Musicals Incorrect Quotes

All the good music has already been written by people with wigs and stuff.

When you listen to the beautiful sounds of stereo music, remember that you are listening to the rhythms of trillions of electrons obeying this and other bizarre laws of quantum mechanics. But if quantum mechanics were incorrect, then all of electronics including television sets, computers, radios, stereo, and so on, would cease to function. (In fact, if quantum theory were incorrect, the atoms in our bodies would collapse, and we would instantly disintegrate. According to Maxwell's equations, the electrons spinning in an atom should lose their energy within a microsecond and plunge into the nucleus. This sudden collapse is prevented by quantum theory. Thus the fact that we exist is living proof of the correctness of quantum mechanics.) This also means that there is a finite, calculable probability that "impossible" events will occur. For example, I can calculate the probability that I will unexpectedly disappear and tunnel through the earth and reappear in Hawaii. (The time we would have to wait for such an event to occur, it should be pointed out, is longer than the lifetime of the universe. So we cannot use quantum mechanics to tunnel to vacation spots around the world.)

But the greatest human problems are not social problems, but decisions that the individual has to make alone. The most important feelings of which man is capable emphasise his separateness from other people, not his kinship with them. The feelings of a mountaineer towards a mountain emphasise his kinship with the mountain rather than with the rest of mankind. The same goes for the leap of the heart experienced by a sailor when he smells the sea, or for the astronomer’s feeling about the stars, or for the archaeologist’s love of the past. My feeling of love for my fellowmen makes me aware of my humanness; but my feeling about a mountain gives me an oddly nonhuman sensation. It would be incorrect, perhaps, to call it ‘superhuman’; but it nevertheless gives me a sense of transcending my everyday humanity. Maslow’s importance is that he has placed these experiences of ‘transcendence’ at the centre of his psychology. He sees them as the compass by which man gains a sense of the magnetic north of his existence. They bring a glimpse of ‘the source of power, meaning and purpose’ inside himself. This can be seen with great clarity in the matter of the cure of alcoholics. Alcoholism arises from what I have called ‘generalised hypertension’, a feeling of strain or anxiety about practically everything. It might be described as a ‘passively negative’ attitude towards existence. The negativity prevents proper relaxation; there is a perpetual excess of adrenalin in the bloodstream. Alcohol may produce the necessary relaxation, switch off the anxiety, allow one to feel like a real human being instead of a bundle of over-tense nerves. Recurrence of the hypertension makes the alcoholic remedy a habit, but the disadvantages soon begin to outweigh the advantage: hangovers, headaches, fatigue, guilt, general inefficiency. And, above all, passivity. The alcoholics are given mescalin or LSD, and then peak experiences are induced by means of music or poetry or colours blending on a screen. They are suddenly gripped and shaken by a sense of meaning, of just how incredibly interesting life can be for the undefeated. They also become aware of the vicious circle involved in alcoholism: misery and passivity leading to a general running-down of the vital powers, and to the lower levels of perception that are the outcome of fatigue. ‘The spirit world shuts not its gates, Your heart is dead, your senses sleep,’ says the Earth Spirit to Faust. And the senses sleep when there is not enough energy to run them efficiently. On the other hand, when the level of will and determination is high, the senses wake up. (Maslow was not particularly literary, or he might have been amused to think that Faust is suffering from exactly the same problem as the girl in the chewing gum factory (described earlier), and that he had, incidentally, solved a problem that had troubled European culture for nearly two centuries). Peak experiences are a by-product of this higher energy-drive. The alcoholic drinks because he is seeking peak experiences; (the same, of course, goes for all addicts, whether of drugs or tobacco.) In fact, he is moving away from them, like a lost traveller walking away from the inn in which he hopes to spend the night. The moment he sees with clarity what he needs to do to regain the peak experience, he does an about-face and ceases to be an alcoholic.

When a liberal professor takes enormous intellectual liberties by openly promoting an ideological agenda to his students, the cry of academic freedom rings across the quads. But when a conservative professor is punished for publishing an article in a politically incorrect journal, there is no defense of intellectual diversity. What is billed as academic neutrality turns out to be a smoke screen for the relativistic liberal agenda. Today's relativists could not have gotten away with their double standards in a culture that prized truth. But a gradual, sustained assault on truth has been carried out through the soft underbelly of Western culture: the arts. In film, music, and television, the themes of sensual pleasure and individual choice have drowned out the tried-and-true virtues of faith, family, self-sacrifice, duty, honor, patriotism, and fidelity in marriage. Cultural mechanics have wielded their tools to dull the public's sense of reasonable limits. In an Age of Consent, the silly and the profound are becoming indistinguishable.

