17 de maio de 2008

Erik von Kuehnelt-Leddihn - citações

Seguem algumas citações de Erik von Kuehnelt-Leddihn, autor, entre outras importantes obras, de Leftism, From de Sade and Marx to Hitler and Marcuse. Era considerado um verdadeiro "livro ambulante de conhecimentos", falava 8 idiomas e conseguia ler em 17 outros.
Economista, cientista político, historiador e teólogo, Kuehnelt-Leddihn foi um intelectual católico de primeira grandeza, tendo muito influenciado o movimento conservador norte-americano.
Dele nunca ouviremos falar em nossas universidades, dominadas como estão pelo marxismo cultural e pela completa e acabada mediocridade
"Right is right and Left is wrong."

"Man is rather stupid than wicked." Liberty or Equality, pg 189

"The three fundamentally leftist revolutions, those that spawned France's democracy, Russian's international socialism, and Germany's national socialism, formed and fashioned the history of the last two hundred years and established the 'Centuries of the G' — guillotines, gaols, gallows, gas chambers, and gulags." Leftism Revisited, pg xvii
"We share with the beasts a craving for sameness and a gregariousness which makes us desire the company of people of our own age, sex, race, creed, political conviction, class and taste. But it is exclusively human to have a thirst for diversity, i.e., to be happy in the company of those who are different from us in every respect, as well as to travel, to enjoy other foods, hear other tunes, see other plants, beasts, and landscapes. The delight in the variations of creation distinguishes man from beast as much as religion or reason." The Principles of The Portland Declaration
"America is built on a voluntaristic basis. To be an American is frequently not an accident but a matter of choice and free decision. It means conscious assimilation and amalgamation. The word Americanism is not without real significance." Liberty or Equality, pg 99
"It is the low drive for sameness and the hatred of otherness that characterizes all forms of leftism, which inevitably are totalitarian because, defying the divine diversity of the universe, these ideologies want to convert us by force to sameness -- sameness being the brother of equality. The leftist vision enjoins uniformity: the nation with one leader, one party, one race, one language, one class, one type of school, one law, one custom, one level of income, and so forth. Since nature provides diversity, this deadening sameness can be achieved only by brute force, by leveling, enforced assimilation, exile, genocide. All forms of totalitarianism, all leftist ideologies, reaching their culmination in the French, Russian, and German Revolutions, have gone that way -- with the aid of guillotine, gallows, gas chambers, and Gulag." The Principles of The Portland Declaration

16 de maio de 2008

Lula Cortês & Zé Ramalho - Peabiru

Sem dúvida, o melhor disco de rock progressivo do Brasil

12 de maio de 2008

¿Cómo es que son tres? - Leo J. Trése

Estoy seguro que ninguno de nosotros se molestaría en explicar un problema de física nuclear a un niño de cinco años. Y, sin embargo, la distancia que hay entre la inteligencia de un niño de cinco años y los últimos avances de la ciencia es nada comparada con la que existe entre la más brillante mente humana y la verdadera naturaleza de Dios. Hay un límite a lo que la mente humana -aun en condiciones óptimas- puede captar y entender. Dado que Dios es un Ser infinito, ningún intelecto creado, por dotado que esté, puede alcanzar sus profundidades. Por eso, Dios, al revelarnos la verdad sobre Sí mismo, tiene que contentarse con enunciarnos sencillamente cuál es esa verdad; el «cómo» de ella está tan lejos de nuestras facultades en esta vida, que ni Dios mismo trata de explicárnoslo. Una de estas verdades es que, habiendo un solo Dios, existen en El tres Personas divinas -Padre, Hijo y Espíritu Santo-. Hay una sola naturaleza divina, pero tres Personas divinas. En lo humano, «naturaleza» y «persona» son prácticamente una y la misma cosa. Si en una habitación hay tres personas, tres naturalezas humanas están presentes; si sólo está una naturaleza humana presente, hay una sola persona. Así, cuando tratamos de pensar en Dios como tres Personas con una y la misma naturaleza, nos encontramos como dando cabezazos contra un muro. Por esta razón llamamos a las verdades de fe como esta de la Santísima Trinidad «misterios de fe». Las creemos porque Dios nos las ha manifestado, y El es infinitamente sabio y veraz. Pero para saber cómo puede ser así tenemos que esperar a que El se nos manifieste del todo en el cielo. Por supuesto, los teólogos pueden aclarárnoslo un poquito. Explican que la distinción entre las tres Personas divinas se basa en la relación que existe entre ellas. Está Dios Padre, quien mira en su mente divina, y se ve cómo es realmente, formulando un pensamiento de Sí mismo. Tú y yo, muchas veces, hacemos lo mismo. Volvemos nuestra mirada sobre nosotros mismos y formamos un pensamiento sobre nosotros. Este pensamiento se expresa en las palabras silenciosas «Juan Pérez» o «María García». Pero hay una diferencia entre nuestro propio conocimiento y el de Dios sobre Sí mismo. Nuestro conocimiento propio es imperfecto, incompleto. (Nuestros amigos podrían decirnos cosas sobre nosotros que nos sorprenderían, ¡sin contar lo que dirían nuestros enemigos!) Pero, aun si nos conociéramos perfectamente, aun si el concepto que de nosotros tenemos al enunciar en silencio nuestro nombre fuera completo, o sea una perfecta reproducción de nosotros mismos, tan sólo sería un pensamiento que no saldría de nuestro interior, sin existencia independiente, sin vida propia. El pensamiento cesaría de existir, aun en mi mente, tan pronto como volviera mi atención a otra cosa. La razón es que la existencia o la vida no son parte necesaria de un retrato mío. Hubo un tiempo en que yo no existía en absoluto, y volvería inmediatamente a la nada si Dios no me mantuviera en la existencia. Pero con Dios las cosas son muy distintas. El existir pertenece a la misma naturaleza divina. No hay otra manera de concebir a Dios adecuadamente que diciendo que es el Ser que nunca tuvo principio, el que siempre fue y siempre será. La única definición real que podemos dar de Dios es decir «El que es». Así se definió a Moisés, recordarás: «Yo soy el que soy.» Si el concepto que Dios tiene de Sí mismo ha de ser un pensamiento infinitamente completo y perfecto, tiene que incluir la existencia, ya que el existir es de la naturaleza de Dios. La imagen que Dios ve de Sí mismo, la Palabra silenciosa con que eternamente se expresa a Sí mismo, debe tener una existencia propia, distinta. A este Pensamiento vivo en que Dios se expresa a Sí mismo perfectamente lo llamamos Dios Hijo. Dios Padre es Dios conociéndose a Sí mismo; Dios Hijo es la expresión del conocimiento que Dios tiene de Sí. Así, la segunda Persona de la Santísima Trinidad es llamada Hijo precisamente porque es generado por toda la eternidad, engendrado en la mente divina del Padre. También se le llama el Verbo de Dios, porque es la «Palabra mental» en que la mente divina expresa el pensamiento de Sí mismo. Luego, Dios Padre (Dios conociéndose a Sí mismo) y Dios Hijo (el conocimiento de Dios sobre Sí mismo) contemplan la naturaleza que ambos poseen en común. Al verse (hablamos, por su puesto, en términos humanos), contemplan en esa naturaleza todo lo que es bello y bueno -es decir, todo lo que produce amor- en grado infinito. Y así la voluntad divina mueve un acto de amor infinito hacia la bondad y belleza divinas. Dado que el amor de Dios a Sí mismo, como el cono cimiento de Dios de Sí mismo, son de la misma naturaleza divina, tiene que ser un amor vivo. Este amor infinitamente perfecto, infinitamente intenso, que eternamente fluye del Padre y del Hijo es el que llamamos Espíritu Santo, «que procede del Padre y del Hijo». Es la tercera Persona de la Santísima Trinidad. Dios Padre es Dios conociéndose a Sí mismo. Dios Hijo es la expresión del conocimiento de Dios de Sí mismo. Dios Espíritu Santo es el resultado del amor de Dios a Sí mismo. Esta es la Santísima Trinidad: tres Personas divinas en un solo Dios, una naturaleza divina. Un pequeño ejemplo podría aclararnos la relación que existe entre las tres Personas divinas: Padre, Hijo y Espíritu Santo. Supón que te miras en un espejo de cuerpo entero. Ves una imagen perfecta de ti mismo con una excepción: no es más que un reflejo en el espejo. Pero si la imagen saliera de él y se pusiera a tu lado, viva y palpitante como tú, entonces sí que sería tu imagen perfecta. Pero no habría dos tú, sino un solo Tú, una naturaleza humana. Habría dos «personas», pero sólo una mente y una voluntad, compartiendo el mismo conocimiento y los mismos pensamientos. Luego, ya que el amor de sí (el amor de sí bueno) es natural a todo ser inteligente, habría una corriente de amor ardiente y mutuo entre tú y tu imagen. Ahora, da rienda suelta a tu fantasía, y piensa en el ser de este amor como una parte tan de ti mismo, tan hondamente enraizado en tu misma naturaleza, que llegara a ser una reproducción viva y palpitante de ti mismo. Este amor sería una «tercera persona» (pero todavía nada más que un Tú, recuerda; sólo una naturaleza humana), una tercera persona que estaría entre tú y tu imagen, y los tres unidos mano en mano, tres personas en una naturaleza humana. Quizá este vuelo de la imaginación pueda ayudarnos a entender opacamente la relación que existe entre las tres Personas de la Santísima Trinidad: Dios Padre «mirándose» a Sí mismo en su mente divina y mostrando allí la Imagen de Sí, tan infinitamente perfecta que es una imagen viva, Dios Hijo; y Dios Padre y Dios Hijo amando la naturaleza divina que ambos poseen en común como amor vivo, Dios Espíritu Santo. Tres personas divinas, una naturaleza divina. Si el ejemplo que he utilizado no ayuda nada a nuestro concepto de la Santísima Trinidad, no tenemos por qué sentir frustración. Tratamos con un misterio de fe, y nadie, ni el mayor de los teólogos, puede aspirar a comprenderlo realmente. A lo más que puede llegarse es a distintos grados de ignorancia. Nadie debe sentirse frustrado si hay misterios de fe. Sólo una persona enferma de soberbia intelectual consumada pretenderá abarcar lo infinito, la insondable profundidad de la naturaleza de Dios. Más que resentir nuestras humanas limitaciones, tenemos que movernos al agradecimiento porque Dios se ha dignado decirnos tanto sobre Sí mismo, sobre su naturaleza íntima. Al pensar en la Trinidad Beatísima tenemos que estar en guardia contra un error: No podemos pensar en Dios Padre como el que «viene primero», y en Dios Hijo como el que viene después y Dios Espíritu Santo un poco más tarde todavía. Los tres son igualmente eternos al poseer la misma naturaleza divina; el Verbo de Dios y el Amor de Dios son tan sin tiempo como la Naturaleza de Dios. Y Dios Hijo y Dios Espíritu Santo no están subordinados al Padre en modo alguno; ninguna de las Personas es más poderosa, más sapiente, más grande que las demás. Las tres tienen igual perfección infinita, igualdad basada en la única naturaleza divina que las tres poseen. Sin embargo, atribuimos a cada Persona divina ciertas obras, ciertas actividades, que parecen más apropiadas a la particular relación de esta o aquella Persona divina. Por ejemplo, atribuimos a Dios Padre la obra de la creación, ya que pensamos en El como el «generador», el instigador, el motor de todas las cosas, la sede del infinito poder que Dios posee. Parecidamente, ya que Dios Hijo es el Conocimiento o la Sabiduría del Padre, le adscribimos las obras de sapiencia; es El quien vino a la tierra para darnos a conocer la verdad y salvar el abismo entre Dios y el hombre. Finalmente, dado que el Espíritu Santo es el Amor infinito, le apropiamos las obras de amor, especialmente la santificación de las almas, ya que resulta de la inhabitación del Amor de Dios en nuestra alma. Dios Padre es el Creador, Dios Hijo es el Redentor, Dios Espíritu Santo es el Santificador. Y, sin embargo, lo que Uno hace, lo hacen Todos; donde Uno está, están los tres. Este es el misterio de la Trinidad Santísima: la infinita variedad en la unidad absoluta, cuya belleza nos colmará en el cielo.

