a dangerously wrong turn.
Ahem, I tend to think, ahem, that the other biases---pardon me
while I stroke my august chin for a moment---I described are,
ahem, likely, ahem, the uh, more compelling factors. . .
Get this guy a pipe,
quick. I mean, “previous-issue conductors?” Huh? Who issued
them? And that has a rather, oh, earthy ring to it, doesn’t it?
Brings to mind busy batons. . .
But let’s, in something
approximating fairness, examine this backpedaling, pedal by
pedal:
“I suggested that
Dudamel's differences from previous-issue conductors may have
subconsciously influenced some, not all, reviewers.”
Ahem, chin stroke,
yesssss, some, but not all. Well, which ones, James? How
many critics did you have in mind? More than two? Less than
seven? Can you name names? You know, if I were a critic, and a
major columnist in a daily newspaper had oh-so-delicately
planted the idea that my opinion might be a matter of racial
bigotry, I would be
rather. . .
Pissed.
He continues: “Could
ethnicity be a part of it? Perhaps.” Whoah! Now, that’s a bit
less electrifying than "critiques of Dudamel have become
super-charged by his ‘otherness." From "supercharged" to it’s
“perhaps ethnicity is a part of it.” Less voltage, wouldn’t you say?
Finally comes the big qualifier, the big “get out of
foot-in-mouth jail”
card:
“But I tend to think that
the other biases I described are likely the more compelling
factors."
Ahem. Ah, yes,
he “tends to think that. . .” He’s not sure. He leans
in that direction. He has a faint suspicion. Chin
stroke, theatrical look of preoccupation, type type type type. .
.I tend to think. . .that, ahem, the other biases I described. .
.
Wait a second. Rainey “didn’t call anyone a racist,” but now
he’s talking about “other biases?” Biases? Boinggg!
Contradiction alert! So he
is talking about a bias that is based on race/ethnicity, but
it’s not. . .racism. Ah. Gotcha, James. A fine distinction. Or
not.
Hang in there, boxing
fans, it gets even more fun. Now we get the second half of the
biases sentence, something so thunderously firm, so
conclusive, so foot-stompingly final, that, well, oh no, guess
it isn’t, really:
“. . .are likely the more
compelling factors.”
Likely the more
compelling ahem factors. . .And there will be a mid-term on
Friday. . .From "supercharged by his 'other-ness'" to "other
biases likely the more compelling factors." Whoosh. I take it back. Rainey does not remind me of Bill
Clinton. This sounds more like the measured, restrained, and
utterly limp language of Barack Obama.
Feel the marketing pasion: from phone apps to T-shirts. |
But this is no surprise,
considering Rainey's original statement, which, of course, was
disguised as a thoughtfully posed, mild question. Here it is yet
again, just for fun:
“Is it possible — though
no one says it, or perhaps even thinks it consciously — that the
same critiques of Dudamel have become super-charged by his
‘otherness’ — the conductor who is too hot and too Latin for
some traditional tastes?”
Is it possible. .
.The old anti-assertion assertion device. Sure, anything’s
possible, except getting Oprah and Glenn Beck to shut up. From
there, though, things get almost metaphysical:
"Though no one says it,
or perhaps even thinks it consciously. . ."
Wow. No one says it,
and no one even thinks it consciously. Yet Rainey insists
that it's there. Well, he must be
very canny, and gifted with enormous psychoanalytical
instincts, if not supernatural powers. Why, these critics are
doing things for reasons that only Rainey understands. I mean,
if no one says it, or even thinks it, isn’t it remarkable that
Rainey can suss it out!
I have already covered
the sly injection of the nuclear term, super-charged, in the middle of all
the soft, buttery “is it possible” atmosphere, so let’s skip to my very
favorite part of Rainey’s pussyfeeting. . .
“Other-ness.”
Yowzah. Now we’re cooking
with academic gas. Otherness. For those who are new to
this term, it’s sort of the opposite of togetherness. I love it.
It has a nice master’s thesis cache, and is much easier on the
ears than “race,” “ethnicity,” or even the sort of passé
“nationality.”