But the worst came from the Mongol Tamerlane, a dedicated Muslim who conducted furious jihad campaigns against the Nestorians and devastated their cities and churches. It was full-blown war against the Assyrian Christians: Tamerlane offered them conversion to Islam, dhimmitude, or death. By 1400, the vast Nestorian domains were no more; Christianity had almost completely died out in Persia, Central Asia, and China.7 After this, virtually all Nestorians lived as dhimmis under Muslim rule. And like the Zoroastrians, their community dwindled down to a tiny remnant under the relentless weight of this institutionalized injustice. If the Christians in Europe had been subjected to the same fate, it is distinctly possible that the world might never have known the works of Dante Alighieri, or Michelangelo, or Leonardo da Vinci, or Mozart, or Bach. It is likely that there would never have been an El Greco, or a Giotto, or an Olivier Messaien. A community that must expend all its energy just to survive does not easily pursue art and music. The Crusades may have made the full flowering of European civilization possible.

And this is not Fosse. Yes, he made it: but it turns on one of those stupid frauds that American show biz can’t get enough of, that “You haven’t lived until you’ve played the Palace,” that “You’ll never make the big time because you’re small-time in your heart,” that MGM dream of a culture made entirely of show biz, for which Mickey and Judy filmed manuals for do-it-yourself stardom while, behind a prop tree, little Jackie Cooper was fucking Joan Crawford. It’s naïve—a condition that has nothing to do with Bob Fosse. Yet, came Fosse’s third act, there was “Mr. Bojangles,” again from Dancin’, and another risibly sentimental number. Fosse wasn’t a romantic; Fosse was a satirist. Fosse was enjoyable, of course, and a thrilling showcase for the dancers. But it was an incorrect piece, not dishonest but concentrating on rather a lot of irrelevant material.

Take just one well-known event: The Beatles' 1964 appearance on The Ed Sullivan Show. This has been depicted with astonishing regularity as a pivotal cultural moment; in fact an entire movie -- I Wanna Hold Your Hand -- was built around it. And that Sullivan episode was indeed a major event in popular culture. But did you know that in 1961, 26 million people watched a CBS live broadcast of the first performance of a new symphony by classical composer Aaron Copland? Moreover, with all the attention that sixties rock groups receive, it may come as a surprise to learn that My Fair Lady was Columbia Records' biggest-selling album before the 1970s, beating out those of sixties icons Bob Dylan, Janis Joplin and The Byrds.

It is intrinsically impossible for the pope, as pope, to speak with authority on the details of climate science. Nor is he better suited than you or I to evaluate the so-called “consensus” of actual scientists. He might as well be picking stocks or rewriting the scores of Broadway musicals, for which he has equal divine authority: none. He

Lovers are the best and worst kind of thieves, you know. That’s the trick of love, you see. An entirely new invention, every time. Rare and singular. Without prior context. Fools us into imagining we are the only ones in the history of every last forever to have ever known such a staggering sort of homecoming. The first to have tasted this opened-handed hope, to have surrendered that hope into such serendipitous grace. Love has us believing our own fairytales of never before and never again and now and now and only this right now. That in the entirety of this wide-open world nobody else has or will experience exactly this. Not quite like us. And we are, of course, entirely right and also wholly incorrect, all at once. Language becomes inadequate here, and thus love makes plagiarists of us all—we plunder the cosmos to pirate words and music, and images that come anywhere close to capturing the complexity of this ordinary/extraordinary reality.

There are 90 standards that kindergarteners are expected to learn by the end of the school year. This article goes on to say that early childhood experts are near unanimous in saying that in order to achieve the above, “usually calls for long hours of drill and worksheets – and reduces other vital areas of learning such as math, science, social studies, art, music and creative play.

Theorists see in existent forms something given, whereas in reality something so resistant as a given…which one can grasp complete in itself, never has been or will be given [in music]. Rather, musical form is something coming-into-being [Entstehendes] (to say something come-into-being [Enstandenes] may already be incorrect), at every time newly coming into being, and never except in the finished artwork itself something at hand, that can be transmitted and further utilized.42

Senior citizens naturally lament the passage of a former way of life whenever a county undergoes massive infrastructure changes; all acts of change are disconcerting. It is easy to confuse feelings of nostalgia for an incorrect belief that our youth was the Golden Age of Civilization and now decadence and debauchery mars the county that we cherish. A democratic nation is always a roughhouse of bawdy conduct. Each thronging generation of Americans fought tooth and claw over politics and social engineering and America brims with its congeries of impatient groups. Every generation includes speculators wanting to obtain quick results and instant wealth. Every age group loudly squabbles over issues of local, national, or international import. Each passing generation of American citizens skeptically questions the art and music of the new generation and dubiously interprets change as severing America from its root structure when in truth America’s fundamental tenet is its mutability, the ability to transform its governmental mechanisms, quickly adapt to transformations in science, medicine, industry, and technology.