11 de maio de 2008

¿Qué teme el ateo de Oxford? - Paul Johnson

¿Qué teme el ateo de Oxford?¿Por qué se han acobardado los ateos? Tras haber proclamado durante un siglo que los argumentos a favor de la existencia de Dios sólo debían exponerse a la luz del día y la discusión pública para desmoronarse ignominiosamente, ¿por qué comienzan a sentir pánico de sus propios argumentos? ¿Por qué, después de atrincherarse en su altiva arrogancia, empiezan a temblar de repente? Lo pregunto a la luz de la terminante negativa de Richard Dawkins a abandonar su seguro reducto académico para debatir conmigo, en un foro abierto, según reglas convenidas y con coordinación neutral, la existencia o inexistencia de Dios. Si el cabecilla del lobby antiteísta de Gran Bretaña, y dueño de la primera cátedra de Ateísmo de Oxford -sí, sé que oficialmente es para explicar las ciencias, pero todos sabemos qué se trae Dawkins entre manos-, no está dispuesto a defender sus convicciones, debemos llegar a la conclusión de que están en graves aprietos. Dejo de lado la razón aparente del rechazo de Dawkins: que mi desafío está motivado por intereses personales. Todos sabemos que no es el verdadero motivo. Está asustado. A fin de cuentas, según el autor de El gen egoísta, todos nos guiamos continuamente por intereses personales y cualquier otro motivo sería antinatural o ilusorio. Huelga decir que no comparto a esta deprimente visión de la humanidad, y compadezco al profesor por creer imposible que un ser humano sea impulsado por la fe, una causa, un genuino deseo de esclarecer a la sociedad o -el principal objetivo en mi caso- un ferviente deseo de compartir el precioso don de la creencia en Dios con tantos mortales como sea posible. Una de las consecuencias espantosas de ser un materialista como Dawkins es que, por lógica, uno está obligado a negar la existencia de la metafísica, y el mundo del espíritu se convierte en zona prohibida. Uno está obligado a encarcelarse en una existencia unidimensional, sin pasado significativo y sin futuro personal, donde lo único que importan son objetos materiales empujados por genes porcinos. Pero, como decía, la razón que alega Dawkins para eludir el debate no es la real. Sospecho que hay tres razones principales para que Dawkins no compita. Una es la pereza intelectual típica de los divos de Oxford y Cambridge. A fin de cuentas, si uno está acostumbrado a actuar como una ingeniosa eminencia intelectual frente a jóvenes boquiabiertos, o a conferenciar ante públicos dóciles que anotan cada palabra como si fuera la Sagrada Escritura, o a pavonearse como león residente en la provinciana sociedad de las tertulias oxonienses, cuesta salir al mundo real donde la gente replica y exige pruebas, y las piruetas académicas son inconducentes. Fuera del ámbito protegido de los claustros, no existe un puesto intelectual seguro. Dawkins lo sabe. Una cosa es ir a Londres para emitir sonidos en un estudio de televisión, y muy otra enfrentarse a una audiencia en vivo durante dos horas respetando auténticas reglas del marqués de Queensberry. Además, sospecho que Dawkins está preocupado por la pobreza de sus argumentos. En el siglo diecinueve los positivistas llevaban las de ganar, en cierto sentido: podían señalar las ridiculeces que los teólogos habían dicho en el pasado -ángeles bailando en la cabeza de un alfiler, por ejemplo- sin contar con un cúmulo similar de idioteces arcaicas en su propio bando. Pero ya no es así. Las expresiones del ateísmo ahora tienen una larga historia, y es espectacularmente tonta. Los obiter dicta de científicos materialistas de otros tiempos, en su época tan eminentes y aplomados como Dawkins, constituyen hoy una lectura hilarante. Emile Littré definió el "alma" como "la suma anatómica de las funciones del cuello y la columna vertebral, y la suma fisiológica de la función del poder de percepción del cerebro". En cambio, Ernst Haeckel afirmó: "Ahora sabemos que ... el alma [es] una suma de plasmamovimientos en las células de los ganglios". Hippolyte Taine escribió: "El hombre es un autómata espiritual... el vicio y la virtud son productos, como el azúcar y el vitriolo". Karl Vogt insistía: "Los pensamientos brotan del cerebro como la bilis del hígado o la orina de los ríñones". Jacob Moleshot estaba igualmente seguro: "Ningún pensamiento [puede surgir] sin fósforo". En esa época los ateos sólo tenían que atacar. Ahora tienen mucho que defender o repudiar. Comprendo que Dawkins tenga miedo de que en un foro público sus plasmamovimientos terminen retorciéndose en las células de sus ganglios. En tercer lugar, a diferencia de sus predecesores, los ateos de hoy tienen las cosas fáciles. La sociedad -en el mundo académico, en los medios de comunicación, en el discurso público, en la conversación común- está orientada a su favor, como antaño estaba a favor de los cristianos. Como bien sé por experiencia propia, la inclusión de Dios en las argumentaciones -en un estudio de televisión, a una mesa, en una discusión pública- es un delito social que provoca inquietud, contrariedad y vergüenza. Dios es una palabra insultante que sólo se debe pronunciar dentro de zonas certificadas. En todas partes se da por sentado cierto agnosticismo irreflexivo, así que los ateos rara vez deben exponer sus argumentos ab initio. Casi los han olvidado. No siempre fue así. Thomas Henry Huxley tuvo que enfrentarse toda la vida con obispos militantes y políticos cristianos convencidos, y era un orador de primera; en comparación, Dawkins parece un haragán. George Bernard Shaw y H. G. Wells debatían continuamente en foros públicos acerca de Dios, la religión y la posibilidad de una vida ultraterrenal con gente como Hilaire Belloc y G. K. S. Chesterton. También eran brillantes en la lucha. Bertrand Russell defendió su propia versión de la racionalidad contra toda clase de contrincantes durante tres cuartos de siglo y sabía cómo hacerlo. Y, si mal no recuerdo, Freddie Ayer jamás eludió una pelea. Pero Dawkins no sabe si puede salirse con la suya. Está inseguro de sus argumentos, su causa y su destreza. Teme ponerse en ridículo frente al mundo y frente a sus colegas académicos, quienes, al margen de sus creencias, disfrutarían en grande si vieran un tropezón del Rey Ateísmo. Así que Dawkins masculla en su campamento del New College, temeroso de ponerse la armadura y afrontar la lid. Como dijo el poeta Chapman, hay algo despreciable en el escéptico inactivo: Oh incredulidad, ingenio de los necios, que chapuceramente escupen sobre todo lo bello, castillo del cobarde y cuna del perezoso.

