Michael Johnson is a music critic with particular interest in piano.
Johnson worked as a reporter and editor in New York, Moscow, Paris and London over his journalism career. He covered European technology for Business Week for five years, and served nine years as chief editor of International Management magazine and was chief editor of the French technology weekly 01 Informatique. He also spent four years as Moscow correspondent of The Associated Press. He is the author of five books.
Michael Johnson is based in Bordeaux. Besides English and French he is also fluent in Russian.
You can order Michael Johnson's most recent book, a bilingual book, French and English, with drawings by Johnson:
“Portraitures and caricatures: Conductors, Pianist, Composers”
Concert bookers around the world are lining up pianists and conductors for performances of Pictures at an Exhibitionnext year, the 140th anniversary of one of the most frequently performed, distorted, and some say “butchered” masterpieces of 19th-century Russian music. And yet it is sure to be a celebration of what the late pianist Sviatoslav Richter called the “best Russian work for piano, amen.” At least, he might have added, when performed as Modest Mussorgsky wrote it. Lesser performers and composers have never ceased tinkering with it, much to the detriment of the inspired original.
A suite of ten short pieces linked by a recurring “promenade,” Pictures renders in musical language a ramble through an art exhibit in Tsarist St. Petersburg. No piano writing of its period quite measures up to it for its oh-so-Russian sonorities, harmonies, and jolting changes of mood. Among the hundreds of recordings available, Richter’s 1958 recital in Sofia, Bulgaria, is regarded as the gold standard. “Here the piece has incredible pianistic color,” William Grant Naboré, director of the International Piano Academy on Lake Como, Italy, tells me. “It has Russian soul, yes, but it also looks beyond Russia.” The Richter performance is still a favorite of music-lovers:
Mussorgsky’s creative storm forPictureswas almost frightening in its intensity. Musical ideas from his viewing of the artwork flooded his mind over twenty days as he struggled to structure what he was hearing in his head. “I can hardly manage to scribble it down on paper fast enough,” he wrote in mid-composition; “I think it is working.”
As with most great classical compositions, the impression ofPictureson the listener deepens and broadens upon second and third hearings. Details emerge and images come to life as the music evokes bells, children on a playground, women quarreling at an open market, two Jews in conversation and a peasant singing as he drives a rumbling wooden cart, among other scenes. Audiences love it for its charm and easy accessibility. “Picturesis a truly Russian work in its directness of expression, its form arising from content, and its summing of parts rather than organic growth,” wrote British music academic Michael Russ in an extended monograph on the piece. “Mussorgsky prefers to depict real life rather than the spiritual, romantic, sensuous or erotic.”
The piece becomes more poignant when you consider its genesis: Mussorgsky wrote it shortly after his friend, the architect-artist Viktor Hartmann, had died at the age of 39 from sudden heart failure. The two men had found common ground over their views on the arts in Russia and were on a sort of crusade against excessive Western European influence.
Mussorgsky, an impulsive, temperamental genius with an appealing comic streak, began as a pianist and popular composer of songs. Voice gradually became his special interest. BesidesPictures, his other lasting contributions are his great operas –Boris GodunovandKhovanshchina. As a music innovator, he was a charter member of the group variously known as “The Five,” “The Mighty Handful,” and “The Mighty Coterie,” consisting of himself, Nikolai Rimsky-Korsakov, Mili Balakirev, Alexander Borodin and César Cui.
Artist Hartmann gets little credit forPictures, although without him the music would never have been composed. He was no Rembrandt, but he worked tirelessly during his short life and left a copious legacy. For one architectural competition he produced seven hundred sketches. He dabbled in stage sets, teacups, lamps, picture frames and jewellry but his most accomplished works were watercolors and pencil sketches. The sole extant Hartmann architectural construction is the Russian Milleniary Monument at Novgorod dating from 1862.
Only about sixty-five of his paintings and sketches have survived Russia’s diasporas, wars and revolutions. The teacups and other ephemera have long since vanished.
