Desi Arnaz
Babalu
And that is all.
Click Me! Support The Keith Richards Home For Aging Sluts
Thursday, May 7, 2009
Floatin' Powa News Service: Purple Proles of the Apocalypse
Gogol Bordello
Start Wearing Purple
Start wearing purple
wearing purple
Start wearing purple for me now
All your sanity
and wits
they will all vanish
I promise,
it's just a matter of time...
So, this is what the Sovereign LORD says:"See, I lay a stone in Zion,
a tested stone,
a precious cornerstone
for a sure foundation;
the one who trusts
will never be dismayed.
~ Isaiah 28
a tested stone,
a precious cornerstone
for a sure foundation;
the one who trusts
will never be dismayed.
~ Isaiah 28
Ten attorneys general defend Israel
Gee. All they need now is 15 jugglers and 5 believers.
Israeli police bust Palestinian artifact thieves
Israeli authorities have arrested two Palestinians who tried to sell a looted 1,900-year-old papyrus document in Hebrew worth millions of dollars, police said Wednesday.Hamas claims responsibility for attack
Barkat presents first master plan for Jerusalem in 50 years
There is only one master plan for Jerusalem and it's a hell of a lot older than 50 years.
Vatican Presses for Possession of Jerusalem Sites
'Arab world formulating new peace plan'
We call it KILL THE JEWS.
It is remarkably like the old peace plan.
Jordan says new approach to Mideast peace emerging
DIE JUDEN DIE!
Biden says viable Palestinian state 'must be achieved'
Over our dead bodies. Literally.
Secret US-Israel Nuclear Accord in JeopardyHow secret can it be if I am posting it here?
US wants Israel, India in anti-nuclear arms treaty
Israel brushes off call to sign nuclear arms pact
Man stoned to death in Iran for adultery
Iran planning to execute juveniles
Dissident Cleric Allegedly Tortured in Iran
Iraq protests Iran air raid on Kurd villages
Iran 'continues PJAK bombings in Iraq'
Morgenthau: Iran Threat 'Deadly Serious' to US
Foreign analysts cite Iran bomb progress
US still open on Iran, Gates says
Though discouraged by Iran's moves since the Obama administration extended its "open hand," the United States is "not willing to pull the hand back yet," Defense Secretary Robert Gates said Tuesday.When you do pull it back you will be horrified to observe you have only a stump left.
Gates: US will not abandon our Arab allies to Iran
Gates tells top brass: Talk to me before CongressThe Pentagon's top military and civilian leaders have been reminded by Defense Secretary Robert Gates to alert him, before Congress, of any "unfunded requirements" they detect in President Barack Obama's fiscal 2010 budget request.Zardari flies to US amid fears over Pakistan's nukes
POCKEEESTAAAANNNNN!
Thousands of civilians flee Pakistani war zone
Taliban holds human shields in battle with military
Khushhal Khan, the senior government official in Swat, said: "The Taliban are using the people as shield. Taliban aren't allowing the people to through the checkpoints in Kanju and the surrounding areas."Free the Lone Pig of Afghanistan!
Syria backs Philippines on OIC bid
Yemen takes part in preparatory meeting of OIC FM
OIC's "relief convoy" leaves for Gaza
Saudis Turn Down Moscow's Request to Boost Russia's Haj QuotaIran sez: We can meet Europe's growing energy needs
Talk about being stuck between the devil and the deep red Vlad.....
Wary of Russia, EU works on eastern ties
Putin's energy Royal Flush, Ukraine's Dead Man's Hand
Amnesty says rights in Russia remain weak
Obama to host Russian foreign minister Thursday
Obama will hope his invitation will help smooth relations ahead of his meeting with Russian President Dmitry Medvedev in July.Few Russians believe Medvedev controls power
They oughta know.
IMF in Kazakhstan to discuss economic crisisThe International Monetary Fund sent a delegation to Kazakhstan this week to discuss the impact of the economic crisis on Central Asia's biggest economy, officials said on Thursday.Kazakh PM meets with new head of Exxon MobilThe World Bank has suggested Kazakhstan should consider a precautionary stand-by deal with the IMF to ensure additional money is available in an emergency but the oil-rich nation says it has enough state cash to fight the crisis.Some analysts have speculated that the deepening crisis may force Kazakhstan to change its position.
Some heads are gonna roll.
Kazakhstan moves to tighten Internet, media controls
The Kazakh Parliament made a first step on April 29 towards tightening state controls over the Internet and the media, in a move criticized by human rights watchdogs.Assistant General Public Prosecutors of Kazakhstan appointed
If adopted, the law would allow courts to block websites, including foreign ones, and enable prosecutors to suspend media operations. It would also treat blogs and chatrooms as media.
Soviet geologists once boasted that Kazakstan was capable of exporting the entire Periodic Table of Elements
Russia boots Canadian diplomats
Canada will ask the Russian ambassador to explain why two Canadians who worked at the NATO Information Office in Moscow had their diplomatic accreditation revoked, Canada's foreign ministry said Wednesday.Georgian war games launch despite Russia's fierce objections
Croatian officers to join NATO exercises in Georgia
Gazprom's Murky Games in Hungary
Uzbekistan Improving Relations With Israel
Saudi Arabia Sez: Uzbekistan beckons
Egypt: Foreign Minister receives Deputy Prime Minister of Uzbekistan
Uzbekistan receives second Korean Air A-300-600 cargo plane
Uzbekistan and Turkmenistan will remain the focus of Obama's administration in Central Asia
It is important to notice that U.S. supports current policy of the Turkmen President and routinely sends its envoys to Turkmenistan attaching importance to the prospect that Turkmenistan might become a long-term energy supplier to the world markets.
Belarus and Europe inch closer..TURKMENISTAN:
BELARUS ENTERS UNCHARTED MINING TERRITORY
Belarusian mining concern Belgorhimprom is to invest in Turkmenistan’s first facility to mine and enrich potassium salts for fertilizer compounds, the semi-official Turkmenistan.ru news website reported May 4NUCLEAR Coolant:
A substance circulated through a nuclear reactor to remove or transfer heat. The most commonly used coolant in the United States is water. Other coolants include heavy water, air, carbon dioxide, helium, liquid sodium, and a sodium-potassium alloy.Potassium IODIDE is also an anti radioactive compound..
