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Today's Stories January 2 - 4, 2009 Uri Avnery Jonathan Cook Paul Craig Roberts Brian Eno Ralph Nader Omar Barghouti Deb Reich Gary Leupp Michael Yates Cynthia McKinney Sonja Karkar Deepak Tripathi Robert Fantina January 1, 2008 Jennifer Loewenstein Oren Ben-Dor Wajahat Ali Saul Landau David Michael Green Website of the Day December 31, 2008 Pam Martens Neve Gordon / Ted Honderich Brian Cloughley Ron Jacobs Vijay Prashad Franklin Lamb Mike Whitney David Macaray Richard Thieme Mary Lynn Cramer Stephen Lendman Worthy Group of the Day December 30, 2008 Paul Craig Roberts Tariq Ali Robert Bryce Jonathan Cook Gary Leupp Dave Lindorff Brian McKenna John Walsh Ramzy Baroud Bob Sommer Worthy Activist of the Day
December 29, 2008 Jennifer Loewenstein Neve Gordon Joshua Frank George Salzman / Norman Solomon Ewa Jasiewicz Rob Larson Kenneth Libby Robert Weissman Elsa Johnson Nicola Nasser Belén Fernández Worthy Group of the Day December 26-28, 2008 Alexander Cockburn Dr Eyad Al Serraj Jeffrey St. Clair Bradley Simpson Ralph Nader Gary Leupp Ellen Cantarow Matt Landon David Macaray Patrick Bond Norm Kent Brian T. Ketcham Rannie Amiri Larry Portis Richard Rhames Stephen Lendman James L. Secor Ramzy Baroud Harold Pinter Cpt. Paul Watson Howard Lisnoff Michael Dee Steve Conn Poets' Basement Worthy Group of the Weekend December 25, 2008 Judy Gumbo Albert Rev. William E. Alberts Hannah Mermelstein Worthy Group of the Day December 24, 2008 Bill Quigley Saul Landau Sam Smith Brian Cloughley John Ross Eric Walberg Norm Kent Stephen Martin Worthy Group of the Day December 23, 2008 Michael Hudson Michael Yates Chuck Spinney Vijay Prashad Brian Horejsi David Macaray Neil Watkins / David Michael Green Worthy Group of the Day December 22, 2008 Pam Martens Gary Leupp Mike Whitney Karl Grossman Niall Meehan Steve Conn Uri Avnery Corey D. B. Walker David Swanson Worthy Group of the Day December 19 - 21, 2008 Alexander Cockburn Jeffrey St. Clair Paul Craig Roberts Patrick Cockburn Felice Pace Diane Farsetta George Ciccariello-Maher Eric Bergoust Marjorie Cohn Stan Cox Michael Donnelly Robert Weissman Ralph Nader Alan Farago Sam Smith Timothy G. Hermach Seth Sandronsky Rannie Amiri David Yearsley Martha Rosenberg Dave Lindorff Christopher Brauchli Missy Beattie Richard Rhames Stephen Martin Paul Krassner Lorenzo Wolff Poets' Basement Worthy Group of the Weekend December 18, 2008 Phillip Doe Ronnie Cummins Jesse Sharkey Saul Landau Peter Morici Dave Lindorff Panos Petrou Jeff Cohen / Worthy Group of the Day December 17, 2008 Peter Lee Conn Hallinan Mike Whitney Jeff Halper Alan Farago Peter Morici Norm Kent Col. Douglas MacGregor Margaret Kimberley Ron Jacobs Worthy Group of the Day December 16, 2008 Vicente Navarro Patrick Cockburn Thomas Michael Power Jason Hribal Farzana Versey Wajahat Ali / Mats Svensson Paul Fitzgerald / David Macaray Howard Lisnoff Worthy Group of the Day December 15, 2008 Andy Worthington Franklin Lamb Karl Grossman Brian Cloughley Mary Lynn Cramer Steve Early Thomas Christie Ken Paff Niranjan Ramakrishnan Dave Lindorff Alan Farago Worthy Group of the Day December 12 / 14, 2008 Alexander Cockburn Michael Hudson / David Price Jeffrey St. Clair Frank Barat John Ross Binoy Kampmark David Macaray Ralph Nader Eamonn Fingleton Lawrence Velvel Behzad Yaghmaian Sam Husseini Tom Barry Howard Lisnoff Laura Carlsen Raj Patel Ron Jacobs Paul Watson David Yearsley Lorenzo Wolff Kim Nicolini Susie Day Poets' Basement Worthy Group of the Weekend December 11, 2008 Patrick Cockburn P. Sainath Vicken Cheterian Ray McGovern Dedrick Muhammad Lee Sustar Peter Morici Ayesha Ijaz Khan George Wuerthner Christopher Brauchli Worthy Group of the Day December 10, 2008 Ismael Hossein-Zadeh Mary Lynn Cramer Manuel Garcia, Jr. Joshua Frank Steve Conn Lee Sustar Glen Ford Stephen Lendman Nadia Hijab Dave Lindorff Website of the Day December 9, 2008 Mike Whitney Fawzia Afzal-Khan Ghada Karmi Dave Lindorff Steve Breyman Lee Sustar / Rev. William E. Alberts Martha Rosenberg Sam Husseini David Macaray Website of the Day December 8, 2008 Steve Early Michael Hudson Patrick Cockburn Diane Farsetta Paul Craig Roberts Daniel Gross Saul Landau Harvey Wasserman Mike Ferner Norman Solomon David Michael Green Website of the Day