Hartmann’s architectural creations often featured carved-wood filigree and quaint, impractical peasant ornamentation. Columns and pilasters were replaced with wooden filigree under the eaves, roosters and colored tiles in complex patterns. Mussorgsky, for his part, exhumed country folk music and dances and then felt his way forward on instinct. His brother Filaret recalled that the composer, who was largely self-taught, had a love for “everything connected with the people and the peasantry. Even the Russianmuzhikwas a human being in his eyes.” For most of the educated or aristocratic population, the Russian peasant was then considered equivalent to a farm animal, bought and sold “like a sack of corn or a cart-horse,” wrote a Mussorgsky biographer.
Their efforts were short-lived, however. “Russian music,” wrote one critic, “ had the vitality to break up the 18th century tradition but not the continuity to build up another. Like nomad Tartars, the Russians razed Western buildings to the ground but replaced them with gaily painted tents.” In retrospect, this seems a harsh indictment of the Russian tradition and the stalwart compositions that remain in the repertoire today. But without a doubt Russian music moved on: Stravinsky, most notably, came next.
Pictureswas slow to settle into the music scene after it was first published in 1886 – five years after Mussorgsky died and twelve years after it was completed. Even the initial published version was distorted. Rimsky-Korsakov, a former roommate and protector of Mussorgsky’s legacy, was the first to massage it. “With the best of intentions, Rimsky felt obliged to emend some of Mussorgsky’s more daring touches,” wrote German musicologist Manfred Schandert in his commentary on the urtext manuscript. It nevertheless remained little known for decades, rarely performed in recitals and too difficult for amateurs to play at home. (A pianist friend of mine in London today raises one eyebrow and warns of its “tight corners.”) Only in 1922, after Serge Koussevitsky commissioned Maurice Ravel for an orchestration, was it brought to life in a new orchestrated version, Westernized, Frenchified and popularized in the form most concert-goers know today. The accurate and “daring” piano original was then finally published in 1931.
In the years since, orchestrators, adapters and performers have never stopped trying to make it better, or at least leave their own stamp on it. Russian-born Vladimir Horowitz wrote a personalized version of it for piano in 1947, “wild, dirty and explosive,” says Naboré. The full suite à la Horowitz is still available here:
Roughly thirty-eight full orchestrations ofPicturesare catalogued and another forty or fifty adaptations—many of them on the goofy side—can be found by trawling the web. Eclectic versions for a synthesizer, electric guitar, seven trombones, 23 clarinets, various chamber combinations, three pipe organs and percussion, accordion, women’s choir, men’s choir, a glass harp, indeed nearly every instrument known to Western man including a Kentucky jug band – if a jug can be called an instrument. The effect on the ear ranges from stirring (the trombones) to outrageous (Emerson, Lake and Palmer rock band), to just too French for words (the Ravel orchestration, by far the most popular), to cotton candy (Cailliet). For an ear-bending kazoo and pennywhistle parody, Canadian musician Friendly Rich’s orchestra recorded this tribute, which he admits is a friendly butchering:
Such heavyweights as Ravel, Leopold Stokowski, Vladimir Ashkenazy, Lucien Cailliet (for Eugene Ormandy’s Philadelphia Orchestra), Sir Henry Wood and Leo Funtek produced orchestrations.
But it is Ravel’s version that causes the most controversy among the cognoscenti. Russians, who feel they own this music, find his treatment – especially the inclusion of a saxophone – grossly inappropriate. Worse, he is also accused of reproducing errors from an inaccurate piano score. These shortcomings have not prevented the Ravel estate from making millions in royalties, however, as the orchestration became integral to the repertoire throughout the world. Even today the fees can be prohibitive, depending on the orchestra and its audience. Swedish movie director Christopher Nupen recalled for me his decision to drop the costly Ravel version he planned to use in a documentary film on Ashkenazy. Instead he opted for the orchestration by Leo Funtek, the Slovenian-born composer who made his life and career in Finland. As a bonus, Funtek hewed closer to the piano score – and included no offending saxophone solo. Later, Russian-born Ashkenazy undertook his own orchestration to restore “complete loyalty to Mussorgsky’s idiom.” Besides, he adds, “in my version these mistakes can be put right.”
Sviatoslav Richter’s criticism went much further. He said in an interview shortly before his death that he consideredPicturesto be the “most profound masterpiece of Russian piano music”. But when the Frenchman tried to improve it, Richter felt, the results were disastrous. “I loathe and abhor” the Ravel piece, he said. The orchestration is “an abomination, a terrible, decorative travesty.” The interview was published in book form and as a DVD by documentary maker Bruno Monsaingeon asRichter: The Enigma, a rare extended conversation on Richter’s life and piano career that electrified the music world.