....and a sodium-potassium alloy
Turkmen Media Workers Thirst for Freedom
Tehran protests Turkmen mistreatment of Iranians
Iran summons Turkmen ambassador
UNESCO director general arrives in Turkmenistan
Goldman Sachs's $100 Million Trading Days Hit RecordGoldman Sachs exec, bank VP spend $5.55M in Key Biscayne
World Bank May Lend Russia 'Several Billions' of Dollars
Speaking of the World Bank:
The Bank Information Center, along with several other civil society representatives from across the globe, participated in the Washington, DC round of consultations on the World Bank’s Policy on Disclosure of Information as part of the 2009 Spring Meetings of the World Bank and IMF. The consultation consisted of a brief presentation by the World Bank on their recently released approach paper entitled “Rethinking the World Bank’s Disclosure Policy” followed by a Q & A session with civil society representatives.Ex-Democratic fundraiser pleads guilty in NYC
Hsu?
US Senate debates future of newspapers in a digital age
Nationalize your Pravda, and fill it with the Purple Proles of Oymerika!
MTA bailout deal reached
GM loses another $6 billion
FDIC's Bair calls for 'systemic risk council'
Bernanke: Regulators Must Be More Vigilant, Forceful
Ach Tung Mine Fucko.
Judicial Reform Proposal Is a Political Trojan Horse
Obama Wants Additional $300 Million for FDA
SWINE FLU AKBAR!
GE to invest $6 bln by 2015 in healthcare push
SWINE AFFLUENZA AKBAR!
Obama Seeks a Global Health Plan
Raytheon Awarded up to $138 Million for Information Assurance Information Assurance....
Government Secrets Found on Computer Sold on eBay
Secret details about the U.S. missle defense system were found on a computer hard drive bought on eBay during an investigation into personal data stored on computers being carelessly discarded, the Guardian reported.Homeland Defense and the US Military
Basically it says we have no discernable strategy in place to defend our Homeland.
And we don't. Everything they said was instituted to defend our Homeland is actually being used to destroy it and us from within.
Pentagon plans 20,000 new jobs to manage arms-buys
President Barack Obama's Defence Department plans to create 20,000 new jobs to manage a revamp of the way the United States buys billions of dollars of weapons each year, the Pentagon's No. 2 official told Congress.Alaskan volcano showing increased activityThe Pentagon also plans to tie more contract fee structures to performance and will make sure that multiyear contracts are awarded only when "real, substantial" savings result to taxpayers, Deputy Defence Secretary William Lynn told the House of Representatives Armed Services Committee on Wednesday.
The Pentagon's top suppliers by prime contract value, in order, are Lockheed Martin, Boeing, Northrop Grumman, General Dynamics, BAE Systems and Raytheon.
Right Wing Bob
Santa Barbara fire burns homes, spur evacuations
No Sign of Poet Lost in Japan
I'm tellin ya.. MFer jumped in the crater in a fit of neopagan shitty poet lust.
Obama breaks from Bush on prayer day
While former President Bush held formal events in the White House each year to mark the National Day of Prayer, Obama is opting today for a private observance and will later issue an official proclamation.AN OFFICIAL PROCLAMATION, even. I can't wait.
Alan Keyes to be Arrested at Notre Dame
Meet us at the Red House, Alan!
Somali pirates seize Dutch boat, chase US ship
CT:Wesleyan suspect targeting school, Jews
STFU!
He is only trying to achieve Glow Ball Peace Through Jew Shooting!
Deep Purple
Perfect Strangers
I am returning
the echo of a point in time
Distant faces shine
A thousand warriors I have known
And laughing as the spirits appear
All your life
Shadows of another day
A strand of silver hanging through the sky
Touching more than you see
The voice of ages in your mind
Is aching with the dead of the night
Precious life
Your tears are lost in falling rain
And if you hear me talking on the wind
You got to understand
We must remain
Perfect strangers
WFRL: Are You Ready?
The Prophet Zimmy ~ 1980
Are You Ready?
[Spoken to the audience]Somebody has got to tell you about Jesus, right?
I know sometimes, people say to me... Bob?
How can you believe that stuff?
I was raised in a church
Either methodist, catholic, calvinist
Or whatever
But there is churches
and there is churches
Unless you are in a Spirit filled church
You ain't in no church at all
(That's right)
It says that in the last days
God is going to pour
His Spirit out upon all flesh
And it's happening right now
Are you ready? Are you ready?
Are you ready? Are you ready?
Are you ready to meet Jesus?
Are you where you ought to be?
Will He know you when He sees ya?
Or will He say depart from Me?
Are you ready? Are you ready?Am I ready? Am I ready?
Am I ready? I hope I'm ready
Am I ready to lay down my life for the brethren?
And to take up my cross?
Have I surrendered to the will of God?
Or am I still acting like a boss?
Am I ready?
I hope I'm ready
Have you got some unfinished business?
Something holdin' you back?
Are you thinking for yourself?
Or are you following the pack?
Are you ready? Are you ready?
Are you ready for the judgment?
For that terrible swift sword?
Are you ready for Armageddon?
Are you ready for the day of the Lord?
Are you ready?
I hope you are ready
Wednesday, May 6, 2009
WFRL: I Am The Cool ~
Screamin' Jay Hawkins
I Am The Cool
now...So Nehemiah said,
"Go, enjoy choice food
and sweet drinks,
and send some to those who have nothing.
This day is sacred to our Lord.
Do not grieve,
for the joy of the LORD is your strength.
Then the Levites calmed all the people, saying,
"Be still, for this is a sacred day.
Do not grieve."
~ Nehemiah 8
and then...
The Bee Gees
Run To Me
WFRL: Go Underground, Young Man ~
The Stylistics
People Make The World Go Round
THESE ARE NOT DISPOSABLEBut that's what makes the world go round
The up and down,
the carousel
Changing people's heads around
Go underground, young man
People make the world go round
Tuesday, May 5, 2009
Floatin' Powa News Service vs The Dicks of the Apocalypse
Springtime For Hitler
The Producers ~ 1968
Blair’s experience as peacemaker goes back to 1998 when he and former U.S. Senator George Mitchell helped forge the Good Friday accord that brought an end to sectarian violence in Northern Ireland. Mitchell was tapped in January to be Obama’s Middle East representative.Meantime, please recall that Mr. Blair was the go between for Hamas and Gerry Adams:
Tony Blair intervened directly with Defense Minister Ehud Barak to enable Northern Ireland politician Gerry Adams through the Erez Crossing and into the Gaza Strip on Wednesday, where he met Hamas Prime Minister Ismail Haniyeh, The Jerusalem Post has learned.Gerry Adams on George Mitchell:
When President Obama needed to appoint an envoy to the Middle East, he turned to former senator George Mitchell. Why? Because Mitchell has a long track record of facilitating peace among warring parties. One of his most noted successes was in establishing peace accords in Northern Ireland. So who better to tell us what those sitting across the table from Sen. Mitchell can expect than Gerry Adams, the leader of Sinn Fein? He joins us to give his perspective on facing Mitchell and what Mitchell faces in the current conflict in the Middle East.Hamas to The Obamanable: We are part of the solution
Which solution, MFer? The final one?
