I’ve just finished The Madness of Crowds: Gender, Race and Identity by Douglas Murray. It opens…
We are going through a great crowd derangement. In public and in private, both online and off, people are behaving in ways that are increasingly irrational, feverish, herd-like and simply unpleasant.”
If you struggle to find a logic to follow in identity politics, if you’re somewhat mystified by the raging debates about gender versus sex, or the rights of actors or writers to present a perspective other than that of their own race-gender-sexuality, then this is the book for you.
As a result, I too found myself googling “European art” and “straight white couple”. I’ve so far resisted the temptation to google Nicki Minaj’s Anaconda video … but, the days are longer in self-isolation.
Bach’s music needs to be unlocked; its emotional content, when discovered, is somehow in and of itself, and uniquely musical. Much of it is deeply confessional. By contrast, Romantic music now seemed to create a broader emotional landscape: that of falling in love, spending a night on a bare mountain, suffering in turmoil or throwing oneself off a parapet. Instead of experiencing those things for ourselves, we are given music that stirs and excites the corresponding emotions within us. Thus the refrains of the Romantics are often more accessible, yielding their power more or less immediately. Those of us who prefer the earlier mode might even say this emotional mode became a mere substitute for experience, and that the unique, private experience of music was diminished.
Derren Brown, Happy (p152)
On a separate note, I love the above portrait, borrowed from DerrenBrown.co.uk. It’s so rich. And, I’m not at all jealous of the laddered library, nor of the impressive amp in the background. No, I’m not.