Julian Lampert, a U.S. composer-pianist of Russian descent, tells me he also finds the Ravel version a clash of opposites. It reminds him, he says, of “Grand Marnier poured over potatoes and kasha.”
Music scholars argue in several biographies and monographs over the glories and tragedies of Mussorgsky’s artistic life, focusing first on the spelling and pronunciation of his family name. Variations through the ages had no letter “g,” hinting at the root “musor,” meaning garbage, mucous, or in current slang, “policeman.” One Russian friend tells me she recalls giggles in the classroom whenever Mussorgsky’s name was mentioned. The syllabic stress was eventually shifted and the letter “g” was inserted by Filaret, Modest’s “snooty” brother, to clean up the name, according to one scholar. Nevertheless, Modest took pleasure in jokingly signing lettersMussoryanin(in Russian, “he who lives in garbage”).
When Mussorgsky turned his talents toPicturesin 1874, shortly after finishing his great operaBoris Godunov, he selected ten works from the 400 on display at the Hartmann posthumous exhibit to portray in music. They provide one of the earliest and most direct examples of “program music”, the creative process for translating the visual into music. Ironically, six of the ten pictures in the “profoundly Russian” suite were produced during Hartmann’s travels in France, Italy and Poland.
Mussorgsky invented a unique structure to tie the ten pieces together. The pictures are linked by a recurring theme, a “promenade”, to evoke the wandering of an exhibit visitor. The viewer, Mussorgsky himself, first stops at a drawing entitled “The Gnome,” an awkward, jumping dwarf that in its musical depiction was considered “an incredible piece of audacity” in the way it departs from traditional piano writing. Next he stops atIl veccio castello(The Old Castle), painted during his trip to Italy. The music brings out a heart-rending melancholy line, evoking a troubador performing before the castle. The controversial saxophone appears in this part. A short promenade returns, then the viewer comes toTuileries, subtitledChildren’s Quarreling at Play. Here the music echoes the sound of animated young voices, one of Mussorgsky’s most effective translations of human sounds onto the piano. The frolic and romp of the children virtually leaps from the piano. Next comes a watercolor of a large wooden wagon, titled in Polish “Bydlo,” that combines thick, ponderous left-hand chords of the giant wooden wheels overlaid with a folk tune being sung by the driver.
A quiet promenade intervenes, then at No. 5 the visitor discovers theBallet of Unhatched Chicks, a sketch of costumes for a ballet called “Trilbi,” and it appears musically as a charming scherzino that breaks the heavy mood and substitutes a feeling of wild gaiety among privileged children. Next comes another watercolor, this one titled “Samuel Goldenberg and Schmuyle,” which Mussorgsky explained as his attempt to “get at Hartmann’s Jews” and to reproduce more “intonations of human speech.” The music replicates a comfortable Jew speaking in a deep, rumbling voice, alternating with the whining tremulo of the poor Jew.
The longest promenade of the set follows, as the listener imagines the viewer pausing, moving on from picture to picture, finally settling at Limoges, usually subtitled “The Market(The Big News)” which he called “a study in intonation,” again picking up sounds of animated chatter. The musical outbursts here were invented to mimic women bickering and exchanging their version of news of the day.
Without a promenade, Mussorgsky next takes directly on to theCatacombs(A Roman Sepulchre)” in Paris, that flows from a haunting introduction into a subtheme, “Con mortius in linua mortua, bastard Latin for “With the dead in a dead language.” The eerie melody is Mussorgsky’s translation of a visit to the “place of skulls,” as he wrote on his score, and as he calls out to the macabre scene, “the skulls begin to glow faintly from within”. And on to No. 9, a sketch known as “The Hut of Baba-Yaga,” one of the most exciting passages in the suite, a wild scherzo with unusual harmonies and halting melodies. Hartmann has borrowed “Baba-Yaga” from Russian folklore, a witch who lives deep in the woods in a hut on hen’s legs. This creature was best rendered by Pushkin in his introduction toRuslan and Lyudmila. Mussorgsky’s witches’ ride is one of the most interesting of the entire suite for its thumping rhythms and memorable melodies.