Hamas, whose two-decade-old founding charter calls for Israel's destruction, has given mixed signals on many issues in the conflict, including whether it would be willing to accept a Palestinian state within only the territory Israel seized in the 1967 war — Gaza, the West Bank and east Jerusalem.The in-depth interview with Mashaal, which the Times said was conducted in five hours spread over two days at his home in the Syrian capital, offered a clearer signal of the group's direction, setting it down in print in a rare interview with a U.S. news organization. "I promise the American administration and the international community that we will be part of the solution, period," the paper quoted Mashaal as saying.Iran, Syria back Palestinian militancy[HASAN CHOP]
"There is only one enemy in the region, and that is Israel," Mashaal said.
He also said he would not revoke the charter calling for Israel's destruction but said that outsiders should ignore it, noting that it is 20 years old and adding that Hamas is "shaped by our experiences." Speaking about President Barack Obama, Mashaal said, "His language is different and positive."
NO!
Patch of Israel's Desert Is Oldest Place on Earth
This natural "desert pavement" in Israel's Negev Desert has been dated to about 1.8 million years oldSalamo Arouch, Jewish boxer, dies at 86
The Greek-born fighter survived Auschwitz by participating in win-or-die bouts staged by the Nazis. Decades after the Holocaust, Arouch served as a consultant on a film about his captivity
A pro-government Iranian news website has posted a series of stories about the life of Iranian President Mahmud Ahmadinejad under the title, "The Child Of The Nation.”
OIC Secretary General receives Australian FMWhile on an official visit to the Kingdom of Saudi Arabia, during which he held talks last Sunday with the Custodian of the Two Holy Mosques King Abdullah in Riyadh, Australian Foreign Minister Stephen Smith visited the headquarters of the Organization of the Islamic Conference (OIC) in Jeddah, and met with the OIC Secretary General , Professor Ekmeleddin Ihsanoglu, on Monday 4th May 20009.Gulf Arabs pick Riyadh as joint centralbank headquarters
During their official bilateral talks, the Australian Foreign Minister highlighted the increasing role of the OIC on the international arena. He commended the role played by the Secretary General in promoting dialogue and cooperation with the international community. The Australian Foreign Minister expressed the desire of his country to further strengthen cooperation and relations with the OIC in areas of common interest.
Gulf Arab leaders on Tuesday chose the Saudi capital, Riyadh, as the base for a joint monetary council that will evolve into the Gulf central bank, although they were still undecided on when to launch a single currency.
Well clop MFing exigent clop clop to that one!
Judge Orders Unmasking of Chrysler Lenders
Who were those masked men?
GM details plans to wipe out current shareholders
Bernanke Denies Asking Kenneth Lewis to Stay Quiet
Congress will take a major step on Wednesday toward creating an independent panel with sweeping powers to investigate the root causes of the economic crisis.
I got yer root causes, right here. See: SWEEPING POWERS.
Judge Orders Unmasking of Chrysler LendersWho were those masked men?
GM details plans to wipe out current shareholders
Bernanke Denies Asking Kenneth Lewis to Stay Quiet
“I absolutely did not in any way ask Mr. Lewis to obscure any disclosures or to fail to report information that he should be reporting,” Bernanke said today in testimony to the congressional Joint Economic Committee.Lewis in February told investigators for New York Attorney General Andrew Cuomo that he was pressured in December by Bernanke and former Treasury Secretary Henry Paulson to complete the Merrill acquisition amid mounting losses at the brokerage firm. Bank of America acquired the brokerage on Jan. 1.
Congress will take a major step on Wednesday toward creating an independent panel with sweeping powers to investigate the root causes of the economic crisis.Obama unveils $63 bln, six-year global health plan
Plan Six from Soviet Space
Three Times the Pathogens Means Three times the Dollars!
The Obama administration is considering an unprecedented fall vaccination campaign that could entail giving Americans three flu shotsThe Obama administration is considering all sorts of unprecedented crap.
More Americans taking drugs for mental illness
They said 73 percent more adults and 50 percent more children are using drugs to treat mental illness than in 1996.But I'm the crazy one, right? Okeedokee then!
White House Declines to Release Photos of New York City Flyover
Welcome to Soviet Oymerika, Spudniktariats.
No Questions!
Obama boosts product safety panel, names new chief
This product is not safe for you, gleeking plebe! No Questions!
Yeah, maybe UCANN but ICANNOT!
The EU Information Society Commissioner Viviane Reding has called for the US to hand over control of the Internet Corporation for Assigned Names and Numbers (ICANN) to an independent body.
US needs 'digital warfare force'Tick Tock, mah ferals:
Re-posting this run from THIS POST from 4/27 for contextGen Keith Alexander's new department, to be based in Fort Meade in Maryland, will be part of the US Strategic Command - currently responsible for securing the US military's networks - and will work alongside the US Department of Homeland Security.
It is thought the new department would open in October and be at full strength in 2010.
The National Security Agency will not take charge of cyber security in the US, notwithstanding calls for it to do so in what is increasingly seen as a critical area."We do not want to run cyber security for the US government," Keith Alexander, NSA director, said -yesterday during a speech to security industry professionals. "I think we need to dispel the rumours."GE to sell homeland security business to France's SAFRANHis remarks come just four days after Barack Obama received a recommendation from administration appointee Melissa Hathaway on what should be done to protect classified government networks, the internet and the institutions and infrastructure that rely on both.
Bow to your new French Overlords, Proles!Read it again: This move aligns Homeland Protection with a business that is committed to globalization and further investment in new detection technologies and new products for the Homeland Security space."This move aligns Homeland Protection with a business that is committed to globalization and further investment in new detection technologies and new products for the Homeland Security space," said GE Security Homeland Protection President and CEO Dennis Cooke.
According to a statement from GE, even once the group is owned by SAFRAN/Sagem Securite, the division will still have research and development benefits by still having access to the GE Global Research Center and GE Healthcare.
The Homeland Protection business unit of GE has developed a variety of solution that might be used in airport security, including sensor technology for spotting traces of explosives and dangerous chemicals or biological agents.
Raytheon partners with NarusRaytheon Company has partnered with Narus in which Raytheon will embed NarusInsight(TM) to monitor internet protocol (IP) traffic and provide knowledge to help manage and protect sensitive government networks.OK... WhoTF is NARUS?Narus is a US private company which produces mass surveillance systems. It was founded in 1997 by Ori Cohen, who had been in charge of technology development for VDONet, an early media streaming pioneer.Tick Tock mah ferals. One day you will simply never hear from me again. And everyone who sounds like me, too. Gird up.
