It’s always a good time to talk about Jacques Brel. The years have not diminished my admiration for him. What is so great is that he doesn’t just sing. He acts the songs. He is, above all, a storyteller. And the stories that he tells are so filled with keen observations of the way the world is.
I understand that there are other artists who do this. Bruce Springsteen’s best work is like this, but usually he falls into cliche. Bobbie Gentry certainly managed this on a few songs. But American songwriters tend to disappoint. As much as I love the work of Warren Zevon and Randy Newman, they rarely succeeded in any given song. I think the problem is that American popular music, regardless of the form, is too dependent upon “slice of life” stories, with little payoff. It is extremely rare that a songwriter even tries to convey what we get from the best American short story writers like Irwin Shaw.
But Brel doesn’t just try—he succeeds. And he does it consistently. It doesn’t matter if he’s being serious or silly, he always has something to say. A good example of this comes from a song I really like, “Les Bourgeois”—a song that is both serious and silly. It tells the story of three friends: Jojo, Pierre, and the narrator. The first two verses tell of how they are drinking away their youth at the Three Pheasants Hotel bar. And when the older bourgeois pass by, the young men ridicule them in the chorus, “The bourgeois are like pigs!” And so on.
In the third verse, things are different. The three friends are now the bourgeois. They still have the same interests. They are still the same people. But they are old. And now there is a new generation of young people who ridicule them just as they ridiculed the generation before them. This is not exactly a startling denouement, although I think any reasonable person would admit that it has far more to say that most American pop songs. And that’s especially true coming from a man only 32 years old. (Brel wrote the lyrics; the music was written by Jean Corti.)
What’s more notable about the song is the way that Brel performs it. The entire tone of the third verse is different. It is a bit more stiff—the performance of man who knows he has to be dignified but still feels the same inside. And then, he doesn’t even sing the final chorus. This is the same chorus that was sung with such gusto the first two times, “The bourgeois are like pigs!” It is spoken with sense of disbelief, “Can you believe what these kids say to us?” It’s poignant and beautiful.
Here is the song. There are no subtitles, but I hardly think they are necessary:
Over at the Huffington Post, Arthur Delaney tries to get to the bottom of,
It is worse than stupid that the media continue to treat this guy with even a modicum of respect. I assure you that a young black man who had failed as totally in his career as Paul Ryan has in his would undoubtedly be spending life without parole in a prison somewhere. But Paul Ryan is a rich white guy. So we have to listen to him because rich white guys are always serious and important and filled with wisdom.
Thomas Frank has been recycling some old essays recently, and yesterday, he posted one he wrote after Obama had won the election but before he took office,
But as I’ve shown, centrism isn’t the middle between the two extremes. In fact, if you look at the American people, elite centrism is more or less the popular anti-centrism. The people tend to be economically liberal and socially conservative. So what Democrats and most of the press call the “middle” is anything but. The main thing to remember however, is that whether it is elite centrism or popular centrism, it is still an ideology. Obama’s claims about being post-partisan make him either a charlatan or a fool. Regardless, we are lost as long the “liberal” Democratic Party keeps electing people like him. As Thomas Frank noted, “Centrism is not merely a mental habit of the comfortable, but an ideology of its own, a system of cognition that stands beyond proof or refutation.” Obama and Clinton will go to their graves certain that they had found the Aristotelian perfection: the
There has been a lot of liberal rethinking and despair about what’s going on with the Israel-Palestine conflict. Yesterday, Jonathan Chait wrote,
The great film historian and and director