"El undécimo mandamiento de Karl Popper" - Paul Johnson

Los filósofos no nos han servido de mucho en este siglo. Idealmente, un filósofo debería ser un pensador de inteligencia pura y penetrante que la usa tanto para buscar la verdad y adquirir sabiduría como para comunicarlas a los demás de maneras que podamos usar en la vida y el trabajo. Según esta definición, hemos recibido un pésimo servicio. Bertrand Russell escribió muchos libros y artículos dirigidos al público general, pero es imposible señalar un mensaje destacado de él que haya resistido la prueba del tiempo. La mayoría de sus asertos están en contradicción con otras declaraciones, producto de sus repentinos cambios de opinión. Y sostenía altivamente que su trabajo serio, con lo cual se refería a sus Principia Mathematica, no tenía nada que ver con la gente común. Durante setenta años nos entretuvo como uno de los actores protagonistas de la telenovela cultural "¿Qué pasa entre los intelectuales?" pero, en cuanto a transmitir sabiduría, es como si nunca hubiera existido. Jean-Paul Sartre era menos esnob y trató genuinamente de elaborar una filosofía de vida para los jóvenes. Pero medio siglo después lanzó el existencialismo, y nada queda de él salvo el rancio aroma del aire caliente. Luego se esforzó por predicar una mala moralidad, sobre todo en el uso de la violencia: uno de sus más capaces discípulos del Tercer Mundo, Pol Pot, todavía está matando gente. Lo mejor que puede decirse de Russell y de Sartre es que despreciaron los trucos académicos de salón que han ocupado a la mayoría de los filósofos del siglo veinte. Wittgenstein y Freddie Ayer, los más famosos de ellos, hicieron grandes esfuerzos para convencernos de que la filosofía moderna era una empresa frivola, un refinado juego de preguntas y respuestas que no tenía relación con las grandes tragedias de nuestro tiempo. El mensaje que recibí de Wittgenstein es que nada podía demostrarse. Ayer, en la medida en que tuvo alguna influencia, causó daño. Como señala lord Hailsham en su nuevo libro -un esfuerzo notable en un hombre de ochenta y seis años, bellamente impreso en su letra manuscrita-, Ayer convenció a muchos lectores de que la mayoría de las grandes verdades morales y estéticas de las que depende la civilización son meros juicios de valor, imposibles de validar filosóficamente, y en consecuencia, insignificantes. Sin embargo, existe una maravillosa excepción en el lamentable desfile de los filósofos profesionales de nuestro tiempo. Karl Popper, que falleció en Londres durante el fin de semana, no sólo era un hombre auténticamente sabio sino que logró difundir esclarecimiento donde realmente importa: entre los hombres y mujeres de negocios, los poderosos e influyentes. Uno tendría que regresar a Locke, o al menos a Adam Smith, para encontrar un filósofo que fuera más leído y asimilado por los políticos y funcionarios, los empresarios y científicos, los escritores y periodistas. Popper no pudo impedir las monumentales catástrofes del siglo veinte, pero sus enseñanzas fueron decisivas para ponerles fin y contribuirán a evitar que se repitan. Los mensajes que transmitió cubren una amplia zona y se entrelazan con fuerza impresionante. No fue hombre de un solo libro. Su obra más famosa, La sociedad abierta y sus enemigos (1945), constituye la más devastadora denuncia jamás escrita de los crímenes del totalitarismo, y tendría que haber anulado para siempre la vena absolutista que mancha la filosofía desde Platón en adelante. Pero la continuó en su notable La pobreza del historicismo (1957), que expone la locura de todos los intentos grandilocuentes de explicar el mundo, la historia y la conducta humana con un sesgo determinista. Todos los jóvenes inteligentes deberían leer estos dos libros al finalizar la enseñanza secundaria o al comenzar la universidad, antes de ser víctimas del ismo de moda. Popper es una vacunación múltiple, una potente inyección que debería proteger a los jóvenes brillantes de la mayoría de las enfermedades intelectuales. Sin embargo, estos libros se apoyan en otro que en cierto sentido es más importante, la Lógica del descubrimiento científico (1934), que encarna su enfoque de la evidencia y la prueba. Popper aprendió de Einstein, el héroe de su juventud, a ser cauto con el entusiasmo del descubrimiento. Cuando estamos trabajando en un problema, científico o de otra índole, formulamos una hipótesis y procuramos verificarla empíricamente. Siendo la naturaleza humana como es, si la hipótesis es interesante porque abraza una verdad nueva e importante, o si concuerda con nuestras ideas preconcebidas, tendemos a buscar pruebas que la respalden, y a ignorar o desechar las pruebas que la refutan. Peor aún, si surgen pruebas negativas, modificamos descaradamente la teoría para acomodarla, en lugar de admitir valerosamente que la hipótesis es falsa y comenzar de nuevo. Popper citaba a Marx y Freud como ejemplos destacados de seudocientíficos que lucharon a muerte por sus falsas hipótesis en vez de admitir el peso de la prueba contra ellas. En cambio, Einstein construyó su teoría general de la relatividad de tal manera que resultaba fácil verificarla empíricamente, y no se podía considerar válida hasta que aprobara los tres exámenes vitales que él fijó. Aun así, era sólo una teoría provisional, sujeta a verificación constante. Popper nos enseñó que todo conocimiento empírico es provisional, que la soberbia de la certeza es un pecado mortal y que la búsqueda incesante de la verdad requiere un valor intelectual heroico. Estas son lecciones que todos podemos aprovechar y que se aplican a casi todas las formas elevadas de la actividad humana, desde el arte del gobierno y la legislación hasta la escritura de la Historia. Como historiador, me he adherido a la metodología de Popper, aunque requiere una autodisciplina tremenda. Una vez que hemos corroborado que determinada interpretación de la Historia es correcta, nada es más difícil que buscar sistemáticamente pruebas para refutarla. Pero es preciso hacerlo si deseamos ser científicos según la definición de Popper. El papel que valoro por encima de todo los demás es una carta que me escribió el año pasado, con las más generosas alabanzas para mi libro Tiempos modernos. Lo he hecho enmarcar y cuelga en mi estudio encima de donde escribo, para recordarme diariamente que los principios de falsificación y verificación que Popper defendía son el undécimo mandamiento, y que un escritor sólo puede ignorarlos por su cuenta y riesgo.

5 de maio de 2008

LINKS VARIADOS 2

ARKTIS - Arktis (1974) (nota 8,5) http://paylesssofts.net/rs/?id=4bb22986

BEDEMON - Invocation to Doom ( 72-75) (nota 8,0)http://paylesssofts.net/rs/?id=e8a27591 HAYRY CHAPTER - Eyes (1970 ), Can't Get Through" ( 1971),(nota 8,7) Part 1 http://paylesssofts.net/rs/?id=6806230 Part 2http://paylesssofts.net/rs/?id=f506231
HAZE - Hazecolor-dia (1971 ) (nota 7,8)http://paylesssofts.net/rs/?id=33228260
DEMONS THOR - Written in the Sky (1973 ) (nota 7,8)http://paylesssofts.net/rs/?id=df127587

LINKS VARIADOS

PENCA DE ALBUNS RAROS. SÓ HARD/PROG E AFINS!

Como não tou com muito tempo para comentar os albuns postados e tb para evitar falar bobagens ou obviedades inúteis, segue, doravante, uma lista de links para download acompanhados das capas dos respectivos albuns.
Aliás, é melhor ouvir do que falar sobre música. Aí a coisa fica tranqüila. Ouviu, gostou; torna-se a ouvir. Não gostou, esqueça ou dê um segunda chance. O importante, neste caso, é ter a oportunidade de conhecer e sair da dicotomia fácil gosto/não gosto. E o campo da experiência estética na música popular é vastíssimo, indo da mais crassa decepção (ou confirmação daquilo que vc. esperava: é tudo uma merda só) a descobertas inimagináveis e, por isso mesmo, gratificantes. Da minha parte, fico com a convicção de que há, sim, inteligência, criatividade e até gênio na música rock, não menos que na música de conservatório. Quem realmente gosta de música não pode se dar o luxo de fincar pé em segmentações e classificações, que, hehehehehe, não se prestam à fruição, pois sequer podem ser "ouvidas". Isso não quer dizer que não haja música ruim, mas esta não é outra coisa senão, pelo menos no meu caso, a que fica na rabeira de minha lista de prioridades. Por esse critério, coisas como axé music, samba e forró "de raiz", quase tudo de reggae, boa parte do pop/rock contemporâneo, incluindo o praticado aqui no Brasil, o bate-estaca que se convencionou chamar de música eletrônica, e até alguns ícones da "sacramentada" mpb só vou me dignar ouvir se não tiver à mão nada melhor. Infelizmente, nosso tempo de vida é curto! Felizmente, este tempo pode ser bem aproveitado! E graças a Deus existe a Internet!

JERICHO - Jericho (1972)

O melhor e, talvez, mais famoso grupo de rock de Israel. O debut album do Jericho Jones, ou simplesmente Jericho, é um clássico do heavy rock. Peso, instrumental elaboradíssimo (daí também entrar na categoria "progressive rock") e aquela adrenalina própria do estilo se vêem aqui com muita elegância e sofisticação. Para se ter uma idéia de que não exagero em dizer que Jericho está entre os 5 melhores do gênero, basta a faixa"Kill me with your love", que antecipa praticamente tudo que depois veio a constituir o heavy metal. Lugar de destaque em minha coleção e assíduo frequentador de meu pick-up (ou diskman ou pendrive, para não parecer muito retrô)
Denis Meyer, em seu "Hard Rock Anthology - 1968/1980", dá a este album cotação máxima, a que só fazem jus duas dezenas de albuns, considerando a banda "uma das melhores que eu já cheguei a ouvir", e pode ter certeza: o cara sabe das coisas e já escutou todo o rock de que um mortal é capaz!