It is notable for being the creator of NarusInsight, a supercomputer system which is used by the NSA and other bodies to perform mass surveillance and monitoring of citizens' and corporations' Internet communications in real-time, and whose installation in AT&T's San Francisco Internet backbone gave rise to a 2006 class action lawsuit by the Electronic Frontier Foundation against AT&T.In 2004, Narus engaged the former Deputy Director of the National Security Agency, William Crowell as a director. From the Press Release announcing this:
- "Crowell is an independent security consultant and holds several board positions with a variety of technology and technology-based security companies. Since 9/11, Crowell has served on the Defense Advanced Research Projects Agency (DARPA) Task Force on Terrorism and Deterrence, the National Research Council Committee on Science and Technology for Countering Terrorism and the Markle Foundation Task Force on National Security in the Information Age."
Narus has venture funding from companies including JP Morgan Partners, Mayfield, NeoCarta, Presidio Venture Partners, Walden International, Intel, NTT Software and Sumisho Electronics. Narus has several business partners who provide various technologies similar to the features of NarusInsight. Several of the partners are funded by In-Q-Tel.
Geman Elite Troop Abandons Plan to Free Pirate HostagesHow elite can they be if they had to abandon it?
In a massive secret operation, Berlin sent members of its elite GSG-9 police force to Somalia to free hostages and a German freighter captured by pirates there, but the commandos were called off before the rescue effort could begin. The scuppered operation reveals deficits in Germany's security forces.Baku's Graffiti
Sexual Revolution, or Death to Israel?Armenian Editor Severely Beaten In Attack In Yerevan
The founding editor of the Armenia Today online news agency was severely beaten near his house in Yerevan RFE/RL's Armenian Service reports.Belarusian KGB Detains Polish Radio Correspondent
Journalist Ivan Roman, who lives in the Belarusian city of Hrodna, was taken by the agents from his home on April 29.Russian Journalist In Coma After Beating
The editor in chief of the weekly newspaper "Corruption and Crime" is in a coma after he was severely beaten in the southwestern Russian city of Rostov-na-Donu on April 29, RFE/RL's Russian Service reports.
This year's science fest 'most successful yet' Well Yippie Kai Aye, MFers!
The festival drew to a close last week after a programme featuring the world's most humanoid robot and Richard Dawkins – author of The God Delusion – speaking on Charles Darwin.He's a regular atheist Elvis, that Dick.
Antwerp: Renowned biologist Richard Dawkins receives honorary doctorate
Give your hearts to GOD cause your asses belong to Homo Stultus & the Apocalyptic Dicks.World-renowned evolutionary biologist Richard Dawkins received an honorary doctorate from the University of Antwerp. VRT, the Dutch-language state-owned television station, interviewed him for the occasion. This interview can now be seen online.This honorary doctorate is more important than most people in the English speaking world realize. Christianity is a state religion in Belgium and the separation between Church and State is not quite as strict as in the United States. As in Britain, Christianity is funded by the taxpayer, who has no say in the matter.
Big blast from Redoubt volcano likely soon, scientists say
Behold! Scientists Have Spoken!
Gay marriage proposals pending in NH, Maine
Pastor Manning
He Got a Word ....
In His Mouth!
And he will never bow a knee to Ba'al.
The Word of GOD!
Perfect for white people
AND black people!
And Ickspanik People!
And ALLL people!
Meet us at the Red House, Pastor Manning!
RIP Dom DeLuise~
Dom in History of the World Part I
Dom in Fatso
Dom & Dean
Dom in Blazing Saddles
Dom DeLuise is THE HEALER!
Sadly no clips from "The End" were available
WFRL: Night & The Mares It Rides In On...
Artie Shaw
Nightmare ~ 1938
As long as it is day,we must do the work of him who sent me.
Night is coming,
when no one can work.
~ Jewsus as recorded in John 9:4
WFRL: Tell Me What You See....
The Beatles Cartoon ~ 1966
Featuring The Man of a Thousand Faces!
Tell Me What You See
We live by faith, not by sight.~ 2 Corinthians 5:7
Monday, May 4, 2009
Lucius Septimius: A Classical Gas ~ Radicalism & the Arts
Mason Williams
Classical Gas
I wanted the straight up "3,000 years of art" video
(I LOVE that thing...)
which was made in 1968 &
Classical Gas was written to accompany it
it aired on the Smothers Brothers show
However it is no longer available on the net
But you can ALMOST see it in this clip,
they are showing it on the screen behind Mason:
Political Radicalism and the Artsin Nineteenth-Century Europe
By: Lucius Septimius
The phrase "radicalism and the arts" tends to conjure certain images. Earnest workers, chins aloft, arm raised in joyous solidarity on a ground of socialist red; beatnik Ric Ocasek smashing the painting of a light bulb he has just completed over his head in the film "Hairspray"; an exhibit at Oberlin college that provokes Roger Kimbell to write a deliciously wicked review for the New Criterion. Radicalism can, however, come in many forms and colors. The art in the present exhibit was, in its own day, radical.
What I should like to do is consider the connection between some of the major artistic movements of the nineteenth century, in particular the English Arts and Crafts movement and its continental cousins Art Nouveau and the Jugenstil, and varieties of political radicalism. These connections are not incidental, but are reflections of a common radical discourse that emerged over the course the nineteenth century.