The finale is the now-familiar “Bogatyr Gate, the Great Gate of Kiev,” based on one of the better-known Hartmann sketches, a monument to Tsar Alexander II’s escape from an assassination attempt. He won the design competition for Kiev Gate, with a Slavic war helmet atop it instead of the usual onion dome. He regarded it as his finest work. The monument was never built but the music made it memorable in different artistic terms. The gate provides a finale that calls on the full range of the keyboard and its arpeggios, including bell-like chiming in the upper register – rendered in most orchestrations as a mighty climax with sets of bells hammered by percussionists. The effect, even for critics of Ravel, can be breathtaking. In this version, Gustavo Dudamel conducts a Venezuelan youth orchestra in the Ravel version:
Late in life, Mussorgsky’s tragedies multiplied. His operas were dormant or unfinished, his piano suite unpublished and his own creative talents in remission. He ended his life as an unpaid assistant teacher at a school for singers, and was reduced to accompanying them on tour. He suffered bouts of depression and struggled with alcoholism. Epileptic seizures became more frequent. Virtually dysfunctional, he was sacked from a civil service post that had provided a subsistence income in 1881.
His last public appearance as a soloist was at a January 25, 1881, commemoration of Dostoevsky’s death, where he improvised a funeral march. The audience stood in respect – as much for the music as for the deceased.
Mussorgsky was destitute and close to begging in the street when he sat for a portrait by his friend the renowned painter Ilya Repin. The portrait depicts a man in distress, clothed in a dressing gown, disheveled, disoriented, uncombed. His nose is painted red, reflecting a long period of alcoholism. Mussorgsky died March 16, 1881, at 42 just 11 days after the painting was finished, alone in a hospital where he was being treated for a stroke.
“Pure as crystal, against the dark background of his tragic destiny, the soul of this incomparable artist stands out,” concluded biographer Oskar von Riesemann.
The story of Modest Mussorgsky contains many of the elements of the tortured Russian soul of 19th century fiction – a majestic natural talent, the rise to public acclaim, then a loss of creative power, descent into alcoholism and despair, and a pathetic, lonely death. Scholars and musicians today agree on Mussorgsky’s greatness as a creative force. His legacy is validated by his continued presence in opera houses and concert halls around the world, and popularity 130 years after his death that has inspired a broad spectrum of interpreters.
This article is brought to you by the author who owns the copyright to the text.
Should you want to support the author’s creative work you can use the PayPal “Donate” button below.
Your donation is a transaction between you and the author. The proceeds go directly to the author’s PayPal account in full less PayPal’s commission.
Facts & Arts neither receives information about you, nor of your donation, nor does Facts & Arts receive a commission.
Facts & Arts does not pay the author, nor takes paid by the author, for the posting of the author's material on Facts & Arts. Facts & Arts finances its operations by selling advertising space.
EXTRACT: "Barack Obama cautioned in his final speech as president that, “Our democracy is threatened whenever we take it for granted.” Yet isn’t that exactly what America has been doing? In a decade punctuated by the global financial crisis, the COVID-19 crisis, a racial-justice crisis, an inequality crisis, and now a political crisis, we have only paid lip service to lofty democratic ideals. ... Sadly, this complacency has come at a time of growing fragility for the American experiment. Internet-enabled connectivity is dangerously amplifying an increasingly polarized national discourse in an era of mounting social and political instability. The resulting vulnerability was brought into painfully sharp focus on January 6. The stewardship of democracy is at grave risk. "
EXTRACT: "To be sure, if cornered, any populist might resort to Trump’s endgame methods: trying to coerce elites into committing fraud to prevent a transfer of power, or deploying right-wing extremists on the ground to intimidate lawmakers. These desperate acts signaled Trump’s weakness. But it is important to note that most Republicans still did not disown Trump even when confronted with his blatant lawlessness on January 6. ... Other right-wing populists may well take notice of this fact. The recent events in the United States have shown that elites who are prepared to collaborate with authoritarians will tolerate quite a lot in the end. This ignominious precedent is especially likely to hold true in other countries where crony capitalism has implicated the business community in illegal behavior."