FUSION ORCHESTRA - Skeleton in Armour (1973)

http://link-protector.com/319434/

Grande prog hard rock oriundo do Reino Unido, com fortes e espantosos vocais femininos, numa mistura perfeita de elementos de música erudita e complexa estrutura jazzística, mais o peso e nervosismo do rock. Composições hiper elaboradas, solos soberbos de guitarra, flauta e harmonica, bateria estupenda fazem obrigatória a audição deste album. Enfim, um must.

4 de maio de 2008

GERARDO MANUEL & EL HUMO - Apocallypsis (1970)

Aproveitando o insucesso da passeata dos maconheiros e o post anterior do grupo peruano Traffic Sound, segue agora o soberbo album Apocallypsis, do Gerardo Manuel. Fantástico hard psicodélico com uma guitarra ensandecida e a voz imponente de Gerardo. Rockões de primeira linha, alguns muito pesados, dessa album que foi lançado em Lima em 1970. Simplesmente, uma jóia perdida e esquecida no tempo, exceto, é claro, pelos valentes colecionadores e apreciadores da música dessa época, cuja qualidade transcende fronteiras. Todas as canções são muito boas, porém as duas diferentes versões de "Where Did You Go" são simplesmente de lascar, porrada dura em seus ouvidos.
Post dedicado ao meu amigo Geraldo Gregório, que sabe apreciar como ninguém essas maravilhas do heavy rock!
O coeso e afinado grupo é formado por:
Gerald Red Manuel: Vocals, Maracas - Rhythm Guitar Enrique "Tip" Ego Aguirre : Guitars - Hammond Organ Jorge "The Coco" Pomar: Fender Bass, Acoustic Bass & Acoustic Rhythm Guitar "Pure" Freddy Sources: Drums & Percussions.

"Meshkalina" TRAFIC SOUND (PERU)

Em homenagem aos sábios juizes que barraram a tal marcha da maconha em várias capitais do país, marcha que, segundo seus idealizadores, tinha como propósito "debater" a legislação sobre a erva, vai "Meshkalina" do album "Virgin" - considerado pelos colecionadores mais vorazes um do maiores albuns de rock psicodélico de todos os tempos - do sensacional conjunto peruano Trafic Sound. Fico cá imaginando um "debate" entre maconheiros, aquela conversa fiada, sem pé nem cabeça, entremeada de risadas artificiais (de crododilo!), sobre o que é bom ou nocivo para a sociedade. Definitivamente, a improdutividade e a degeneração neuronal desse povo chegam às raias da falta de senso do ridículo
Obs.: se você não é maconheiro, antes de dar play aqui, ponha em pausa a playlist (Canon in D Pachelbel) que aparece na caixa ao lado em vermelho.

3 de maio de 2008

AMON DÜÜL II - Yeti (1970)

http://paylesssofts.net/rs/?id=1cd6764
Salve, salve! Clássico dos clássicos, kraut nas últimas! Para meu gosto, o melhor album do Amon Düül II e uma das coisas mais impressionantes que já ouvi. Psicodelia de primeiríssima qualidade. O som é denso, profundo e único. Todos os ingredientes do krautrock (jazz, música atonal, experimentações eletrônicas, progressive rock, Stockhausen, cosmic rock e outros baratos indispensáveis a uma nice trip) numa mistura para a qual qualquer comparação soa no mínimo indevida. Longas e elaboradíssimas sequências instrumentais, pontuadas com momentos "orientais" (acústicos), improvisações malucas e aquele clima tétrico, servindo perfeitamente de trilha sonora ao pior de seus pesadelos. Ficaria ainda melhor se os vocais fossem em alemão! Não deixa de ser esquisito. Mas o que esperar de uma boa música rock? Se é uma coisa que não suporto na música popular é a mesmice, o que tá fora de cogitação em se tratando de John Weinzierl, Chris Karrer, Renate Knaup-Kroetenschwanz e o resto da turma!
Album duplo em vinil. Faixas:
1 Soap Shop Rock: Burning Sister/Halluzination Guillotine/Gulp a Sonata 13:47 2 She Came Through the Chimney 3:01 3 Archangels Thunderbird 3:33 4 Cerberus 4:21 5 The Return of Ruebezahl 1:41 6 Eye-Shaking King 5:40 7 Pale Gallery 2:16 8 Yeti (Improvisation) 18:12 9 Yeti Talks to Yogi (Improvisation) 6:18 10 Sandoz in the Rain (Improvisation) 9:00

JERUSALEM - Same (1972)

Banda produzida por Ian Gillan e, como não poderia deixar de ser, clone do Deep Purple. Porém, muito boa. Hard rock eficiente e excitante em alguns momentos. O som é naquela linha meio nervosa e quebrada do album Fireball. Recomendado não só a fans da maior banda de rock de todos os tempos.

DIES IRAE - First (1971)

Prog rock hiper sofisticado com inequívoca influência do Black Sabbath. Mais um clássico do krautrock. Guitarras furiosas duelam com riffs de harmônica. Como sempre, aquela agradável mistura de peso e agressividade com melodias complexas e bem estruturada, tudo isso executado com extremo virtuosismo. Vale a pena conferir.

VIRUS - Revelation (1971)

http://paylesssofts.net/rs/?id=7638277

Prog rock com muito peso, banda alemã tipica do movimento kraut. Excelentes guitarras combinadas com expressivo órgão e vocal em inglês. Algo entre Pink Floyd e, sei lá, Grand Funk Railroad, na linha do primeiro do Eloy. Não obstante essas referências, a música do Virus é absolutamente original, reservando gratas surpresas auditivas ao longo de todo o album. Belas variações melódicas marcadas com riffs criativos. Enfim, tão bom quanto o seu debut album.

2 de maio de 2008

ARCADIUM - Breathe Awhile (1969)

http://rapidshare.com/files/80540781/Arcadium.part1.rar

http://rapidshare.com/files/80540737/Arcadium.part2.rar

Formed in mid-1969,a very early prog group. They made an album and a single before splitting. Both became incredibly rare, but Repertoire has reissued Breathe Awhile with the single tracks as bonuses-effectively the group's collected works. Very heavy and atmospheric hard-rocking stuff, with lots of organ and 12-string acoustic guitar. Breathe Awhile is described as being "full of anguish and despair, even in the quieter moments" but the anguish and despair is almost never strong, and quiet moments are rare. The group is a lot like Led Zepplin, the album is a non-stop roller coaster of speed and agression with no relief, the few and fleeting slow parts are only build-ups to the fast parts, and utter lack of contrast causes what little emotion is sprinkled throughout to sound bland, worn out by never-ending attempts to thrill. Breathe Awhile is one over-sized finale with no beginning nor epilogue, and worthwhile only for those who like continuously agressive and climactic music. Either a great group that didn't fulfil their potential or a bad group that made a fair album. The latter seems most likely, as the playing (especially the vocals) is too pompous. In particular, the frightfully incessant and astoundingly arrogant "Woman of a Thousand Years" is one of the worst prog tunes ever: brainless organ beats behind Robert Plant-style vocals and preachy lyrics, broken by a choral singing of the title. How pretentious can you get? In contrast, the 10-minute "Birth, Life and Death" opens with 6 minutes of crafty and glorious instrumentation (Birth). The vocal period (Life) mourns human life as a simple game of limited choice, then climaxes with a choral chant (Death). If you have nothing better to buy, get this album and try listening to this song first; it's by far their best, but its impact is deflated by the fact that most of the album is climactic. The single A-side, "Sing My Song", is filled with lonely organ,gentle guitar, and some striking riffs. The B-side, "Riding Alone", is similar but better, though brief. -- Robert Orme

MICHAEL QUATRO - In Collaboration with the Gods (1975)

Hard prog do irmão da lendária rockeira Suzi Quatro, a Suzy Q do Creedence Clearwater Revival. Excelente album desse tecladista que prima em fazer versões em música rock para clássicos da música erudita, como a impagável Rollerbach do album subsequente, ou então em compor belos rocks sinfônicos LINK FOR DOWNLOAD: CLICK IN TITLE OF THESE POST

TERRY CALLIER -What Color Is Love (1972 US)

Like the artist himself, the music on this brilliant album defies all categories, embracing Terry Callier's wide range of influences and experiences. Callier's musical kaleidoscope is filled with funk, rock, folk, jazz, and even classical influences. "Dancing Girl" opens the album with Charles Stepney's majestic orchestration. This opus is the album's pinnacle, moving with soft intensity toward soul-stirring crescendos. Songs like "What Color Is Love" and "Ho Tsing Mee (A Song of the Sun)," an elegant antiwar prayer of confusion, somehow avoid clichés or take them to another level. "You Goin' to Miss Your Candyman" was made popular by Urban Species when they sampled it on "Listen" in the early '90s, and not surprisingly, it sounds better in its original form. No matter where you turn, Callier's passionate voice captures the sweeping drama of the human condition. A lost romantic amid "concrete front yards," this album is a must-have for any music connoisseur. 1 Dancing Girl Callier 9:03 2 What Color Is Love Callier 4:06 3 You Goin' Miss Your Candyman Braxton, Callier 7:21 4 Just as Long as We're in Love Callier, Wade 3:42 5 Ho Tsing Mee (A Song of the Sun) Callier 4:21 6 I'd Rather Be With You Butler, Callier, Wade 6:40 7 You Don't Care Callier, Wade 5:29 Texto extraído de allmusic guide

25 de abril de 2008

CORNUCOPIA - Full Horn (1973)

http://paylesssofts.net/rs/?id=2976456
Obscuro, esquisito e macabro grupo alemão. Tenho o vinil, lançado aqui no Brasil pela extinta e saudosa Sabado Som, e nada tenho a dizer senão que é puuuuuuta album. Recomendadíssimo. Mais ou menos o que se lê abaixo>
"Cornucopia lançou somente um único album e, após ter tido uma recepção bastante fria por imprensa e público, decidiu por acabar com sua curta carreira. A banda era formada por 6 membros: Wolfgang Bartl - Bass, Vocals ; Wolfgang Gaudes - Guitar, Percussion, Drums, Vocals; Christoph Hardwig - Guitar, Keyboards, Vocals; Rudy Holzhauer - Percussion; Wolfgang Kause - Vocals; Harry Koch - Percussion, Vocals, Effects; Kai Henrik Moller - Guitar, Vocals; Jochen Petersen - Flute, Guitar, Saxophone. A música é em si experimental, tirando alguma inspiração da psicodelia da primeira fase do Pink Floyd, mas é mais densa, agressiva e definitivamente com mais entrosamento. Não me agradou muito, mas minha audição não foi profunda o suficiente para balancear bem minha opinião" By Luis Cardoso ( in Gibraltar Encyclopedia of Progressive Rock )

ANALOGY - Analogy (1972)

Part One http://paylesssofts.net/rs/?id=8656701

Part Two http://paylesssofts.net/rs/?id=3ce6702

Fala a verdade, cara. Você consegue resistir a uma capa destas?