The nineteenth century began on a fundamentally optimistic tone. The old world of the feudal Middle Ages had been swept away in the currents of Revolution. In place of the Ancien Regime, a new era of economic and political liberalism held out the promise of a better life for all citizens. By the end of the century, however, there was growing skepticism about the new social order. Many would have agreed with the sentiment expressed by Emile Zola in 1895, “Modern society is racked without end by a nervous irritability. We are sick and tired of progress, Industry, and science.”[1] The promise of modernity, even at this point when the modern project remained rather novel, had not seemed to pay off as fully as earlier generations had expected. Emile Durkheim diagnosed the state of man at the end of the nineteenth century when he wrote, “To pursue a goal which is by definition unattainable is to condemn oneself to a state of perpetual unhappiness … hope has its pleasures … but it cannot survive the repeated disappointments of experience indefinitely.”[2]
For Durkheim, the answer to man’s dilemma lay not in an uncertain future, but a certain past, the sure knowledge of what was attainable within the confines of society and culture. Within the realm of art, this meant abandoning the coldness of Enlightenment rationalism and Lassaiz Faire economics in favor of a new aesthetic that captured the essential character of the human spirit, substituting for regimentation and mathematical precision the “restless dynamism of organic form.” In his History of German Civilization (Geschichte der Deutschen Kultur), originally published in 1904, Georg Steinhausen bemoaned the chilling effects of Enlightenment rationalism. With the coming of the Napoleonic wars, a reaction emerged in Germany, a rejection of the Enlightenment in favor of a more authentic conception of culture and society. Steinhausen notes that “this counter current did not simply involve the formula ‘feelings against reason’ … rather, it was much more concerned with a different definition of freedom.” The “spiritual liberation” of man, brought about through the application of antique, rationalist models in the course of the Renaissance and Enlightenment had indeed filled the heads of the peoples of Europe with the “ancient sentiment of political liberty,” but ultimately this conception of freedom was flawed, being based entirely on “rationalistic foundations.” It was merely “abstractions and constructions, for the most part inconsistent with life and human nature.” The “mechanical intonation of ‘individualism’ of the egalitarian sort sharply contradicted the Germanic ideas of freedom and personal identity.”[3] Against the external and artificial culture of the French Enlightenment, Steinhausen pointed to two foundations for a more authentic German culture. The first was the peasant, the custodian of authentic moral sentiments and cultural traditions. In the cultivation of folk songs and folk tales, Steinhausen saw the foundation of a “genuine renaissance.” The second foundation was the Germanic Middle Ages, a potent moral and aesthetic challenge to the soullessness of modernity.[4]
A decade later, the Austrian art historian Max Dvořák sounded the same chord. In his 1915 essay “Idealismus und Naturalismus in der gotische Skulptur und Malerei,” Dvořák described the period between 500 and 1100 as “the highpoint of otherworldly idealism.” The period between 1100 and 1500 saw a struggle between “the empirical spirit of naturalism” and the universalizing idealism of the High Middle Ages. Ultimately, naturalism won out, but was itself gradually destroyed by the natural sciences, which robbed nature of any sense of awe or wonder. As a consequence, the artists of the nineteenth century had to either forge new standards or submit to the enslaving rules of the academies and bourgeois taste. Ultimately, though, the idealism of the Middle Ages was revived in the artistic movements of the later century, culminating in Impressionism and Expressionism. The reengagement with the medieval past provided for Dvořák the foundation for a rebirth of spiritual and cultural values.[5]
Medievalism did indeed provide the foundation for some of the major artistic movements of the mid-nineteenth century. One important figure in the German-speaking lands was Moritz von Schwind (1804-1871). Von Schwind was born in Vienna and had been a close friend and associate of Franz Schubert. Later he moved to Munich and began a career as a painter and illustrator. He provided the illustrations for editions of Grimm’s fairy tales, as well as for a German reworking of the medieval French legend of Melusine. One of his most significant projects was the series of frescos he painted at the restored Wartburg castle in the 1840s and 1850s. The Wartburg was a place of special importance in German culture. In the 1230s, it was the site of the famous “Singer’s War” (Sängerkrieg) that pitted six of the greatest German medieval poets, including Walther von der Vogelweide and Wolfram von Eschenbach, against one another in a competition. This event was commemorated in Richard Wagner’s Tannhäuser. In 1521, Martin Luther had taken refuge at the Wartburg after the Diet of Worms. It was there that he completed his German translation of the New Testament, considered by literary critics to mark the beginning of modern German literature. In 1817, on the tercentennial of the Reformation, the Wartburg was the site of a gathering of the German student union, the Burschenschaft, founded in Jena during the Napoleonic wars.
In 1844 von Schwind painted a monumental fresco commemorating the Sängerkrieg auf dem Wartburg in the newly reconstructed great hall of the castle.
The portrayal of the scene, which had occurred in the very same room where the fresco appeared, is theatrical, if not operatic. The theatricality of the painting is heightened by its placement:
It stands directly opposite of the arcade in front of which the singers had staged their contest; in that sense it is a mirror image of the hall, reflecting not only the space but the ghosts of its past. It is also part of the hall – although a fresco, it is painted as if it were a tapestry. Note the tapestry and curtains painted on the wall, matching those appearing in the picture of the Sängerkrieg.
Von Schwind’s fresco in the singer’s hall represents a high point of the Romantic revival of the Middle Ages. His next series of paintings reveal, however, a somewhat different spirit. In 1854 he was asked to return to the Wartburg to paint a series of frescos commemorating the life of the Thuringian princess Saint Elizabeth.
The difference is striking. The grand opera style is gone; so too is the attempt to render in precise detail the buildings. Here we see St. Elizabeth on a path below the castle; the style is more in tune with the frescos of the thirteenth and fourteenth centuries (Giotto comes to mind). Note the delicate tracery – there is no attempt at a naturalist representation of the tree; rather, it dissolves into pure decoration in the manner of medieval manuscript painting.
In the artist’s depiction of one of St. Elizabeth’s miracles, we see a composition reminiscent of a medieval altar piece. Here again, the tracery above the scene is more genuinely “medieval.” The aim, in contrast to the Sängerkrieg fresco, is not narrative; each scene is a tableau, a set piece reflecting on the particular virtues of the saint.
The style of the St. Elizabeth series looks forward to the novel approach found in the art of the Englishman William Morris, the founder(with John Ruskin) of the Arts and Crafts movement.
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This is Morris’ only surviving easel painting, “Queen Guinevere,” painted four years after von Schwind’s Elizabeth-cycle. Morris was perhaps best known for his graphic designs, in particular his block prints.
In these works, Morris sought to revive the older combination between craft and art. His prints were based on late medieval and Renaissance models but were not slavish copies. Here is a genuine early sixteenth century print, done by the Basel artist Ambrosius Holbein, older brother of Hans Holbein the Younger, court painter to Henry VIII. Note the use of multiple blocks within the same page. 
Morris used a similar technique in this print of Chaucer’s “Troilus and Criseyde.” But note that while the basic structure of the print is similar to the original, the form of ornament is more uniform, less architectural and more floral. The acanthus leaf motif is, in fact, very similar to the textiles designed by Morris and his school. The love of nature can be seen as well in this manuscript edition of the Rubaiyat of Omar Khayam produced by Morris. 
