PAGE 6 TUESDAY, FEBRUARY 24,1970 THE TECH

'_ta .". n· ': · . . ;C a' .a "!;.,;?. Fantasia: cold media, synesthesia, a-n anus' (Continuedfrom page 3) broom is shown in shadow, With` presses amazement that Tchai: aliy." Disney's artists, however, sion. During the Walpurgis Night soft and gushy musical the screen exploding in crimson kowski grew to hate t'he. work, were trained to, do the opposite: on Bald Mountain, flames erupt, minded, amazingly which are seen to consist .of of Lewis Carroll's as the ax drives home. since it is his most well-known a Disney cartoon is description is, it is "cold.-" dancing, naked women-a rather books, missing Alice's surrealism The Rite af Spring of Stravin- composition today. Paul Dukas !ife-like- that ski is billed as a scientifically. gets, perhaps mercifully, even Disney's backgrounds'., are interesting symbol for many and savagery entirely. That is, he accurate. His among them had accurate vision of the evolution less mention-in fact, none at all, photographically things, prominent did unto Alice as Disney animals are modified only to the female genitilia, :an d a Snow White. of life. We see volcanoes pump- as his Sorcerer's Apprentice is fear of tried to do unto satisfy .the requirements of con- symbol of the- male's. At any Leopold Stokowski was the ing magma to the earthy boiler introduced without a word as to noises of The Rite; the lava then wio wrote it, although Disney is venient animation-flowing lines, rate, one of these flaming fe:- conductor of the Philadelphia three-fiingered hands, and the males makes a dive at the audi- time. He has flows musically to the bumps prominently credited with- "in- Orchestra at the like-and a degree of personifmica- ence. Her breasts, seen for a since become the venerable con- and grinds on flute, oboe, and terpreting" all eight works in the bassoon. Protozoa get their concert. The butchering. of The tion, the giving to the beasties of fraction of a second, feature ductor of the American human characteristics. Interes- vivid scarlet nipples. Symphony. His recordings. are of bumps and grinds, too, as they Rite of Spring, both in perform- reproduce to the beat by binary ance (the score was savagely tingly enough, Disney's humans One of the rhinoceri in The the "Sound Spectacular" genre are drawn with complete fidelity Dance of the Hours takes a -these words, suffixed by a gag- fission. A fish sprouts legs and maimed), and in "interpreta- lungs; a brontosaur slobbers his tion" (Disney's crew depicted to the original article; in fact, break, and curls up on a divan gle of exclamation- points, usual- they are - taken from human for a nap, her tiny tu-tu utter- ly adorn albums of this sort. vegetation; a tyrannosaur fights evolution, rather than a rite, as it out with a stegausaur. We see specified in the ballet's score and models. iy incapable of covering the acre- Stokowski, too, saw himself as a Disney's great technological age of her rump. She tries in vain great popularizer. life in the raw. choreography), so- infUriatfed But it is after intermission Stravinski that he nearly took. pride was the invention, by his to pull it over the exposed flesh, This, then, is the triumverate staff, of a camera which could finally givihg it up as hopeless. that set out to give music to the that Disney and his artists go all his anger to court. Taylor smug- ly states that Beethoven meant keep two or more planes in Why does Disney consider his Sixth Symphony to depict focus, and therefore produce this to be funny? What humor country scenes, when Beethoven zoom shots, or allow the camera the situation.possesses can only refuted that view quite heatedly. to dart in between trees, in and derive from the sick gag of giving The music, as is well known, is out of buildings, and so on. the animal kingdom the human meant to convey emotions .The point is that Disney's art characteristic - of shame.. Yet aroused by nature,-not mere 'attempted always to mimic reali- there is more: Disney'S laugh is pictures. The Pastorale's score is ty. His so-called fantasies are in his depiction of what is under also, to put it kindly, abridged. nothing of the sort-they are. a dress as ugly. Not much can be said musically, "cold" surrogate realities. The .AndA. violence although there is much to be primitive stick figure of Farmer 'Fantasiaalso boasts a curious said later on other grounds, Grey is, perceptually, far more emphasis on violence, particular- about the other three pieces on challenging than the Whole of ly on natural selection, the sur- the program. Disney's work. Again, Disney's vival of the fittest: The ite's Perhaps the best indication of art is mind-dulling. , evolution is filled with death and the over-all musicianship is that Psychoanalysis: anality.. fighting, but no blood; The Mickey Mouse congratulates-the Disney's compulsion to imi- Dance of the Hours includes a conductor after The Sorcerer's tate reality suggests that Fanta- fight over grapes, and well-den- Apprentice. sia be examined on psychoanaly- tured alligators hungrily carrying The major fault, then, that tic grounds. When it' is men- off their prey. Violence is pre- rabble. And the result? the way. Taylor informs us that sent, but it 'is