A cantora, essa louraça belzebu, chama-se Jutta Nienhaus, e manda ver no estilo Nico do Velvet Underground. O som da banda, radicada na Itália (hum, daí esse estar bem à vontade de verão no meio do mato?), é um atmosférico, denso e sombrio prog rock que, para o meu gosto, é tudo de que preciso para deitar e rolar com meus fones de ouvido . Simplesmente soberbo, instrumentos executados de maneira irrepreensível, melodias intensas e bem elaboradas, enfim, uma obra prima, a qual, infelizmente, não teve seu devido reconhecimento, como sempre acontece quando há uma profusão de gente talentosa e criativa disputando um lugarzinho ao sol (ops, eles analogamente conseguiram!)

DSCHINN - Dschinn (1972)

Part one http://paylesssofts.net/rs/?id=42658854 Part two http://paylesssofts.net/rs/?id=93358855 Com várias faixas bônus, este cd me agrada ainda mais que o vinil que possuo, cuja edição nacional e alguns riscos não ajudam muito. Krautrock em muito boa conserva, com aquele tipo de cantor que não perdoa as cordas vocálicas, como o do McOil ou o magistral Roger Chapman do Family. Hard psicodélico consistente, mas, para quem tá familiarizado com o rock alemão do período, um tanto previsível. O que não quer dizer que não faça jus ao adjetivo "fantástico". Cover do Yardbirds cujo título me foge à memória no momento, ah, For Your Love. Excelente pra vc. curtir na base de umas cervas e um bom bate-papo com seus amigos fanáticos por obscuridades do rock setentista, até porque, nessas rodas, a presença de umas minas decedentes é quase impossível, e quando pintam no pedaço quebram o clima e impedem a contemplação estética da música, fazendo desta mero pano de fundo para suas abobrinhas de praxe, sem falar que nenhum de vcs - eternos inconformados que são com a indiferença feminina face a suas virtudes morais e intelectuais - vai conseguir faturar uma delas.

14 de abril de 2008

Annisette (Savage Rose) "Take Me Higher" (2007)

The Savage Rose - A Girl I Knew (apresentação na tv dinamarquesa)

13 de abril de 2008

The Savage Rose - Wild Child (show recente)

11 de abril de 2008

John and Philipa Cooper-The Cooperville Times -1969 (Africa do Sul)

Folk rock da melhor categoria. Para quem gosta de coisas como Spirogyra, Mellow Candle, Amazing Blondel, Carol the Harvest, Fields e outras preciosidades do gênero. Belíssimo, soberbo, sensível, criativo, indispensável....
Cacetada logo de saída com Mad the Professor

THE SAVAGE ROSE - Wild Child

http://rapidshare.de/files/39084378/WCTSR73.rar.htm DISCOGRAFIA: Savage Rose (68), In The Plain (68), Travellin' (69), Your Daily Gift (70), Refugee (72), Pop History Vol. 15 (72), Dodens Triumf (72), Babylon (73), Wild Child (73), I'm Satisfied (7?), En Vugge Af Stal (??), Solen Var Ogsa Din (77)
Savage Rose are a Danish band from the late '60s and early '70s. Apparently they released several albums but I only know of two, which are the two I have. In the Plain, released in 1968, is drenched in the psychedelia typical of that time, though there is some foreshadowing of the progressive revolution that was to begin full-force the following year. There are three keyboard players who play piano, organ and harpsichord. There's also recorder, accordion and steel guitar in addition to acoustic and electric guitar. Lead vocals are provided by Annisette who somehow manages to sound like a sexy and diminuitive wildcat! Actually, I'm reminded just a bit of Cindy Lauper. Her vocal styling gives the music drive and energy as she gives her all. There are also some softer moments of piano and vocals giving a folkish quality to some songs. Your Daily Gift follows along the same lines but is both more mature in style and folkier in influence. Annisette's voice is also more powerful than ever. Highly recommended if you are a psych fan but I don't think the Sympho/Prog crowd would like this very much. This Danish band was quite popular in Scandinavia. It's said their first album was outsold only by the concurrent Beatles release. They certainly posessed a sound all their own, and while the overall style of In The Plain is definitely psychedelic, it has elements that can be described only as progressive. Masterminded by brothers Thomas and Anders Koppel, and starring the soulful voice of the diminutive Annisette, who has been stylistically compared to Janis Joplin but really sounds like no one I've ever heard before. Her high-pitched voice may sound grating and shrill to the uninitiated, but one would hardly expect to hear such an impassioned singer in a Scandinavian band. The band had a very distinctive line-up, bass, guitar, vocals and drums along with piano and organ, played by Thomas and Anders, and harpsichord played by Thomas' wife Ilse. The sound created by the three keyboards interacting is quite original. The band also experiments with auditory landscapes on the dreamy "God's Little Hand" and the beautiful "I'm Walking Through The Door." The rest of the album is psychedelic rock-soul of the highest order, with the odd folkie touch; as on "Evening's Child," which has Thomas playing a Persian santour (hammer-dulcimer). The closing track, "A Trial In Our Native Town" with its laborious Vanilla Fudge tempo, gurgling cathedral Hammond organ, roaring guitar and Annisette's aching vocals, is one that is sure to make psych fans salivate. The other album I have, Your Daily Gift, is more folk-prog than psych-prog. Ilsa Koppel took maternity leave from the band, reducing the line-up to a six piece. Some of the tracks are pretty lame and dated sounding, like "Listen To This Tune From Mexico," with its inane lyrics and Vegas-lounge organ. But "Speak Softly" is a beautiful R&B oriented ballad, one of Annisette's best vocals performances. "Tapiola" is a seven-minute free improvisation, pretty interesting stuff. "Unfold" is a sort of country-rock-folk mix with slide guitar joined by harpsichord! The title song closes the album appropriately, the bright, optimistic lyrics neatly contrasting with the sad, gloomy tone. The minor-chorded piano, and brushed drums work well for this song, the use of accordion adds a creepy element.

AMON DÜÜL - Phallus Dei

Link para download clique no título
Faixas:
01. Kanaan (3:56) 02. Den Guten, Schönen, Wahren (6:00) 03. Luzifers Ghilom (8:02) 04. Henriette Krötenschwanz (1:59) 05. Phallus Dei (20:45)
Essa heresia a gente tem que engolir. Supra-sumo do krautrock. Deus me perdoe, mas esses malucos acertaram a mão. Sem comentários. Baixe o disco ou vá pro inferno fazer uma chupeta no pintão vermelho do capeta

10 de abril de 2008

JOHANN PACHELBEL - Easter cantatas

Música barroca, ou pré-barroca, do genial Pachelbel, o compositor alemão que conseguiu a façanha de cometer o único hit de música erudita de que tenho notícia, a famigerada e belíssima Canon in D, que você ouve ao entrar neste blog.
"Destaque" para Christ lag in Todesbanden, a minha preferida do album. Tenho que admitir: toda vez que ouço sua música, caio em prantos. Pachelbel e Bach já me bastariam, se não fosse teimoso e insistente na hoje hercúlea tarefa de descobrir pérolas, o que via de regra me leva a comer farelos com os porcos e a comprometer meu já abalado senso estético. De qualquer forma, não tenho nada a dizer senão que a música de Herr Pachelbel é daquelas que põem seu espírito no devido lugar, isto é, nas alturas junto com Nosso Senhor Jesus Cristo, fazendo tudo o mais parecer insignificante, vil e ímpio.

CWT - The Hundredweight (1973)

Hard britânico com guitarras arrebatadoras, um baixão racha assoalho e uma sessão de metais. É ouvir e se apaixonar. Vá sem medo.

INDIAN SUMMER - Indian Summer (1971)

Prog rock de Coventry England. Orientado por um saliente teclado mais excelentes vocal e guitarras, a música do Indian Summer, envolta nunca atmosfera meio "dark", é simplesmente perfeita! Salvo engano, o grupo se radicou na Alemanha, o que vale checar. Altamente, mas altamente mesmo, recomendado.

SALEM MASS - Witch Burning (1971)

Grupo de hard rock de Idaho, um som meio "dark" com grande vocal e grandes guitarras, além de uma forte veia melódica marcada pelo excepcional "moog", dando um quê de austeridade à música desses garotos.