William Morris was not merely a gifted artist and graphic designer. He was also an anarchist, and his artistic theories were rooted in his social and political ideals. Morris saw art as an agent of social change. But it was more than that – it was the quintessence of labor itself. Like other nineteenth-century radicals, Morris condemned the capitalist system, in particular, the modern division of labor. He saw the separation of the artist from society as something unnatural, a manifestation of the divisions between the classes. His goal was for an art “made by and for the people.” The revolutionary sweeping away of capitalism and the annihilation of the market would bring about the reunion of artist and artisan. Work was only “work” under the oppressive and exploitative regime of the market; in the anarchist future, art would “flow from all men” as an expression of their enjoyment of their labor. [6]
Morris’s ideas are strikingly similar to those of Mikael Bakunin, the father of modern anarchism. Like Morris, Bakunin was appalled by the “growing artificiality of modern life.” To address this, man must be freed from the constraints of modern industrial society. Bakunin’s conception of freedom, however, was not that of the liberal theorists. For him, the liberal bourgeois conception of freedom was simply egoism. Rather, since men are social animals, they only become “complete” human beings within the context of society: man is made for society, and society makes man in his own image. Man becomes free, according to Bakunin, when he lives in a community and with his fellow man works. In a free society, work is the means to liberation and the means to becoming fully human.
Bakunin and Morris’s notion of work owes a great deal to Hegel. Their ideas also rest on a visceral rejection of industrial society and an idealized conception of the past. Both Bakunin and Morris conceive of society in terms of a pre-industrial agrarian commune, the peasant villages of medieval England or Russia. For them, life in the Middle Ages was unhurried, freer and more “human.” In the same vein as Ruskin, they championed a return to nature as the antidote to the stifling and oppressive artificiality of modern social and economic modes. Bakunin saw modern man as starving without knowing it. The “free” society of anarchism will “necessarily create strong, open, outstanding men” and lead to a reassertion of traditional – even “conservative” social values which are good “because they are natural.” All that must be done is to remove the impediments to nature. The existing social and political order must be swept away, destroyed, obliterated. Then, and only then, can the new society based on a principle of anarchic communism emerge.[7]
The teachings of Morris and Bakunin found a ready audience among the French Syndicalists. Syndicalism was a radical form of trade unionism whose weapon was the general strike. Drawing on the theories of Proudhon and Fourier,[8] the Syndicalists envisioned a new society that would emerge in the aftermath of the revolution, characterized by a form of anarchism where the various industries, rather than being run by the state, would be administered by worker’s syndicates within the context of a federal society. Translations of Morris’s revolutionary tracts first appeared in the anarchist journal Les Temps Nouveaux in 1892. The French syndicalist Fernand Pelloutier (1867-1901) drew heavily on Morris in his a series of articles on labor conditions in France published in 1894.[9] Henry Van de Velde, the Belgian painter, architect, and interior designer was essentially quoting Morris when he defined art as “the expression of pleasure in work.” The present division of high and low art was merely a reflection of social hierarchies, perpetuated by the market. When the latter was destroyed, art and labor would be reunited.[10] The French Symbolist writer Félix Fénéon likewise revealed his debt to Morris when he wrote “A day will come ... when art will be part of the life of ordinary men ... when it does, that artist won’t look down at the worker from above his celluloid collar: the two of them will be a single one. But to achieve this, the Revolution must get up steam and we must build a completely anarchistic civilization.”[11]
As it turned out, it did not require a revolution for the artistic ideas of Morris to find a home on the Continent. In France, Germany, and Austria, a de-radicalized version of his vision of the union between art and craft was realized within the context of a capitalist present. In the French case, Morris’s notion of craft was taken up by the brothers Goncourt. Tired of the pedantry of the Second Empire, the Goncourts offered up a revival of a more “authentic” historical style. At the same time, they repudiated Morris’s medievalism, arguing “that each country must return to the best of its own traditions.” In the French case, they saw the rococo style of the age of Louis XV as the appropriate model for a distinctly national style. They stressed the “organic rhythms” and feminine qualities of rococo art against the “deformation of the industrial and commercial present.”[12]
The new art and the ennoblement of artisan labor was championed by French politicians as a remedy to the stagnation of French industry in the late 1880s and 1890s. The Social Republican Prime Minister, Louis Bourgeois, made use of Morris’s rhetoric about the artisan while cleansing it of its left-wing radicalism. His goal was to acknowledge the anarcho-syndicalist and socialist critique of modern society while preserving the liberal conception of individualism.[13] In a similar way, Emile Durkheim seemed to echo the communitarian views of the anarchists. In Suicide, Durkheim wrote that “the individual is not a sufficient end for his activity. He is too little ... the state of egoism ... is supposed to be contradictory to human nature.”[14] Moreover:
The roles of art, morality, religion, political faith, science itself are not to repair organic exhaustion nor to provide sound functioning of the organs. All this supra-physical life is built and expanded ... because of the demands of the social environment. The influence of society is what has aroused in us the sentiments of sympathy and solidarity drawing us toward others; it is society which, fashioning us in its image, fills us with religion, political and moral beliefs that control our actions.[15]
Durkheim’s statement seems, at least on the surface, to conform fully to Bakunin’s notion of man and society. But Durkheim did not require a revolution; he saw the state and existing forms of civil society as adequate to remedy liberal egoistic individualism and restore the proper relationship between man and society.