EXTRACT: "May, a decent and honest woman, was far outdistanced by her successor and his colleagues in the Trump sycophancy stakes. In January 2017, Johnson’s senior fellow Brexiteer and principal ministerial fixer, Michael Gove (a former journalist with The Times newspaper), conducted an interview with then President-elect Trump that plumbed new depths of oleaginous toadyism.
Gove wallowed in Trump’s endorsement of Brexit. It subsequently came to light that Gove’s then-employer, Rupert Murdoch, was in the room while the interview took place. And why not? The owner of Fox News as well as The Times was entitled to keep an eye on his two protégés."
EXTRACTS: "Does anyone really think that the vast majority of Republican legislators who could not bring themselves to object to the attempted coup at the Capitol — or any of the other outrageous antics Trump has unleashed on America for the past four years — will suddenly experience sleepless nights and pangs of conscience now that he is gone? Au contraire. This band of spineless, morally bankrupt congresspeople and senators are far more likely to follow Trump and carry Trumpism into the 2024 presidential election." ..... "A recent survey of Europeans revealed that the majority believe that America’s political system is hopelessly broken, that President Biden will be unable to halt its decline on the world stage, and that China will become the world’s leading power within a decade. What if they are right? America’s Trump-inspired death spiral has practically ensured any real recovery will likely take decades — and multiple terms with a Democratic president and Congress at the helm — to achieve."
EXTRACT: "What our polling tells us is that what the peoples of Middle East want is regional unity and investment in the future that can bring peace and prosperity. They’ve had enough of war and want stable employment, education, health care, and better future for their children. It’s time we start listening to them."
EXTRACT: "Trump intentionally and directly incited the insurrection of January 6. But he does not bear sole responsibility. Every one of his enablers, and the enablers of his enablers, is guilty. Fox Corp’s hidden backers, especially those who are so fond of touting their piety, must now ask themselves, as the Gospel of Mark instructs: What does it profit a man to gain the whole world, and forfeit his soul? "
EXTRACT: "What’s astonishing is that the bottom 50% reduced their borrowing over roughly the same period, but their debt servicing costs increased. Over this time, smaller corporations saw their profit margins dip consistently into negative territory. The decades-long fall in interest rates appears to be the only thing that has kept smaller corporations afloat.
Smaller corporations thus appear to be caught in a vicious circle. The fact that their debt-servicing burdens have increased sharply despite deleveraging and falling interest rates points toward rapidly deteriorating financial fortunes. This is reaffirmed by the severe losses registered in their negative profit margins."
The answer can’t be to pretend that the crisis is now over or to believe that the way forward can be found by simply impeaching the President or using the 25th Amendment to remove him from office. That will not do. January 6th had antecedents. And more than one man has responsibility for what happened."
EXTRACTS: ”Not everyone who mobbed the Capitol on 1/6 was a terrorist, but there were many terrorists among them. Some people came armed, or with ties for taking congressional representatives and senators hostage. Some were desperately looking for Mike Pence and Nancy Pelosi in order to assassinate them….” ……
”Although the Capitol police had a major failure when they did not stop the breach of the building by the mob, they were remarkably successful at spiriting the politicians down to the basement and its tunnels that led to nearby offices.” …..
“The goal of the Trump-inspired insurrection was to stop Congress from certifying the election of Joe Biden as president. Trump moved on several levels to accomplish that goal. He conspired with senators to have them object to the Arizona and Pennsylvania vote counts. In fact, he was trying to convince senators to join this effort by telephone even after the Capitol had been breached and senators were being escorted to the basement, according to Mike Lee. He also tried to disrupt the proceedings by encouraging the breach of the Capitol by a flashmob and by cadres. He may have stopped security forces from being deployed, as part of his coup, to ensure that the insurrection was not stopped prematurely.” ……
“Significant blows have been dealt to the Trump terrorist network in the past two days, but the vast well of support it has built up among less violent supporters, and among media enablers like Fox, Breitbart and Newsmax, will make it very difficult to root out.”