MCOIL - All Our Hopes (1979)

Sem comentários, baixe-o imediatamente e não se arrependerás. Esses alemães fazem um hard rock impecável, o vocalista é um show à parte e as canções, cada uma melhor que outra.

FAMILY - Anyway (1970)

Quarto album do maravilhoso Family, conjunto progressivo formado na década de 60 e liderado pelo incomparável (embora lembre Joe Cocker pela extrema rouquidão) vocalista Roger Chapman. Trata-se de 8 faixas, 4 de studio e 4 ao vivo, mais 3 faixas bonus.

NECRONOMICON - Tips zum Selbstmord (1972)

Precursor do "doom metal", este impressionante album do Necronomicom, lançado em 1972, traz um hard prog sinistro, pesado, arrastado e musicalmente elaboradíssimo. O vocal em alemão acentua mais ainda o clima sabbathiano, ao qual se somam melodias meio apoteóticas meio melancólicas, que, parece, só se encontram em algumas vertentes do kraut germânico.
Altamente recomendado!

OS MUNDI - Os Mundi ( 2004)

Track Listings 1. Deef Bass (8:56) 2. It's All there (4:22) 3. Morining Song (5:10) 4. Peter und der Wolf (12:07) 5. Waber Waber (6:46) Total Time: 37:21 Line-up/Musicians Ute Kannenberg - Vocals Udo Arndt - Guitar Harald Skorepa - Keyboards Michael "Fame" Günther - Bass Konstantin "Bommi" Bommarius - Drums Ludolf Kuchenbuch - Saxophone Klaus Henrichs - Saxophone Provavelmente gravado um pouco antes do grupo se dissolver em 1975, este album contém excelentes faixas com um afinado jazz rock e uma levada meio funk. Tão bom quanto o clássico Latin Mass de 1970.

TROYA - Point of Eruption

Excelente prog rock alemão, à la Eloy e Novalis, com muitos elementos de música erudita, entre o clássico e o barroco.

EXMAGMA - Exmagma 3 jazz rock alemão, album de 1975

30 de março de 2008

VELVETT FOGG - Velvett Fogg (1969)

Velvett Fogg (on their controversial 1969 album cover) - (Top) Graham Mullett (drums), Ian Leighton (guitar), Mick Pollard (bass). (Front/center) Frank Wilson (vocals, Hammond organ). Other members not pictured - Tony Iommi (guitar), Paul Eastment (guitar, vocals) and Keith Law (songwriter). The two nice-looking painted ladies are models

The original line-up of Velvett Fogg was formed in 1968 by soul singer Ernie Handy and guitarist Bob Hewitt. The other band members were drummer Graham Mullett, bass guitarist Mick Pollard, and Londoner Frank Wilson who played Hammond organ. The band were soon off to Germany where they spent most of the year playing at army bases and clubs. Their exciting stage act included a light show and a go-go dancer (who later married Ernie). The initial line-up of Velvett Fogg featured guitarist Tony Iommi (later to make the big time with Black Sabbath). Tony stayed in the line-up for only one gig before leaving to be replaced temporarily by Ian Leighton. It was during this time that Pye Records arranged a photo-shoot of the band for the cover of their proposed first album (left). This is the pre-Paul Eastment line-up of the band wearing garish make-up/body-paint, and also included two well-endowed young women wearing nothing but strategically applied body paint! U.K. disc jockey John Peel commented in the sleeve notes that "There is a lot of good music on this record. Remember Velvett Fogg - you will hear the name again." Material for the Velvett Fogg album would be supplied by local songwriter/guitarist Keith Law who became a friend of the band, and contributed the songs "Yellow Cave Woman" (also covered on Standarte's Stimmung album), "Once Among The Trees" and "Within' The Night". Before recording could begin in late 1968, Ian Leighton and was replaced by guitarist/vocalist Paul Eastment (a cousin of Tony Iommi's). Eastment was also to contribute original compositions for the album along with Wilson, Mullet and Pollard. Velvett Fogg recorded the tracks for their debut album under direction of Pye producer Jack Dorsey, who aimed to get the band onto the then-popular "progressive" band wagon. The band also recorded covers of a few songs they liked and these included psychedelic-sounding versions of "New York Mining Disaster 1941" by The Bee Gees, and Tim Rose's "Come Away Melinda". The self-titled album was released on the Pye label in January of 1969, who also released a single: a cover of The Tornado's classic instrumental "Telstar" hoping to cash in on the publicity surrounding the American moon landings taking place at that time. While receiving some radio play, the record did not sell enough copies to chart and a big advertising campaign planned by the record company to promote the album never materialised. Though the band did a bit of touring after the single came out, poor sales made Pye lose interest in the band, and they withdrew their backing. In the autumn of 1969 the group disbanded with the members going their separate ways. Paul Eastment went on to found another progressive rock band, originally called Holy Ghost and later releasing an album as The Ghost. Frank Wilson joined Riot Squad, The Rumble Band and finally Warhorse in 1970. In 2002 the Sanctuary Records Group Ltd. re-issued Velvett Fogg officially for the first time on CD (CMRCD619). Keith Law and Frank Wilson are back together writing and recording for a proposed new Velvett Fogg album under the name Velvett Fogg 2. -- John R. Woodhouse (from the band's bio, heavily edited by Fred Trafton)

AMISH - Amish (1972)

Grupo de hard rock, com umas pitadas de progressivo, lá do Canada. O som é arrebatador, pegando o ouvinte com uma vibrante guitarra wah-wah e orgão à la Uriah Heep, além do vocal rasgadão, que faz deste album uma verdadeira masterpiece. Destaque para Black Lace Woman, Down the Road e Dear Mr. Fantasy, cover do Traffic. Altamente recomendado aos apreciadores de gemas setentistas perdidas no tempo.

http://rapidshare.com/files/103289697/A.rar.html

28 de março de 2008

EL MASCULINISMO - Giovanni Papini

Londres, 18 de septiembre. No tengo la costumbre de escuchar a los oradores heterodoxos e inconformistas que, en homenaje a la libertad de palabra, predican y vociferan todos los días en Hyde Park. Pero hoy mientras cruzaba por el parque me detuve sin saber por qué frente a un caballete que sostenía un cartel en el que se leía escrito en grandes caracteres negros: El Masculinismo. Era el orador un hombre larguirucho, de edad mediana, de cabellos rojizos y alborotados, tenía dos ojos negros, de visionario; aún no había comenzado a perorar porque los oyentes eran muy pocos, apenas tres o cuatro y todos ancianos. Quise esperar la prometida revelación y al cabo de pocos minutos el hombre de la cabellera roja se decidió a hablar: - Os anuncio la nueva doctrina moral, social y política que transformará la vida del mundo; os anuncio la revolución del Masculinismo. »En esta misma metrópoli, hace ya muchos años, las mujeres se levantaron furiosas contra los privilegios masculinos, y guiadas por la célebre miss Pankhurst, fundaron el Feminismo. Hoy, al cabo de cincuenta años de luchas y polémicas, el Feminismo ha triunfado: las mujeres tienen todos los derechos civiles y políticos. Hay mujeres en el gobierno y en el parlamento, hay mujeres embajadoras y mujeres militares, las mujeres han invadido las administraciones públicas y privadas, las escuelas y las fábricas, ¡perfectamente bien! »Nosotros, los masculinistas, no somos contrarios a los continuos y progresivos triunfos del Feminismo. No surge el Masculinismo para oponerse al Feminismo, ¡muy al contrario!, su objetivo declarado y lógico es el de tomar nota de las conquistas del Feminismo, más aún, ampliarlas, extenderlas, hacerlas universales. »Escuchadme, señores, y seguidme atentamente. En su ingenuidad casera y provinciana imaginaban las mujeres que el privilegio de gobernar a los pueblos, cosa que hasta hace medio siglo le estaba reservada a los hombres, era un honor, una alegría, una satisfacción. Nuestras rivales se engañaban por completo. La política es un arte grosero y falaz, se funda en los compromisos y en los engaños, en la hipocresía y en la desfachatez. La política es incómoda, sucia y peligrosa. Por esto, los masculinistas proponen la entrega total de los poderes a las mujeres, las que por su misma naturaleza son más astutas, más mentirosas y más acomodaticias. ¡Que no haya tan sólo alguna diputada o ministra, sino que todos los parlamentos y todos los gobiernos estén formados únicamente por mujeres! »Ellas tienen la lengua más suelta que nosotros, poseen un mayor sentido práctico y menos repugnancia para las cosas sucias; la política está hecha para ellas y solamente para ellas. Y frente al espectáculo de lo que está sucediendo hoy en el mundo no hay que temer que la cosa pública vaya a andar todavía peor, pues esto es claramente imposible. En la peor de las hipótesis los pueblos serian llevados a la miseria y a la muerte, y es lo que ya está sucediendo, de modo que nada se cambiaría. En lugar de esto, cambiará para mejor la suerte de los hombres, quienes finalmente se verán en libertad para dedicarse a actividades más nobles. »Escuchadme, ciudadanos hombres: el Masculinismo prepara vuestra liberación de los trabajos y misiones más duros e ingratos. Ahora las mujeres han ingresado ya en la enseñanza, pero todavía están en minoría. El oficio de instruir a los niños y jóvenes, es, digamos la verdad de una vez por todas, muy fatigoso y molesto; por doquiera es el programa de los escolares estudiar poco y engañar a los maestros. Los únicos alumnos que logran en verdad aprender algo son los que estudian por sí solos, por pasión natural. Así pues, ¿por qué no confiar a las mujeres, y solamente Giovanni Papini El Libro Negro Conversación 68 2 Preparado por Patricio Barros a ellas, la enseñanza inferior y superior? Ellas tienen más paciencia y astucia y un poder de atracción muy superior; se puede descontar desde ahora que los discípulos aprovecharán bastante más que con profesores hombres, quienes a su vez, libres del odioso tedio de la escuela, finalmente podrán estudiar seriamente por su cuenta. »Y dígase lo mismo del trabajo en todas sus formas. Según las escrituras el trabajo fué impuesto al hombre como castigo, pero, dado que de acuerdo a las mismas Escrituras la primera y verdadera culpable fue la mujer en la persona de Eva, justo es entonces que la pena sea soportada por ella y solamente por ella. »Me preguntaréis, estimados amigos oyentes, qué harán los hombres si se realizan plenamente las sagradas y legítimas reivindicaciones del Masculinismo. No es difícil responder: liberados ya del trabajo y fastidio que implican el gobierno y demás, finalmente podremos gozar en paz de la maravillosa belleza del mundo. De la acción siempre penosa y, peligrosa ascenderemos todos a la felicidad de la contemplación. Las más elevadas actividades del espíritu, que hoy son patrimonio de pocos porque los más deben atender a las bajas ocupaciones de la vida, podrán ser ejercitadas por todos los varones. La poesía, la pintura, la escultura, la investigación científica y la especulación metafísica, tales serán nuestras únicas ocupaciones diarias. La humanidad se dividirá en dos grandes castas diferenciadas por el sexo: la una se dedicará a la política, al comercio, a la producción material, a las escuelas y oficinas, y la otra, la de nosotros los varones podrá consagrarse con plácida tranquilidad a las artes, al pensamiento, al descubrimiento de lo bello y lo verdadero, en una palabra: a todo lo que hace soportable y deseable la existencia. Me parece que el programa del Masculinismo, lacónicamente expuesto con lo dicho, merecerá los sufragios de nuestro sexo, que se verá redimido de esas obligaciones prácticas indignas de su primacía espiritual. »Y no sentiremos ningún remordimiento, pues precisamente las mujeres han sido las primeras en pretender con todas sus fuerzas hacer lo que hacía únicamente el hombre con sacrificios y resignación. No hacemos más que aceptar las consecuencias extremas de su sublevación. El Masculinismo no es la contestación al Feminismo, sino su realización universal en nombre de nuestra felicidad y de la verdadera justicia». Mientras hablaba el orador la audiencia había ido engrosando hasta convertirse en una pequeña multitud, y fueron muchos los que aplaudieron con entusiasmo. El hombre de los cabellos rojos y los ojos negros se secó el sudor y sonrió beatíficamente. Yo me fui de Hyde Park caminando a largos pasos y entré en el Savoy.