Yet it turns out that the
man targeting “otherness” finds himself guilty of the same
“otherly” love. Yes, here is where the columnist finally Raineys
on his own parade. And when it Raineys, it’s poor:
"The conductor who is too
hot and too Latin for some (some, not all) traditional tastes?"
Gasp. This is so amusing.
Rainey, in trying to paint, say,
Anthony Tommassini of the New
York Times, as motivated in part by a reaction to Dudamel’s
race(!), introduces. . .racist stereotype! The
snake eats
itself! He has out-othered the other.
Let's be blunt: just what
do you mean by these things, James? You
weren’t specific. Are you dealing in a stereotype of the
swarthy, oversexed “latin lover?” Is that what “too hot” means?
Or is that what “too Latin” means? You’re not clear. Can you
elaborate? Hmm?
This is race-baiting, and
that’s all it is. Maybe Rainey doesn’t say it, or perhaps
even think it consciously, but that’s what it amounts to.
When you have no evidence, no grounds, nothing to remotely
suggest that racism figured into the
various critics’ musical
analyses of Dudamel’s conducting---not one sentence---and you
nonetheless make the suggestion that it did, what else to call
it?
It is inflammatory, it is
irresponsible, and it is stupid. It betrays Rainey’s ignorance
of the world he was trying to write about: symphonic music, and
music criticism. He’s in way over his reactionary liberal
chin-stroking head.
Worst of all, at a time
when the country needs no more racial/ethnic rancor, Rainey
added gratuitous ugliness to the mix. Imagine people reading
that column, especially ethnic minorities, and thinking, “Mm-hm.
There it is. The evil white man again!”
Nice going, Rainey Man.
James, here is a little
perspective for you. I know, I know, you don’t care. You didn’t
thank me for last week’s column, and you won’t thank me for this
one. I'm just an "angry blogger." But you know, I’m sort of altruistic, if not quixotic, in
my work. I like to offer help, whether it is wanted or not.
For your information,
“previous-issue conductors," as you so weirdly call them,
and “present-issue conductors,” include: African-Americans,
persons from Czechoslovakia, India, Spain, Mexico, Japan, China,
Finland, Italy, Korea, Peru, New Zealand, and even that remote,
strange place, North Hollywood (Michael Tilson Thomas.) Modern
symphony
orchestras are polyglot, and composers come from every culture.
What's more, I'll bet you
original Beethoven 9th boxed set conducted by Erich Kleiber that the critics in question do not bat an eye at the ethnicity or nationality
of a conductor (or the gender),
or think in terms of "the other."
I mean, they review music
written by composers from Brazil, interpreted by conductors from
Israel, played by symphony orchestras from scores of
nationalities and ethnicities. There is probably nothing more globalist in make-up today than the world of music.
Ever hear that phrase, “Music is the international language?”
I mean, in globalist
reality, who exactly is the “other,” James? You?
And not incidentally,
the columnist seems to have assumed that all the critics he cited are white
U.S. citizens who have perhaps spent their lives behind plows. Who think
that Venezuela, Dudamel's country of origin, is a city with a lot of canals. Talk about
race-based assumption. Critics, I think it's fair to generalize, tend to
be educated, if not worldly. Music critics also tend to be musicians, often speak more than one language, and have
usually spent a good deal of time abroad. I have never known a single socially
conservative music critic, by the way, which brings up another
amazing facet of Rainey’s initial statement: that critics might
have problems with “the conductor who is too hot and too Latin
for some traditional tastes.”
As if all critics are
stodgy conservatives, not only rejecting the “hot Latin” out
of subconscious bias, but adhering to strict traditional
sensibilities, whatever these might be. The statement
presupposes traditionalist mentality on the part of critics,
which---sorry to disappoint, Rainey---is one of the last places, at least these days, that you
find. . .traditionalist mentality. Whatever that is.
Sheesh.
If you take the time to
actually read some music criticism, James, you will see that
modern critics tend to overwhelmingly encourage new music,
new
repertory, new conductors, new interpretations, new productions.
Even if they find fault with them. But don’t take it from me.
Ask your colleague, the decidedly untraditionalist Mark Swed,
whose championing of new borders on notorious.