EXTRACTS:"Trumpism may survive under a different leader. This is what a politician like Senator Ted Cruz of Texas is hoping. His attempt to pander to Trump’s voter base by sabotaging President-elect Joe Biden’s victory is a play for a future presidential run. But Cruz lacks the vulgar charisma of Trump. He is a highly-educated cynic, a ruthless political operator, but not someone who can easily inspire the masses."....... "More than most of his colleagues in the demagogue business, Trump is a creature of show business. His great success was not in real estate; he was in fact a terrible businessman, blundering from one failure to another. What made him was a television show. That is what boosted his brand, which he has used with a truly mammoth talent for self-promotion. Cruz, Josh Hawley, Tom Cotton, or Marco Rubio – all Republican senators with ambitions to follow in Trump’s footsteps – don’t even come close."
........ "And Trump’s followers will lose their messiah. Without Trump’s bizarre but effective grip on the party, Republicans may well face a period of vicious infighting, which could conceivably tear their party apart. If so, they richly deserve it."
EXTRACTS: "The world needs an America it can believe in. America needs to invest real time, energy, and resources in re-establishing the pre-eminence of truth and trust. It took generations to build it but just four years to destroy it." ..... "If it can happen in America, it can certainly happen anywhere else. America must now prove to the world that it can pick itself up, dust itself off, and get and stay on a path so many people in the world aspire to be. It will take a Herculean effort on the part of Mr. Biden and the Democrats to do so. If they fail to do so, it is arguable whether America can ever again claim to be exceptional."
EXTRACT: "Congress has a right, but not a duty, to impeach. Sometimes, lawmakers might simply tolerate certain presidential misdeeds, having concluded that the costs of pursuing further action would outweigh the benefits. But this is not one of those times.
Just as the act of punishing a public official sends a message about a polity’s moral commitments, so, too, does a failure to punish when it is warranted. By voting to acquit Trump last year, after the House of Representatives impeached him over the Ukraine scandal, Senate Republicans signaled that they were sticking with a career criminal, come what may. Trump enablers like Senator Susan Collins of Maine hoped that those proceedings would teach Trump a lesson. And so they did: Trump learned that there were no consequences for illegally coercing others into doing him favors and rigging elections on his behalf. ............
Plenty, like Senators Josh Hawley of Missouri and Ted Cruz of Texas, have bet their political fortunes on genuflecting to America’s burgeoning far-right movement. But others might now be looking for a way out of the Trumpian maw. The storming of the Capitol demonstrated that you cannot have QAnon à la carte; neither Trump nor his Republican collaborators can control the forces they have unleashed. The revolution always devours its own children, and sometimes their fathers, too. If Republicans fail to de-Trumpify fully and immediately, they will learn that for themselves – but not before things get much, much worse."
EXTRACTS: "Barack Obama had his flaws as a president, but he always exuded an air of dignity and refinement. Few presidents in history have his gift for English prose. Obama is not only a stylish writer, but a discerning reader. His behavior in office was always impeccable, and he and his wife, Michelle, are the model of a highly civilized couple .... And that is precisely what some of his opponents could never abide. Racists hated the very idea of being governed by a black man. But the fact that he was such a well-educated and cultivated black man made his ascent to the highest office even more intolerable ........ Trump had to erase the image of high civilization that Obama represented. He had to drag it down to his own level. "
EXTRACTS: "American capitalism is not serving most Americans. While educated elites live longer and more prosperous lives, less-educated Americans – two-thirds of the population – are dying younger and struggling physically, economically, and socially.
This growing divide between those with a four-year college degree and those without one is at the heart of our recent book, Deaths of Despair and the Future of Capitalism. The rise in deaths that we describe is concentrated almost entirely among those without a bachelor’s degree, a qualification that also tends to divide people in terms of employment, remuneration, morbidity, marriage, and social esteem – all keys to a good life ....... The US economy has long been experiencing large-scale disruption, owing to changes in production techniques (especially automation) and, to a lesser extent, globalization. The inevitable disturbances to employment, especially among less-educated workers who are most vulnerable to them, have been made vastly worse by the inadequacy of social safety nets and an absurdly expensive health-care system. Because that system is financed largely by employer-based insurance, which varies little with earnings, it places the greatest burden on the least skilled, who are priced out of good jobs."