23 de março de 2008

Why Do Intellectuals Oppose Capitalism?

by Robert Nozick Robert Nozick is Arthur Kingsley Porter Professor of Philosophy at Harvard University and the author of Anarchy, State, and Utopia and other books. This article is excerpted from his essay "Why Do Intellectuals Oppose Capitalism?" which originally appeared in The Future of Private Enterprise, ed. Craig Aronoff et al. (Georgia State University Business Press, 1986) and is reprinted in Robert Nozick, Socratic Puzzles (Harvard University Press, 1997). It is surprising that intellectuals oppose capitalism so. Other groups of comparable socio-economic status do not show the same degree of opposition in the same proportions. Statistically, then, intellectuals are an anomaly. Not all intellectuals are on the "left." Like other groups, their opinions are spread along a curve. But in their case, the curve is shifted and skewed to the political left. By intellectuals, I do not mean all people of intelligence or of a certain level of education, but those who, in their vocation, deal with ideas as expressed in words, shaping the word flow others receive. These wordsmiths include poets, novelists, literary critics, newspaper and magazine journalists, and many professors. It does not include those who primarily produce and transmit quantitatively or mathematically formulated information (the numbersmiths) or those working in visual media, painters, sculptors, cameramen. Unlike the wordsmiths, people in these occupations do not disproportionately oppose capitalism. The wordsmiths are concentrated in certain occupational sites: academia, the media, government bureaucracy. Wordsmith intellectuals fare well in capitalist society; there they have great freedom to formulate, encounter, and propagate new ideas, to read and discuss them. Their occupational skills are in demand, their income much above average. Why then do they disproportionately oppose capitalism? Indeed, some data suggest that the more prosperous and successful the intellectual, the more likely he is to oppose capitalism. This opposition to capitalism is mainly "from the left" but not solely so. Yeats, Eliot, and Pound opposed market society from the right. The opposition of wordsmith intellectuals to capitalism is a fact of social significance. They shape our ideas and images of society; they state the policy alternatives bureaucracies consider. From treatises to slogans, they give us the sentences to express ourselves. Their opposition matters, especially in a society that depends increasingly upon the explicit formulation and dissemination of information. We can distinguish two types of explanation for the relatively high proportion of intellectuals in opposition to capitalism. One type finds a factor unique to the anti-capitalist intellectuals. The second type of explanation identifies a factor applying to all intellectuals, a force propelling them toward anti-capitalist views. Whether it pushes any particular intellectual over into anti-capitalism will depend upon the other forces acting upon him. In the aggregate, though, since it makes anti-capitalism more likely for each intellectual, such a factor will produce a larger proportion of anti-capitalist intellectuals. Our explanation will be of this second type. We will identify a factor which tilts intellectuals toward anti-capitalist attitudes but does not guarantee it in any particular case. The Value of Intellectuals Intellectuals now expect to be the most highly valued people in a society, those with the most prestige and power, those with the greatest rewards. Intellectuals feel entitled to this. But, by and large, a capitalist society does not honor its intellectuals. Ludwig von Mises explains the special resentment of intellectuals, in contrast to workers, by saying they mix socially with successful capitalists and so have them as a salient comparison group and are humiliated by their lesser status. However, even those intellectuals who do not mix socially are similarly resentful, while merely mixing is not enough--the sports and dancing instructors who cater to the rich and have affairs with them are not noticeably anti-capitalist. Why then do contemporary intellectuals feel entitled to the highest rewards their society has to offer and resentful when they do not receive this? Intellectuals feel they are the most valuable people, the ones with the highest merit, and that society should reward people in accordance with their value and merit. But a capitalist society does not satisfy the principle of distribution "to each according to his merit or value." Apart from the gifts, inheritances, and gambling winnings that occur in a free society, the market distributes to those who satisfy the perceived market-expressed demands of others, and how much it so distributes depends on how much is demanded and how great the alternative supply is. Unsuccessful businessmen and workers do not have the same animus against the capitalist system as do the wordsmith intellectuals. Only the sense of unrecognized superiority, of entitlement betrayed, produces that animus. Why do wordsmith intellectuals think they are most valuable, and why do they think distribution should be in accordance with value? Note that this latter principle is not a necessary one. Other distributional patterns have been proposed, including equal distribution, distribution according to moral merit, distribution according to need. Indeed, there need not be any pattern of distribution a society is aiming to achieve, even a society concerned with justice. The justice of a distribution may reside in its arising from a just process of voluntary exchange of justly acquired property and services. Whatever outcome is produced by that process will be just, but there is no particular pattern the outcome must fit. Why, then, do wordsmiths view themselves as most valuable and accept the principle of distribution in accordance with value? From the beginnings of recorded thought, intellectuals have told us their activity is most valuable. Plato valued the rational faculty above courage and the appetites and deemed that philosophers should rule; Aristotle held that intellectual contemplation was the highest activity. It is not surprising that surviving texts record this high evaluation of intellectual activity. The people who formulated evaluations, who wrote them down with reasons to back them up, were intellectuals, after all. They were praising themselves. Those who valued other things more than thinking things through with words, whether hunting or power or uninterrupted sensual pleasure, did not bother to leave enduring written records. Only the intellectual worked out a theory of who was best. The Schooling of Intellectuals What factor produced feelings of superior value on the part of intellectuals? I want to focus on one institution in particular: schools. As book knowledge became increasingly important, schooling--the education together in classes of young people in reading and book knowledge--spread. Schools became the major institution outside of the family to shape the attitudes of young people, and almost all those who later became intellectuals went through schools. There they were successful. They were judged against others and deemed superior. They were praised and rewarded, the teacher's favorites. How could they fail to see themselves as superior? Daily, they experienced differences in facility with ideas, in quick-wittedness. The schools told them, and showed them, they were better. The schools, too, exhibited and thereby taught the principle of reward in accordance with (intellectual) merit. To the intellectually meritorious went the praise, the teacher's smiles, and the highest grades. In the currency the schools had to offer, the smartest constituted the upper class. Though not part of the official curricula, in the schools the intellectuals learned the lessons of their own greater value in comparison with the others, and of how this greater value entitled them to greater rewards. The wider market society, however, taught a different lesson. There the greatest rewards did not go to the verbally brightest. There the intellectual skills were not most highly valued. Schooled in the lesson that they were most valuable, the most deserving of reward, the most entitled to reward, how could the intellectuals, by and large, fail to resent the capitalist society which deprived them of the just deserts to which their superiority "entitled" them? Is it surprising that what the schooled intellectuals felt for capitalist society was a deep and sullen animus that, although clothed with various publicly appropriate reasons, continued even when those particular reasons were shown to be inadequate? In saying that intellectuals feel entitled to the highest rewards the general society can offer (wealth, status, etc.), I do not mean that intellectuals hold these rewards to be the highest goods. Perhaps they value more the intrinsic rewards of intellectual activity or the esteem of the ages. Nevertheless, they also feel entitled to the highest appreciation from the general society, to the most and best it has to offer, paltry though that may be. I don't mean to emphasize especially the rewards that find their way into the intellectuals' pockets or even reach them personally. Identifying themselves as intellectuals, they can resent the fact that intellectual activity is not most highly valued and rewarded. The intellectual wants the whole society to be a school writ large, to be like the environment where he did so well and was so well appreciated. By incorporating standards of reward that are different from the wider society, the schools guarantee that some will experience downward mobility later. Those at the top of the school's hierarchy will feel entitled to a top position, not only in that micro-society but in the wider one, a society whose system they will resent when it fails to treat them according to their self-prescribed wants and entitlements. The school system thereby produces anti-capitalist feeling among intellectuals. Rather, it produces anti-capitalist feeling among verbal intellectuals. Why do the numbersmiths not develop the same attitudes as these wordsmiths? I conjecture that these quantitatively bright children, although they get good grades on the relevant examinations, do not receive the same face-to-face attention and approval from the teachers as do the verbally bright children. It is the verbal skills that bring these personal rewards from the teacher, and apparently it is these rewards that especially shape the sense of entitlement. Central Planning in the Classroom There is a further point to be added. The (future) wordsmith intellectuals are successful within the formal, official social system of the schools, wherein the relevant rewards are distributed by the central authority of the teacher. The schools contain another informal social system within classrooms, hallways, and schoolyards, wherein rewards are distributed not by central direction but spontaneously at the pleasure and whim of schoolmates. Here the intellectuals do less well. It is not surprising, therefore, that distribution of goods and rewards via a centrally organized distributional mechanism later