So even while Morris’s radical devotees proudly announced that they sought “no concessions from the public, no courting of the establishment,” in reality the artistic form associated with Ruskin and Morris – the return to nature and to the style of an authentic past – was the art of the establishment.[16] Such was also the case in Austria. Late nineteenth-century Austria wrestled with some of the same problems as France: incomplete transition to industrialism, economic backwardness compared with England, Germany, and the United States, and military and political humiliation at the hands of Prussian Germany. The original optimism of the post -1848 regime was, by the 1880s, spent by the failure of both Neo-Absolutism and Liberalism. Morris’s ideas here too resonated with the discomfiture of the artistic community, albeit in a rather different way. Ruskin and Morris in England, and to a degree the Goncourt brothers in France, aimed to revive a moribund arts and crafts industry; in Austria “the issue was not revival but survival: the preservation of an artisan society still alive but mortally threatened.”[17]
One of the principal spokesmen for the new aesthetic in Austria was Camillo Sitte. In 1889 he published a scathing critique of the plan for the Ringstrasse in Vienna.[18] From his perspective, “artistic” and “modern” were antithetical terms, insofar as the latter presumed a sort of mathematical precision not found in nature. Sitte railed against “modern” rationalist conceptions of art and urban planning. “To conceive of everything systematically,” he wrote “and never to deviate a hair’s breadth from the formula once it’s established, until all genius is tortured to death, all joyful sense of life suffocated, that is the mark of our time.” Against the tyranny of the t-square, Sitte offered up the medieval conception of the city, with its irregular streets and forms, arising “not on the drawing board but ‘in natura.’” His aim, like that of his anarchist contemporaries, was to revive the older notion of community: the plan of the city would reduce the alienation of modern life and bring about a stronger integration of community, in part through the restoration of the unity of work and private life. Sitte was tireless in his efforts to revive craft production and to infuse even industrial labor with the spirit of craft production. His mechanism was not revolution, however, but the state. With the support of the state, through the patronage of schools and workshops, the artisan mode of production could be preserved and brought into the modern, industrial age.[19]
For Sitte as for Durkheim, the primary characteristic of modernity was the fragmentation of human life. What was required was some kind of integrating myth, some set of values that could bind the scattered isolated individuals back into a cohesive and healthy society. Here Sitte found a model in Richard Wagner, in particular in Wagner’s ideal of the Gesamtkunstwerk, the piece of total art that would unite all the arts and crafts into a single entity. Like Wagner, Sitte viewed the mass of humanity as passive and essentially conservative, even philistine. Nevertheless they were capable of recognizing and responding to genius. It was the role of the artist to redeem the masses from their enslavement to the destructive forces of modernity, the scientists and merchants. Total art – the Gesamtkunstwerk of Wagner – was the means; it was socialized art in which all aspects of society were assembled into a single, coherent program whose ends were social and redemptive. As Sitte wrote, the city must be thought of as “a significant spiritual work of are ... a piece of great, genuine folk art.” It should be “a popular volkstümlich synthesis of all visual arts in the service of a national Gesamtkunstkwerk.”[20]
Sitte’s vision, in other words, was nothing short of revolutionary, but note that he expected the state to be the force that would coordinate the production of this vast work of art hat was the new society. For French and Austrian theorists, then, the state was not the obstacle but the necessary vehicle for advancing to the utopian future. In Germany, this association between the state and the radical transformation of society was, if anything, even more pronounced. As I stated at the beginning, German art critics fully embraced the rejection of soulless modernity and the revival of the simpler, more authentic virtues of an earlier age. Max Weber described the modern capitalist economic order as “a monstrous cosmos” governed by an economic form of natural selection. The capitalist is “absolutely unscrupulous” in the pursuit of his private interest against the needs of society.[21] How different were things in the pre-industrial era! The life of the worker in those days “was a fairly easy going one by today’s standards.” Working hours were shorter than today. And even though “income was modest” it was “sufficient for a decent standard of living.” Rather than the heated, jungle atmosphere of modern competition, “relations between competitors were amicable and their was a large measure of agreement on the principles of business.” Over all, life was good for the working man of the pre-industrial era: “Prolonged daily visits to the club, as well as perhaps a glass of wine in the evening with a circle of friends, made for an unhurried lifestyle.”[22]
It’s hard to avoid the sense that Weber’s vision of pre-Industrial society is as naively romantic as that of Morris or Bakunin. But he is quick to stress that he is describing an essentially Capitalist system. In other words, like Durkheim, Louis Bourgeois, and Camillo Sitte, he stresses that it is possible to have a liberal capitalist society without the corrosive callousness and egoism of the capitalist “spirit.”[23]
What seemed to be required was a mythology, a set of values transcending the egoistic individual and reintegrating him into society. German artists and theorists found such a mythology in the history of the Middle Ages.
In Imperial Germany, particularly under Kaiser Wilhelm II, there was a revival of German medieval art. The reasons were essentially political: the dominant public art forms in Germany prior to 1870 had been influence primarily by French and Austrian models. The former, as we have seen, ultimately found in rococo the “authentic” form of national art. In the latter case, it was the era of Rubens, the height of the Habsburg hegemony that provided the artistic style against which the current age might be judged. For Germans it was essential to find a domestic style, but one that would support the imperial ambitions of the new dynasty. The Hohenzollerns thus made a concerted effort to identify themselves with the Hohenstaufen dynasty of the twelfth and thirteenth century. The reasons were manifold. First of all, it had been the Hohenstaufens who, in the twelfth century, had elevated the Hohenzollerns to the princely estate. Secondly, the Hohenstaufen emperors, in particular Frederick Barbarossa, had been leaders of the crusading movement as well as patrons of the arts. Finally, the Hohenstaufen had long fought with the Popes – in that respect the lionization of the Hohenstaufen went hand in hand with the Bismarckian Kulturkampf directed against Catholics and the claims of Protestant Prussia to dominance in a German-speaking world where Catholics predominated.
The artistic form associated with the Hohenzollerns in the late nineteenth and early twentieth century was derived from German Gothic. But the artists engaged in the revival were also devotees of William Morris’s notion of craft. The unity of art and craft in the proclamation of the dynasty’s pretensions are most clearly visible in the mosaics installed somewhat paradoxically in Lutheran churches built by Wilhelm II in Germany and abroad.[24] Few of these survive, but one can get a sense of the style from Emil Doepler’s charter for the Church of the Redeemer, built for Lutheran pilgrims in Jerusalem. This manuscript document clearly evokes the style of medieval charters. But a closer look reveals, as with William Morris’s manuscripts, a different aesthetic at work. The depictions of the church are clearly in the new style, the Jugendstil, as is the initial “W”, itself worked into a monogram of the Kaiser. The typeface is not the traditional minuscule or Fraktur but an entirely new style of print.
An illustrator, Doepler (1855-1922) immersed himself in Germanic mythology, seeking a more authentic German voice. 
This shows a border illustration Doepler prepared, depicting the three fates of Germanic legend. The influence of the new style is again clear. Even more striking are a set of illustrations he did for an edition of the Norse sagas.