EXTRACT: "For the sake of comparison, it is worth remembering just how disastrous the 2000-15 period was for US incomes. Whereas the median real (inflation-adjusted) household income in 2000 was $62,500, in 2011 it was a mere $57,000. Only in 2016, President Barack Obama’s last year in office, did the median real household income clear its 2000 peak. And only during the first three years of the Trump presidency did incomes continue growing strongly enough to surpass the previous high tide. In 2019, the median household income was closing in on $69,000, more than 20% above the post-Great Recession nadir, and 10% above the previous Clinton-era peak ............What explains these trends? For starters, between 2001 and 2016, the US government did not emphasize the need to achieve a high-pressure economy that eliminates the economy’s demand shortfall, which is what it takes to deliver large wage increases for typical workers. In 2010, when the Obama administration began its pivot to austerity, it de-prioritized restoring employment to normal levels in the interest of pursuing spending cuts and fiscal consolidation ...........the siren song of austerity can today be heard once again. A growing chorus of commentators is insisting that near-zero interest rates are unnatural, and that the deficit needs to be cut substantially ...........Back in 2012, Lawrence H. Summers, fresh from a stint as Director of the US National Economic Council, and I tried to warn policymakers about the error of this line of thinking. We failed, ........ "
EXTRACT: "The longer-term consequences of the COVID-19 cycle are likely to be more severe. While mass vaccination points to an end to the pandemic itself (one hopes by late 2021), it does not provide immunity against lasting economic damage. Recent research on the impact of 19 major pandemics dating back to the fourteenth century – each with death counts in excess of 100,000 – highlights the long shadow of the economic carnage. Real rates of return on “safe” European assets – a measure of the interplay between aggregate supply and demand – were found to be depressed for several decades following these earlier horrific outbreaks."
EXTRACT: "US President-elect Joe Biden’s economic-policy agenda differs markedly from that of President Donald Trump. But Biden’s ability to enact his proposals will depend on three factors: the final composition of the Senate; his ability to learn from past successes and failures (not least the historically anemic Obama-era recovery); and whether the US economy can avoid a growth-sapping shock."
EXTRACTS: "As is evident by Trump’s withdrawal from the Paris Climate Agreement, the Joint Comprehensive Plan of Action, the Trans-Pacific Partnership, UNESCO, and the UN Human Rights Council, many of America’s allies now question some fundamental tenets of American commitment and leadership.
China’s willingness and ability to step in and take up some of the slack that has resulted says as much about Washington’s self-imposed weakness as it does about Beijing’s fundamental strength..........Regardless of what overtures the Biden administration makes and which objecrtives it is able to achieve in its first year, the carnage left in the wake of Trump’s exit will take many years – perhaps decades – to reverse..........Many of the world’s people never believed that the outrages that occurred during Trump’s tenure were even possible in America. Trump has proven that it is not only possible, but that it could happen again, as it is widely presumed that Trump will run again in 2024 and again win the Republican nomination for president. That is, perhaps, the most enduring legacy of the Trump era, which makes the debate about whether the world is better off with American or Chinese leadership less easily dismissed."
EXTRACT: ".....strikingly, exit polls suggest that Trump actually gained support from all of the demographic groups that he had maligned, insulted, and harmed, garnering more black, Hispanic, and Muslim votes than he did in 2016. Asian-Americans also pivoted to Trump, voting for him by a larger margin than they did for him in 2016. And Trump won around 55% of white women in 2020. In two consecutive elections, the majority of white women chose a blatant misogynist over a female presidential or vice-presidential candidate........
Trump’s trade war with China, moreover, had a devastating impact on rural America. But that didn’t stop him from winning Iowa and other farm states by a healthy margin. Likewise, some first-generation Chinese immigrants (with PhDs and Ivy League credentials) are fervent Trump supporters, despite his malicious labeling of COVID-19 as the “China virus.”.........
The common foundation supporting this vast Trumpian tent of rural whites, Latinos in Texas, Chinese-American entrepreneurs, white suburban women, and a small but growing share of black men is a deep-seated notion of authority – a more primordial disposition than ethnic tribalism, religious affiliation, and sexual identity. These voters worship power and the powerful, and identify with all exercises of power by their chosen leader."
EXTRACT: "In 2014, almost one-half of Iranians felt their country “should have the right to a nuclear weapon because it is a major nation.” After the framework agreement was announced in 2015 support for that proposition dropped to 20%. Following Trump’s decision to withdraw from the deal, the percentage of Iranians who felt they had a right to a nuclear weapon because they are a major nation rose again to 40%. "