For the record, I scanned
the L.A. Phil/Dudamel reviews Rainey singled out last week, and
not one---not one---made any reference to “Latin” qualities. So
I looked further, and---hijo de la chingada!---I found one. It
was an overt---not subconscious---reference in a review by
Andrew Patner in the Chicago Sun-Times.
But it was a. .
.compliment:
“But you could certainly
hear that the orchestra left by Dudamel’s predecessor Esa-Pekka
Salonen, has strong individuals and sections, albeit with a
troubling lack of coherence across the otherwise fine winds. And
the positive side of the freedom Dudamel gives his players
includes a physicality and even swaying associated more with
Latin and Italian ensembles."
Hmm. I don’t know that
Dudamel’s belief in physicality as a means of expression is
“Latin,” and frankly, I don’t know if the notion that “swaying”
as a particular characteristic of Italian/Latin playing is just
a stereotypical myth. . .And no less valid than noting how
German orchestras have been traditionally more rigid in posture.
But this is hardly a denigrating thing to say. Unless, of course, you are one of those rabid ethnocentrists who find racists in your corn flakes.
But let us examine the
salient criticism in Patner's Sun-Times review:
"In a new addition for
this tour, Tchaikovsky’s B minor “Pathetique” Sixth Symphony,
Op. 74, Dudamel often went more for effect than either deep or
subtle understanding. As was the case even more so with the
first encore, the Intermezzo from Puccini’s opera Manon
Lescaut, too often the dynamic choices were two: loud
and louder. These emphases made for a third movement march both
well-paced and stirring, but not much else in the rest of the
work.
"Most disconcerting,
though, is Dudamel’s continuing difficulty – or lack of concern?
– with section balances and ensembling. An experienced conductor
should be able not only to prepare and lead his own
interpretation of a piece but to detect and fix problems in
performance quickly and correctly. Dudamel seemed so caught up
in his conception of the work that he appeared not to notice
lack of dynamic and rhythmic synch, ragged patches and peculiar
drops in tension after big effects."
Find anything racist
there? Or even racial? Anything "supercharged?" Anything talking about the "hot
Latin," or the "other" from some mysterious Otherland? Find any
hint of such a thing, James? No. You find articulate musical analysis,
which is very, very similar to criticisms Dudamel has sustained
elsewhere. Musical criticisms. Except for the
complimentary reference to "swaying" in this write-up, all the
reviews in question concerned themselves only with musical
factors. Shocking! The technical criticisms---a strident flute here, out
of balance horns there---are all provable. Criticisms of Dudamel’s interpretations, granted, are more subjective, yet all
the critics remarked on this same deficiency---independently.
Sheesh again.
Dudamel is an
enthusiastic (in spades), earnest, well-intentioned, brilliant
conducting prodigy, but there are legitimate problems with his
interpretations and conducting (and in building rapport with the
L.A. Phil.) Even Swed, famously light-handed in his criticism of
the L.A. Phil, confirms these things in a May 31 Times
column:
"While most of the
musicians in the orchestra adore him, a few complain that
Dudamel belabors points. They miss Esa-Pekka Salonen's focus and
sense of organization. . .In October, Dudamel premiered a
somewhat jumbled if impressionistically impressive vision of
jangly L.A. in "City Noir." Last week in New York, Adams'
flamboyantly complex, syncopated, dense symphony had become a
masterfully spontaneous caper. Dudamel pushed too hard for
polish."
In short, there is
really nothing “other” at all about Dudamel, other than his
being young and still growing, still honing his interpretations,
still getting to know the L.A. Phil. But don’t tell that to
James "hot Latin" Rainey, or the L.A. Phil ad people, who shamelessly
exploited poor Gustavo's nationality with a gigantic
campaign en espanol, touting his “pasion” (it's actually
spelled with two s's, but the ad men wanted it to look Spanish), and wild podium
poses. Gustavo electrico!, they proclaimed, with shots of
the man appearing to be in the throes of animal, sybaritic
ecstasy. If there has been any exploiting of “the other,” it has
been on the part of the Phil to help sell
the "hot latino" to the public. Which I find terribly
racist, and terribly sad.
After all, he’s American,
isn’t he?
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