Here we see him embracing primitivism – the style of illustration recalls medieval Icelandic manuscript illumination rather than the high Gothic style of the charter. Here we see the move away from the Christian German to the pre-Christian Germanic, towards what has been termed “heathen Imperialism” in the effort to create a heroic, authentic art “by and for the people.”[25]
Perhaps the most striking example of the conjuncture between art, artisan craft, “Volkisch” sensibility, and imperial ideology is this portrait of Frederick Barbarossa, produced in 1916. [slide 16] The artists were two instructors at the technical school in Göppingen, an industrial town in the valley below the original Hohenstaufen castle. The portrait, in the form of a medieval funerary plaque, is executed in gold, silver, and iron nails, all of which were made in the Realschule. The work cost 2,500 marks to produce – a sizable amount, especially considering that this was made in the midst of the first World War. It is, in many respects, a Gesamtkunstwerk in small – it was a group effort involving students and instructors, financed by the community at large, embracing art and craft in a form that melded medievalism, folk art, and Jugendstil aesthetics into a single statement of political identity. But in the latter case, the message is somewhat disturbing. Barbarossa is not portrayed as a medieval king in the traditional sense. Rather, the setting is entirely pagan: the ravens surrounding his head recall the messengers of Wotan. The emperor, in other words, is depicted as a pagan Germanic hero – a new Siegfried – if not a pagan deity, a god of storm and war, the spiritual embodiment of the nation.[26]
In closing I wish to offer a few observations. The first one is fairly obvious: at a basic level, both the new arts and the new politics were as reactionary as they were utopian. As Gerald Brenan pointed out in his masterful examination of the origins of the Spanish Civil War, “Anarchism … has its atavistic side: in a certain measure it is an expression of nostalgia for the past and an attitude of resistance to the slavery which the modern capitalist structure of society and the strain of factory life bring with them.”[27] Much the same can be said for the artistic styles that looked back to the Middle Ages – nostalgia for a simpler time defined the aesthetic. But the vision of the past was hardly accurate. And while the radicals extolled the value of work, there seemed to be little of that in their utopia; while they extolled the virtues of the Golden Age of the peasant, “one might suspect that behind it stands the Pastoral Age, where men stood and watched their flocks by day and meditated like Hebrew prophets upon Vice and Virtue, upon Fate and God, whilst the toil and degradation of the agricultural life was left to others.”[28]
This leads to the darker side of the new art and politics. It stressed vitalism, elevating action over contemplation. That in and of itself was not so bad, but the kind of action advocated consistently stressed destruction. Silverman writes that the theorists of Art nouveau wished “to disrupt the hierarchy of the media and to reunite art and craft.” Note, though, that to accomplish the first, the second was required. For Morris, like Bakunin, the reunion of art and craft required the destruction of the market and of the entire edifice of the modern liberal bourgeois state. Destruction took on a mystical, quasi-religious significance; the new age would literally drop into their laps from heaven in the aftermath of the Revolution. The vision was, thus, fundamentally nihilist, reflecting the exhaustion with modernity described by Zola. As Charles Nordmann wrote in July, 1913, “There exist in the life of societies as well as individuals hours of moral discomfort when despair and fatigue spread their leaden wings over human beings. Men then begin to dream of nothingness. The end of everything ceases to be ‘undesirable’ and its contemplation is in fact soothing.”[29]
Thus an activism of destruction was coupled to a reactionary utopian vision. The primary carriers of the new ideas were the artisans, the petty bourgeoisie whose livelihood was threatened by the advance of industry. In some places, such as Austria and Germany, this group was large enough to provide the foundation for political mass movements. The Christian Social movement in Austria represented the interests of the working classes against the factory owners and financiers of Vienna. Their aims were socialist, but the ideas that motivated them were deeply rooted in the past. In that regard, the Christian Social movement, like anarcho-syndicalism in France and Spain marked the transformation of the ideology of the Old Right – the displaced aristocrats, craftsmen, and peasants – into the ideology of the New Left.
Part of that ideology was nationalism, but anti-Semitism also figured strongly in the rhetoric of the new radicals. The brother Goncourt stressed that their art reflected the “essential” and “superior” qualities of their race. French radical and moderates both railed against the “Israelite tradesmen” and their dominance of finance and industry.[30] The Christian Social movement in Austria found anti-Semitism a useful tool for drawing artisans and tradesmen into their ranks even though the movement’s founder, Karl Lueger, had at one time been a political associate of none other than Theodore Herzl. In other words, not far below the surface of the rhetoric about noble “work” and “art” and the criticisms of bourgeois capitalist excess lay the ugly face of anti-Semitism, a sentiment that embraced right and left at the end of the nineteenth century.
The combination of utopian reaction, vitalist nihilism, and anti-Semitism is thus at least incipient in the “New Art” of the nineteenth century. This is an unsettling thought, but perhaps not an inappropriate one on which to conclude a lecture given sixty four years to the day after a would-be Austrian artist put a bullet through his head in a Berlin bunker.
[1] Debora Silverman, Art Nouveau in Fin-de-siecle France (Berkeley: University of California Press, 1989), 7.
[2] Emile Durkheim, Suicide (New York: The Free Press, 1951), 248.
[3] Georg Steinhausen, Geschichte der Deutschen Kultur (Leipzig, 1933), 625.
[4] Steinhausen, 600, 625.
[5] Max Dvořák, Idealism and Naturalism in Gothic Art (South Bend: University of Notre Dame Press, 1967); see also Dvořák, “Über El Greco und die Manierismus,” in Kunstgeschichte als Geistesgeschichte (Vienna, 1923), 259-276; William Johnston, The Austrian Mind (Berkeley: University of California Press, 1972) 153-155.
[6]William Morris, News from Nowhere (New York: International Publishers, 1968); Silverman, pp. 138-139, 173, 211.
[8]Pierre-Joseph Proudhon (1809-1865) was a radical French socialist and anarchist, best known for two of his epigrams, “Anarchy is Order” and “Property is Theft.” Charles Fourier (1772-1837) was one of the original Utopian Socialists and originator of the term “Feminism.”
[9]Fernand Pelloutier, “Les Conditions du travail et de la vie ouvrière en France,” Société nouvelle 12 (1894): 433-58, 566-80; 690-706; Silverman, 138.
[11]Eugenia Herbert, The Artist and Social Reform: France and Belgium 1885-1898 (New Haven: Yale University Press, 1961), 113; Silverman, 213-214.
[14]Emile Durkheim Suicide, trans. John Spaulding and George Simpson (New York: The Free Press, 1951), 210.
[21]Max Weber, The Protestant Ethic and the Spirit of Capitalism and Other Writings, trans. Peter Behr and Gordon Wells (Harmondsworth: Penguin, 2002), 13, 15.
[24]Michael Bringmann, “Gedanke zur Wideraufnahme staufische Bauformen im späten 19. Jahrhundert,” in Zeit der Staufer (Stuttgart: Württembergische Landesmuseum, 1979), V, 603-604.
[25]Klaus Schreiner, “Freiderich Barbarossa – Herr der Welt, Zeuge der Wahrheit, die Verkörperung nationale Macht und Herrlichkeit,” in Zeit der Staufer, V, 521-579; cf. Bringmann, 592.
[27] Brenan, 188.
[28] Brenan, 196.
[29] Quoted in Modris Eksteins, The Rites of Spring (New York: Mariner Books, 1989), 54.
[30] Silverman, 56
Set to Classical Gas by Mason Williams
and done in the style of the "3,000 years of art" video
8mm film shot in 1970 of downtown Dayton Ohio as part of a film project during my (the film maker's -bz) Junior year at Chaminade High School. Filmed by Joseph Slonaker, Gus Miklos and Steve Murphy. I remember we showed it in the auditorium set to the music of "Classical Gas". We wanted it to be "quick cuts" just like the famous film shown on the Smothers Brothers show of art work set to the same music. Of course we had no editing equipment, so we had to shoot it that way in the camera. It took weeks of walking around in our spare time to get this 8 1/2 minutes of film. Looks pretty cheesy now, but at the time everyone thought it was pretty far out and groovy, man!
~ pakojoe
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