Jacob Heilbrunn is editor of The National Interest. He lives in Washington DC
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Freddy Gray talks to journalists Jacob Heilbrunn, the editor of The National Interest, and John Daniel Davidson, senior editor of The Federalist, about the beginning of public hearings at the House Select Committee into the events of January 6th 2021.
In the final year of Donald Trump’s presidency, I went to an event at the AFI Silver Theater and Cultural Center in Washington’s Maryland suburbs. The occasion wasn’t a film but an evening with Bob Woodward. He talked about the lessons of Watergate and what it was like to chase down all, or at least most, of the president’s men. He was, however, pretty coy when it came to talking about the big reveals he would make in an upcoming book about the Trump presidency. “Follow the money,” he winked. He intimated that there would be big revelations about Trump and Russia. What they might be he never said. The reverential crowd of several hundred Washingtonians was ready to burn incense at his feet. But the oracle simply refused to deliver.
In the late 1990s, I attended a conference on conservatism held by the American Enterprise Institute at the Mayflower Hotel. Various eminences of the right were in attendance, including Norman Podhoretz and Midge Decter. Podhoretz was on a panel with Glenn Loury, who had moved away from his conservative views, and Podhoretz ventilated his exasperation over this evolution. But the panel that really caught my eye was the one that Decter spoke on about American culture. She described a country in a state of breakdown, prompting her daughter, Rachel, to remark, “Mom, it isn’t that bad!” The audience laughed. For Decter, however, it was never a laughing matter. Decter, who recently died, formed what in retrospect can be seen as the vanguard of the culture war.
In his novel The Prime Minister, the fifth in the Palliser series, Anthony Trollope has Plantagenet Palliser, the Duke of Omnium, enunciate his political credo. The Duke explains to Phineas Finn, who recently defended him in the House of Commons from the charge that he tried to purchase a seat for one of his supporters, that the belief that “political virtue is all on one side is both mischievous and absurd. We allow ourselves to talk in that way because indignation, scorn, and sometimes, I fear, vituperation, are the fuel with which the necessary heat of debate is maintained.” Finn responds, “There are some men who are very fond of poking the fire.” Just so.
When Art Blakey’s Jazz Messengers visited Japan for a two-week tour in 1961, they were among the first Western groups to tour the country. It didn’t take much for the locals to get the message. The legendary drummer’s band contained what might be his strongest lineup ever — Lee Morgan on trumpet, Wayne Shorter on tenor saxophone, Bobby Timmons on piano and Jymie Merritt on bass — and they were greeted by elated fans upon landing at Haneda Airport on New Year’s Day. “It was like a florist’s shop,” Blakey recalled. “They wanted me to make a speech but I couldn’t. I just cried.” For the band members, this maiden voyage was a deeply moving experience. Back home, they had been relegated to playing, more often than not, in smoky jazz clubs.
Ukrainian president Volodymyr Zelensky is flying high. The contrast between Zelensky, who virtually addressed Congress this morning, and Russian president Vladimir Putin, who rarely appears publicly, becomes starker almost by the day. Putin believed that he could launch a Blitzkrieg attack that would topple Zelensky but the very opposite has occurred. It is Putin who is cornered while Zelensky basks in the world’s spotlight. In his address, it was shrewd of Zelensky to fold Ukraine’s struggle for independence into the American saga. Essentially, he appealed to the New World to redress the balance of the Old World.
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In his novel The Loyal Subject, which appeared on the eve of the first world war, Heinrich Mann, the brother of Thomas, satirised Wilhelmine Germany as a hotbed of chauvinistic nationalism. The servile nationalism that Mann mocked could not be further from the ethos of the Federal Republic of Germany today. So pervasive is Germany’s eirenic disposition that on Thursday, as Russian president Vladimir Putin ravaged Ukraine, Lieutenant General Alfons Mais, the head of the German army, took the unusual step of turning to LinkedIn to ventilate his exasperation at the impotence of his own fighting forces. ‘In my 41st year of peace-time service, I would not have thought that I would have to experience a war,’ Mais stated on Thursday.
