“Sweeney Todd”

Epiphany: Ted Kaczynski Was Substantially Right, And I’m Beginning To Understand Sweeney Todd, Too

/ Jack Marshall / 19 Comments

The death of “Unabomber” Ted Kaczynski once again reminded me that his “manifesto” about how technology was progressively making life unbearable was, yes, crazy, but he had a valid point. [You may consider today’s post a second installment to this one, from 2017]. I have long believed that the up-tick in seemingly random mass shootings is the predictable result of those who inject technology into our lives just because they can, selfishly making just getting through the day brain-killingly complex for people somewhere in the lower third of the intelligence scale, and a lot of people who are better off than that too. At some point, the anger and frustration reaches the point where you want to grab a rifle, find a tower, and start shooting.

This is essentially what happens to Sweeney Todd in the Sondheim musical of the same name, as he explains in the show’s first act finale why serial killing is logical:

We all deserve to die
Tell you why, Mrs. Lovett
Tell you why
Because the lives of the wicked should be made brief
For the rest of us, death will be a relief
We all deserve to die!

I began reflecting on both Ted and Sweeney when I tried to register for the Massachusetts Bar before they suspended me for non-payment of my 2023 annual dues. You have to do it online, and one reason I was late was that I hate the Mass. Board of Bar Overseers website, which always breaks down.

First, the site makes you log in. It wouldn’t let me, even though the password was correct and supposedly filled in automatically. The BBO can’t be bothered to have the feature that lets you see the letters and numbers so only little black dots appear. I had to ask to “reset” my password. Since I couldn’t see the figures, it took two tries to match the the thing, and then I was transferred to a page informing me that I could not move on to filling out my dues sheet until I had completed a “demographic survey.” I’m tempted to put it up: you wouldn’t believe it. If you didn’t type in a date in the right format (I eventually realized that tiny print AFTER each question told you what was acceptable) the question would register as “incomplete” when you selected “Done” at the end. The survey asked me to choose my “preferred” race and ethnicity from umpteen options and also asked which “sex or gender” I “identified” as. (In the comments section, I wrote that who or what I chose to have sex with, or not, and how, was none of the BBO’s business whatsoever.) The survey form was clumsy as well as insulting, it kept flagging reasons a response wouldn’t be accepted, and it took so long to load when it finally passed muster that I thought the program had broken down.

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Of The Great Noodle Ordeal, Sweeney Todd, Stressors, and The Importance Of Ethics In Stopping Mass Killings

/ Jack Marshall / 17 Comments

http://www.youtube.com/watch?v=Pl9XSLbpdEg

I have a theory about mass killings, and it is neither original nor exclusive: in fact, it has been proposed in various forms for at least a  century But I think it is worth considering.

I think that the smart, creative, intense, ambitious, restless and entrepreneurial people in this country keep designing an environment, and forcing it on us whether we like or need it or not,  that is increasingly, and ultimately unbearably, hostile to those who are not smart, creative, intense, ambitious, restless and entrepreneurial. I think that as life becomes increasingly stressful and confusing for average people—remember, about half of the public is below average intelligence, and even average intelligence is nothing to jump up and down over—they are more likely to reach what the serial killer profilers on “Criminal Minds” call “stressors”—the final straw, the moment when they see red, and deadly fury takes over. On the TV show, of course, the stressor is the death of a child, or a firing, or the onset of an illness, or financial setbacks. But I can see it simply being the realization that life is hopeless…that it is always going to be a miserable, frustrating struggle, and that powerful, rich, meddling people are at work always finding ways to make sure it gets harder and harder, and ultimately futile, for normal human beings to get through the day.

I entertain delusions that I am smarter than the average bear, and I can barely stand it myself. Yesterday, stuck at La Guardia, I wanted to get some food in the a terminal’s food court. The place I chose had just added computerized self-ordering on iPads. I’m not intimidated by iPads; I use one. The woman in front of me, however, stared at the device—there were no readily available employees to guide her through it—as if it were a space alien. She pushed some buttons, sighed, and gave up. Continue reading →

“Finishing the Hat”: Sondheim, W.S. Gilbert, and Expert Malpractice

/ Jack Marshall / 10 Comments

Stephen Sondheim’s “Finishing the Hat” is a fascinating reflection on a remarkable career and the craft of making musicals by the greatest living master of the form. In the course of recounting his formative years, triumphs, failures, and duels with producers, authors and composers, Sondheim also critiques the lyrics of his predecessors, contemporaries and role models—as long as they are dead. In a nod to gentility or cowardice, the only living lyricist he subjects to his expert critiques is himself.

Sondheim is a tough judge, as one might expect from a composer/lyricist who meticulously measures each vowel sound and stressed syllable for maximum effect. He is also, by virtue of both his reputation and technical expertise, an influential one. The lyricists he grades highly in the book, such as Frank Loesser, Cole Porter and Dorothy Fields, are likely to have their reputations burnished by his praise, and those he slams, like Lorenz Hart and Noel Coward, will suffer by comparison. Because of this, Sondheim had an obligation, as a respected expert in his field, to make each case carefully and fairly. To his credit, Sondheim seems to recognize this, and all of his critical discussions of an individual lyricist’s style and quirks include specific examples and careful analysis. We may disagree with Sondheim as a matter of personal taste, but it is difficult to argue with his specific points, because they are backed up by examples, technical theory, and the weight of his authority.

It is therefore surprising and disappointing to see Stephen Sondheim slide into expert malpractice when he undertakes, clearly half-heartedly, a critique of the lyrics of W.S. Gilbert, of Gilbert and Sullivan fame. Continue reading →