strikes intellectuals as more appropriate than the "anarchy and chaos" of the marketplace. For distribution in a centrally planned socialist society stands to distribution in a capitalist society as distribution by the teacher stands to distribution by the schoolyard and hallway. Our explanation does not postulate that (future) intellectuals constitute a majority even of the academic upper class of the school. This group may consist mostly of those with substantial (but not overwhelming) bookish skills along with social grace, strong motivation to please, friendliness, winning ways, and an ability to play by (and to seem to be following) the rules. Such pupils, too, will be highly regarded and rewarded by the teacher, and they will do extremely well in the wider society, as well. (And do well within the informal social system of the school. So they will not especially accept the norms of the school's formal system.) Our explanation hypothesizes that (future) intellectuals are disproportionately represented in that portion of the schools' (official) upper class that will experience relative downward mobility. Or, rather, in the group that predicts for itself a declining future. The animus will arise before the move into the wider world and the experience of an actual decline in status, at the point when the clever pupil realizes he (probably) will fare less well in the wider society than in his current school situation. This unintended consequence of the school system, the anti-capitalist animus of intellectuals, is, of course, reinforced when pupils read or are taught by intellectuals who present those very anti-capitalist attitudes. No doubt, some wordsmith intellectuals were cantankerous and questioning pupils and so were disapproved of by their teachers. Did they too learn the lesson that the best should get the highest rewards and think, despite their teachers, that they themselves were best and so start with an early resentment against the school system's distribution? Clearly, on this and the other issues discussed here, we need data on the school experiences of future wordsmith intellectuals to refine and test our hypotheses. Stated as a general point, it is hardly contestable that the norms within schools will affect the normative beliefs of people after they leave the schools. The schools, after all, are the major non-familial society that children learn to operate in, and hence schooling constitutes their preparation for the larger non-familial society. It is not surprising that those successful by the norms of a school system should resent a society, adhering to different norms, which does not grant them the same success. Nor, when those are the very ones who go on to shape a society's self-image, its evaluation of itself, is it surprising when the society's verbally responsive portion turns against it. If you were designing a society, you would not seek to design it so that the wordsmiths, with all their influence, were schooled into animus against the norms of the society. Our explanation of the disproportionate anti-capitalism of intellectuals is based upon a very plausible sociological generalization. In a society where one extra-familial system or institution, the first young people enter, distributes rewards, those who do the very best therein will tend to internalize the norms of this institution and expect the wider society to operate in accordance with these norms; they will feel entitled to distributive shares in accordance with these norms or (at least) to a relative position equal to the one these norms would yield. Moreover, those constituting the upper class within the hierarchy of this first extra-familial institution who then experience (or foresee experiencing) movement to a lower relative position in the wider society will, because of their feeling of frustrated entitlement, tend to oppose the wider social system and feel animus toward its norms. Notice that this is not a deterministic law. Not all those who experience downward social mobility will turn against the system. Such downward mobility, though, is a factor which tends to produce effects in that direction, and so will show itself in differing proportions at the aggregate level. We might distinguish ways an upper class can move down: it can get less than another group or (while no group moves above it) it can tie, failing to get more than those previously deemed lower. It is the first type of downward mobility which especially rankles and outrages; the second type is far more tolerable. Many intellectuals (say they) favor equality while only a small number call for an aristocracy of intellectuals. Our hypothesis speaks of the first type of downward mobility as especially productive of resentment and animus. The school system imparts and rewards only some skills relevant to later success (it is, after all, a specialized institution) so its reward system will differ from that of the wider society. This guarantees that some, in moving to the wider society, will experience downward social mobility and its attendant consequences. Earlier I said that intellectuals want the society to be the schools writ large. Now we see that the resentment due to a frustrated sense of entitlement stems from the fact that the schools (as a specialized first extra-familial social system) are not the society writ small. Our explanation now seems to predict the (disproportionate) resentment of schooled intellectuals against their society whatever its nature, whether capitalist or communist. (Intellectuals are disproportionately opposed to capitalism as compared with other groups of similar socioeconomic status within capitalist society. It is another question whether they are disproportionately opposed as compared with the degree of opposition of intellectuals in other societies to those societies.) Clearly, then, data about the attitudes of intellectuals within communist countries toward apparatchiks would be relevant; will those intellectuals feel animus toward that system? Our hypothesis needs to be refined so that it does not apply (or apply as strongly) to every society. Must the school systems in every society inevitably produce anti-societal animus in the intellectuals who do not receive that society's highest rewards? Probably not. A capitalist society is peculiar in that it seems to announce that it is open and responsive only to talent, individual initiative, personal merit. Growing up in an inherited caste or feudal society creates no expectation that reward will or should be in accordance with personal value. Despite the created expectation, a capitalist society rewards people only insofar as they serve the market-expressed desires of others; it rewards in accordance with economic contribution, not in accordance with personal value. However, it comes close enough to rewarding in accordance with value--value and contribution will very often be intermingled--so as to nurture the expectation produced by the schools. The ethos of the wider society is close enough to that of the schools so that the nearness creates resentment. Capitalist societies reward individual accomplishment or announce they do, and so they leave the intellectual, who considers himself most accomplished, particularly bitter. Another factor, I think, plays a role. Schools will tend to produce such anti-capitalist attitudes the more they are attended together by a diversity of people. When almost all of those who will be economically successful are attending separate schools, the intellectuals will not have acquired that attitude of being superior to them. But even if many children of the upper class attend separate schools, an open society will have other schools that also include many who will become economically successful as entrepreneurs, and the intellectuals later will resentfully remember how superior they were academically to their peers who advanced more richly and powerfully. The openness of the society has another consequence, as well. The pupils, future wordsmiths and others, will not know how they will fare in the future. They can hope for anything. A society closed to advancement destroys those hopes early. In an open capitalist society, the pupils are not resigned early to limits on their advancement and social mobility, the society seems to announce that the most capable and valuable will rise to the very top, their schools have already given the academically most gifted the message that they are most valuable and deserving of the greatest rewards, and later these very pupils with the highest encouragement and hopes see others of their peers, whom they know and saw to be less meritorious, rising higher than they themselves, taking the foremost rewards to which they themselves felt themselves entitled. Is it any wonder they bear that society an animus? Some Further Hypotheses We have refined the hypothesis somewhat. It is not simply formal schools but formal schooling in a specified social context that produces anti-capitalist animus in (wordsmith) intellectuals. No doubt, the hypothesis requires further refining. But enough. It is time to turn the hypothesis over to the social scientists, to take it from armchair speculations in the study and give it to those who will immerse themselves in more particular facts and data. We can point, however, to some areas where our hypothesis might yield testable consequences and predictions. First, one might predict that the more meritocratic a country's school system, the more likely its intellectuals are to be on the left. (Consider France.) Second, those intellectuals who were "late bloomers" in school would not have developed the same sense of entitlement to the very highest rewards; therefore, a lower percentage of the late-bloomer intellectuals will be anti-capitalist than of the early bloomers. Third, we limited our hypothesis to those societies (unlike Indian caste society) where the successful student plausibly could expect further comparable success in the wider society. In Western society, women have not heretofore plausibly held such expectations, so we would not expect the female students who constituted part of the academic upper class yet later underwent downward mobility to show the same anti-capitalist animus as male intellectuals. We might predict, then, that the more a society is known to move toward equality in occupational opportunity between women and men, the more its female intellectuals will exhibit the same disproportionate anti-capitalism its male intellectuals show. Some readers may doubt this explanation of the anti-capitalism of intellectuals. Be this as it may, I think that an important phenomenon has been identified. The sociological generalization we have stated is intuitively compelling; something like it must be true. Some important effect therefore must be produced in that portion of the school's upper class that experiences downward social mobility, some antagonism to the wider society must get generated. If that effect is not the disproportionate opposition of the intellectuals, then what is it? We started with a puzzling phenomenon in need of an explanation. We have found, I think, an explanatory factor that (once stated) is so obvious that we must believe it explains some real phenomenon.