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Freddy Gray talks to Jacob Heilbrunn, the editor of The National Interest, about Vladimir Putin's military action.
When it comes to music in the classical era, central Europe — or, to put it is where most of the action has taken place. Haydn, Mozart, Beethoven, Schubert and Brahms are, in a sense, the Big Five, commanding the limelight, with the likes of Mendelssohn and Mahler bringing up the rear. But if geography has somehow played a key role in the development of modern classical music, then another region has been gradually nudging its way into view. Names from northern Europe such as Kalevi Aho, Leif Segerstam, Per Nørgård and Vagn Holmboe must figure prominently in any tally of leading composers who have expanded the boundaries of musical expression.Take Holmboe’s brilliantly imaginative Concerto No. 11 for trumpet and orchestra.
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The only thing more sombre than President Joe Biden’s tone at his press conference on Friday afternoon was his funereal ensemble of dark suit and even darker tie. Biden made news with his declaration that the Russian president isn’t havering about invading Ukraine, if he ever really was. Instead, he’s made the decision, we were told, to attack Kyiv itself. A full blown invasion would be the big reveal, surpassing Hungary in 1956 or Czechoslovakia in 1968 If Biden’s remarks were anything to go by, Putin means business. Stories are circulating that Putin and his camarilla have drawn up extensive kill lists of prominent Ukrainians they intend to terminate in coming weeks.
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It’s springtime for liberal interventionism. Russian President Vladimir Putin may not have intended it, but he is doing a good job of revitalising Nato. The organisation was faltering only a few years ago. Now, by threatening Ukraine, Putin is probably extending its lifespan by several more decades, a feat that even the most ardent Atlanticists in Washington could not have accomplished on their lonesome. Recall that after the Iraq war, realism was in vogue. The talk was about restraint and realism, national interests and sobriety. President Donald Trump inveighed against the chiselers in Europe who were free-riding off of American largesse. President Joe Biden pulled out of Afghanistan. And now? Biden is sending arms to Ukraine.
It was Rust Belt versus Sun Belt. Over the holiday season, I visited Pittsburgh’s Heinz Hall, located in the heart of the city, and Miami’s New World Center, a concert hall in South Beach. The former, a one-time movie theater built in 1927, looks like an oversized jewel box stuffed with red velvet chairs and glitzy chandeliers. The latter, a spectacularly intimate venue designed by Frank Gehry, serves as the home of the New World Symphony, a local outfit that operates as a final training ground for musicians who have graduated from conservatories and want to go on to play in major orchestras. In their own way, each of the carefully executed performances underscored that the obituaries repeatedly pronounced for classical music as a preserve of elitist white males are so much bosh.
Joe Biden delivered. There was no somnolence, no quiescence. Instead, Biden lashed into his predecessor in unprecedented fashion to offer the most important speech of his presidency. It was a well-struck blow. Donald Trump cannot take Biden’s speech detailing his serial infamies lying down. Biden’s remarks were calculated to nettle, inflame and enrage Trump into further tipping his hand, such as it is. Biden, who was careful never to dignify him by mentioning his actual name, depicted Trump as a dissembler, a knave, a poltroon, a “remorseless, treacherous, lecherous, kindless villain” of Shakespearian proportions who is scheming, as far as possible, to subvert American democracy, whenever and wherever he can.
In Ravelstein, Saul Bellow’s thinly disguised account of the final years of the University of Chicago professor Allan Bloom, the narrator Chick and his close friend Abe Ravelstein go on a shopping spree in Paris sometime in the 1990s. For all their highfalutin philosophical talk about Athens versus Jerusalem and the like, Bellow makes it clear that there is a Dionysian as well as Apollonian cast to the bond between Chick and Abe. After departing the Hôtel de Crillon, their first stop is Lanvin. There, Abe is smitten by a beautiful flannel jacket retailing for $4,500. He buys it.