December 5 / 7, 2008 Alexander Cockburn Brian Cloughley Paul Craig Roberts Liaquat Ali Khan Farzana Versey Peter Lee Peter Morici Ralph Nader / Yinon Cohen / Wajahat Ali Johnny Barber Alan Farago Jeremy Scahill Mike Whitney Ranjit Hoskote Carl Finamore Marjorie Cohn Norm Kent Missy Beattie Binoy Kampmark David Macaray Nancy Stohlman Ron Jacobs David Yearsley Lorenzo Wolff Poets' Basement Website of the Weekend December 4, 2008 Ece Temelkuran Ralph Nader Harry Browne Eamonn Fingleton Conn Hallinan Mike Whitney Stewart J. Lawrence Paul Fitzgerald / Karyn Strickler Jennifer Matsui Website of the Day December 3, 2008 Andrew Cockburn Sheldon Rampton Robert Weissman Yifat Susskind William Blum Alan Singer David Macaray Martha Rosenberg Mats Svensson Website of the Day December 2, 2008 Jeremy Scahill Paul Craig Roberts Ayesha Ijaz Khan Sarah Anderson / William Blum John Ross Dave Lindorff Nicola Nasser Steve Conn Robert Bryce Website of the Day December 1, 2008 Patrick Cockburn Damien Millet / Vijay Prashad Deepak Tripathi Joshua Frank P. Sainath Alan Farago Binoy Kampmark Chris Genovali David Michael Green Stephen Martin Website of the Day November 28-30, 2008 Alexander Cockburn Mike Whitney Ted Honderich Tom Kerr Mike Ely David Yearsley Deepak Tripathi Sonja Karkar Ramzy Baroud Robert Weitzel Robert Roth Carlos Fierro David Macaray David Rosen James Cockcroft Stan Cox Steve Conn Stephen Martin Richard Rhames Kim Nicolini Lorenzo Wolff Poets' Basement
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Weekend Edition The Musical PatriotA Gay German at the Courts of the Medici and Hanovers, and of Course the BBCBy DAVID YEARSLEY Only God and Martha Stewart know what brought me to the Williams-Sonoma store in the Beverly Center in Los Angeles on that Tuesday afternoon in the fall of 1995, but it was there that I finally ran into George Frideric Handel. I rounded a display of expensive cast iron pots and pans and suddenly there he was not more than two feet in front of me. Without his wig and wearing a knit sweater, the Great Man held a stainless steel container. It had a small crank, which he turned a couple of times. “A popcorn popper,” he said, half as a question. He handed the thing to me then disappeared behind some brightly colored Italian ceramics, perhaps not so different, save the modes of industrial production that yielded them, than those he might have seen at the palaces he frequented during his Italian sojourn in the first decade of the 18th century. My Handel was in fact the excellent Dutch actor, Jeroen Krabbé, who just the year before had been Handel in the European film, Farinelli, a lavish though often unbearable biopic about the Neapolitan castrato who was the most famous performer of his age, and, as the movie would have, yearned to sing Handel’s music. Krabbé played Handel with relish and according to the Handel legend: imperious, unyielding, massively talented – in sum, a full-dress egoist. The same year Krabbé gave us his gloriously gruff Handel in Farinelli, Gary Thomas published an essay entitled “Was George Frideric Handel Gay” in the 1994 collection of musicological essays by various authors devoted to gender and sexuality, Queering the Pitch (the second edition of the book came out in 2006 from Routledge). “Yes” is Thomas’ answer, though he barely pauses to consider how anachronistic the category of “Gay” itself is to 18th century life. Yet, as Thomas pointed out, the lack of women in Handel’s life had prompted all previous biographers either to ignore issue or to explain it away. Only two years before Thomas outed Handel, Donald Burrows’ “definitive” biography had, as it were, skirted the issue entirely. A decade later, in the award-winning 2004 book, Handel as Orpheus, Ellen T. Harris demonstrated with great skill and nuance the nature of Handel’s homosocial world, both in Italy and in London, and the way this culture was reflected in some of the poetic texts he set in his chamber cantatas. Refusing to titillate by pronouncing Handel’s attachments purely Platonic or sometimes sexual, Harris presented Handel nonetheless as a lover of men. Handel’s romantic relationships with women—or, more accurately, the lack of them—are not only a modern concern, however. Handel’s first biographer, the clergyman John Mainwaring, deals with the “problem” near the beginning of his account, published in 1760, the year after Handel’s death: "In the sequel of his life [Handel] refused the highest favors from the fairest of the sex, only because he would not be confined or cramped by particular attachments." Handel, it seems, was married to his art. Yet his contemporary J. S. Bach was even more prolific than Handel in ever sense: Bach fathered more notes of music and some twenty kids. There was indeed a “problem.” Mainwaring’s tactic informed many subsequent attempts at explaining away Handel’s bachelorhood. The most transparent and fragile of such attempts, especially for all its over-confidence of denial came in Columbia Professor Paul Henry Lang’s 1966 biography. Lang admitted that his subject’s sexuality had "puzzled his biographers for two hundred years" but then tries to cover all bases by claiming that although Handel had no "time for serious engagement with women," he was nonetheless “attracted to women in all stages of his life.” Lang grasps frantically at the flying sheets of tautology, asserting without evidence that Handel was of “normal masculine constitution." Like all other music historians, Lang made abundant use of Mainwaring, whose source for much of his biography was likely Handel himself, and one can imagine the aged, blind composer recounting the appetites and affairs of his youth in a code both palatable to him and to the much younger cleric. There is coy talk in Mainwaring’s biography of a youthful liaison with a beautiful singer Vittoria Tarquini. The alleged affair took place in Florence in 1707 during the production of Handel’s opera, Rodrigo. According to Mainwaring—and one can only hear Handel’s voice in all this—Vittoria was then the mistress of Handel’s patron, Ferdinand de Medici, Grand Duke of Tuscany. Mainwaring writes that “Vittoria was a fine woman, but from the natural restlessness of certain hearts, so little sensible was she of her exalted situation, that she conceived a design of transferring her affections to another person.Handel’s youth and comeliness, joined with his fame and abilities in Music, had made impressions on her heart. Tho’ she had the art to conceal them for the present, she had not perhaps the power, certainly not the intention, to efface them.” This seems to say in the most round about way, that Handel wet his quill in something other than ink in debauched Italy. The pair later hook up in Florence. According to this story, Vittoria’s affair with Handel would have been secretive and highly risky because she was Grand Duke’s lover. In fact, this Medici was a sexual omnivore whose appetites inclined steeply towards men; he infamously sampled at least one castrato as well, and probably many more. Reading the large, flashing print between Mainwaring’s lines one can pretty easily infer that the affair was more likely between the Grand Duke and the young German Orpheus. Mainwaring mistakenly believed—again, likely relying on Handel’s faltering and selective memory—that Ferdinand had encouraged Handel to make his obligatory trip to Italy. Ferdinand’s reasons were purely musical, of course. What would the history of art and music be without lecherous patrons? Ferdinand would then have been Florentine ambassador in Hamburg, where Handel was just getting his start in the world of international opera. Handel vows to make the journey, but refuses Ferdinand’s offers to fund it. Instead, Handel insists sending himself “thither on his own bottom”— an 18th century phrase whose polymorphous meaning now elicits from the modern reading a knowing wink or a foolish snigger. In fact, Mainwaring had the wrong Medici. Ferdinand was never in Hamburg. The Medici in question was Ferdinand’s younger brother, Gian Gastone, also homosexual. When Ferdinand died of syphilis in 1713, Gian became Grand Duke, and continued the late Medici course towards their historical cul-de-sac. Both he and Ferdinand were forced into childless marriages of convenience, and the Medici line died with them. Mainwaring tells us that as a reward for Handel’s Rodrigo, Ferdinand “presented [Handel] with 100 sequins, and a service of plate.” The stylish Grand Duke thus nurtured his young charge’s taste for the finer things. Like his cinematic embodiment, Krabbé, the real Handel had a thing for quality dinnerware and accessories. Whereas Handel’s sexuality was a problem for two hundred years of biography, it may now be an asset for the first time in the long history of Handel anniversary celebrations. BBC 3 is mounting a major Handel commemoration, along with year-long programs devoted to other composers whose births or deaths are also being marked: Purcell, Haydn, and Mendelsson. But Handel’s is a special relationship with the BBC: ironically, since Handel was a naturalized Briton, no composer has been more crucial to the formation of Britishness and to the BBC’s classical music mission. The BBC Handel web-site offers broadcasts, videos, blogs, and other internet enticements. The centerpiece of the celebrations will be the broadcast every Thursday of each of Handel’s 42 operas. The series begins on January 8 with Handel’s first Hamburg opera, Elmira, a piece heard and admired by Gian Gastone de Medici. A Roy Lichtentstein-style comic book image of Handel greets the web surfer to the BBC site. This Handel is not afraid to wear pastels. The promotional video featuring conductor and broadcaster Charles Hazelwood, the host of all the BBC’s anniversary commemorations, invites us to a year-long look at Handel and his music. One of the central questions, posed rather archly by Hazelwood, will be how it was that Handel “remained an enigma in his personal life” even while his music was so popular. Aside from the stage works, the BBC will also be offering oratorios and instrumental music, but it is significant that the operas, many of them now firmly established in the modern repertoire, should be the focus of the BBC’s Handel Year. Every Age creates its heroes anew: whether he likes it or not, one of the greatest men of the theater has finally come out of the closet. For The BBC Composer’s Commemoration Site go to: http://www.bbc.co.uk/composers/ David Yearsley,a family man, teaches at Cornell University. A long-time contributor to the Anderson Valley Advertiser, he is author of Bach and the Meanings of Counterpoint His latest CD, “All Your Cares Beguile: Songs and Sonatas from Baroque London”, has just been released by Musica Omnia. He can be reached at dgy2@cornell.edu
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