Jazz has periodically seen the rise of so-called “young lions.” The phrase was first used in 1961 as the title of a Lee Morgan LP put out by Vee-Jay Records, a black-owned company, with cover art that sports a photo of four lions lounging on a stone ledge. Then, in 1983, Elektra Records released an LP that was also titled The Young Lions, featuring Wynton Marsalis, Bobby McFerrin and a number of other young musicians who were focused on reclaiming the bebop tradition. Now, in late November, as Marsalis celebrated his sixtieth birthday with the Jazz at Lincoln Center Orchestra at the Rose Theater, his baritone saxophone player Paul Nedzela (as the New York Times reported) called out during a rehearsal, “It’s the Young Lions!
Last night was Liz Cheney’s breakout moment. As Cheney read the various text messages from various Fox News luminaries and Donald Trump Jr. to former White House chief of staff Mark Meadows, she milked the moment, lingering over memorable phrases such as "he’s got to condemn this shit ASAP." And yet Sonny boy's plea was ignored. The old man reveled in the feculent mayhem. Once seen as a neoconservative ogress, Cheney has now achieved full redemption, morphing into the darling of the mainstream media for her refusal to dismiss the mob on January 6 as a bunch of tourists who had accidentally strayed into the Capitol. This is Cheney’s High Noon.
There is a long tradition in jazz of duets between trumpeters and pianists. It’s a mercilessly revealing format, one that allows for no hiding on the part of either performer. But the payoff can be big. Consider the recording of the song “Weather Bird” by Louis Armstrong and Earl Hines in December 1928. Part of the epochal Hot Five and Hot Seven sessions that announced a new era in jazz, it featured Armstrong ripping up the old New Orleans playbook. Armstrong’s remarkable rhythmic innovations sometimes seem like the musical equivalent of a running back stutter-stepping to fake out his opponent before exploding downfield. He helped ensure that the Roaring Twenties really roared.
Congressman Adam Schiff is crowing. “It’s very positive,” he said on Sunday on NBC’s Meet the Press about the indictment of sometime Trump adviser Steve Bannon on two counts of contempt of Congress. He has a point. The indictment was never really about Bannon but about trying to create some shock and awe when it comes to eliciting testimony from other Trump janissaries such as his former chief of staff Mark Meadows. Bannon’s predicament, which he can try and spin to his personal advantage by portraying himself as a victim of the deep state, indicates that the January 6 commission is impeachment by other means.
As usual, P.G. Wodehouse put it best. “What is it Shakespeare calls sleep, Jeeves?,” Bertie Wooster inquires of his faithful manservant. “Tired Nature’s sweet restorer sir.” "Exactly. Well there you are, then,” Bertie complacently concurs. Perhaps it was this exchange that President Biden was pondering during the opening speeches at the COP26 when he apparently dozed off. A variety of interpretations of Biden’s behavior are possible. A charitable one is that he was behaving like any rational human being listening to a bunch of self-important gasbags would and simply tuned out. Another one, assiduously touted by his detractors, is that the old duffer simply can’t hack it any longer. Take him out in public for a few hours and it isn’t sleepy but somnolent Joe.
Heavens to Betsy! It seems that Tucker Carlson has gone full truther. Or, if you prefer, disinformer about the tawdry events of January 6, when a motley crew of Trump supporters and Oath Keepers, who often appear to be one and the same, somehow took it into their heads not simply to protest the outcome of the presidential election but to storm the Winter Palace. The trials of the perpetrators are ongoing. A House committee, which includes Liz Cheney as well as Adam Kinzinger, is investigating. And most Republican politicians, at least the ones with their eyes on regaining a congressional majority, are trying to put the episode firmly in the rear-view mirror. Not Tucker.