unmoving, emo- Profligate synesthesia meant his Pastorale seems to taint the entire concert, tioned that Disney'was an arch- Beethoven tionless, and sometimes it is Againstf an infinite twilit Symphony to depict scenes in is the placing of Disney's so-cal- conservative, that his workers orchestra is led "interpretation" abbcve the' were under-payed, and in fact choreographed. background, the the country, but that Disney Disney- rose from poverty, up. Instruments glow su-., music itself. The compositions hit the Disney studio With a long tuning means to interpret Beethoven and always feared bankruptcy. pernaturally as they are played: for us with more mythological are abridged, rewritten, reorches- and bitter strike at one time, the tuba's brass labyrinthe in an trated, and grossly misinter- that Disney hoarded money, and Plastic robots vignettes. accepted that eerie green, the hour-glass figures the preted, all to provide a convene- always feared financial collapse, It is generally Winged horses cavort in the child has perceptual inno- of the basses in rouge. stratosphere to the accompani- ient vehicle for Disney's visual and that Disneyland will not effects. admit animals or hippies, and is. cence-his eyes and mind are A man, silhouetted against ment of the allegro. The second unfettered by social conventions movement features various le- staffed by smiling youths who the sky, mounts the podiumi will suck up litter within a half and socially imposed ways of awesome, alone-the conductor, gendary beasts, including cen- Cold surrogate thinking. It is also recognized tauresses-lovely creations all, The theories of Marshall minute after it leaves the hand Leopold Stokowski. The. orches- of the offender,' one should not that this innocence must be des- tra is now quiet, tense, waiting. with the delicate hind-quarters McLuhan may prove helpful troyed if the child is to live in and chest of here. Media can be divided into be surprised to finld signs of Deems Taylor Lntroduces of a mare, the face anality in Disney films. this world. himself. Although he is dressed' a maidenly young thing, and two main varieties: "cold," But how much must society little breasts minus the nip- enough sensory In fact, Fantasia is replete formally in tuxedo, he smiles in firm which provides Pas- take from the child? Certainly, that the perceiver's mind is with derrieres. Beethoven's a friehdly way,.as if to reassure ples. input sexless cherubs his monstrous ego must be sub- While chubby cupids-naked, passive, and "hot," which re-- torale displays us that we need not be afraid of with puffy little anuses, and dued, but must the imagination are, Taylor pearshaped, and- sexless-pile up quires.the perceiver's active parr all this culture. There centaurs and centauresses with be taken too? informs us, three varieties of in heaps of dimpled derrieres, ticipation. The American child is shown. the centaurs make their playful A general trend.can be seen in. loving attention payed to their music: music that tells a story, horsey haunches. The Nutcrack- convenient guidelines. to fanta- music that conjures up scenes, entrance,-looking like some cross America toward "cold" media size around. from the 20,000 and away from "hot" media. er includes fairies With slim, and music for its own sake, between SAE and Aqueduct, Vogueish rumps. Ponchielli's hours of television he sees before Disney has Americans are, in general, fun-- "absolute music." their bodies studly, their faces Danze of the Hours features the age of eighteen to the clean chosen examples of all three. boyish, verging on effiminate. ctionally illiterate' television mo,ral fun of Walt Disney. viewers and movie-goers. That is, ostriches, rhinos, and elephants, The first selection is to be Bucolic courtships occupy all of whom have prominent But all societies, to a greater Bach's Toccata and Fugue. This, the third movement. The fourth they do not read or listen exclus- or lesser extent, destroy their ively-they must view to remain buttocks, which are in evidence Taylor says, is absolute music; and fifth movements are de- throughout their ballet maneu- children's minds for the good of even the title signifies nothing picted by Bacchus and a donkey interested. The general-historical more than a musical form. Wait getting it together; a storm; and trend is apparent: the rise of Disney and his staff of artists the caperings of the mytholog- color printing processes, the will interpret for us what might ical beasts when the deluge comic book, finally television occur to a concert-goer: scenes abates. and the cinema, and the demise of the orchestra, which will give Ponchielli's Dance of tlhe of radio, except as background, way, as the listener becomes Hours wins the most Disney- the demise of literature and the immersed- in the music, to ab- esque treatment; opening with demise of lengthy, serious music. stract patterns of light and color. dancing ostriches, it goes on to Those media which demand In other words, synesthesia, dancing rhinoceri, elephants, and the active participation of the the merging of sight and sound. alligators. perceiver are on the wane. The Violin bows tear across the sky he concert concludes with a most popular American pastimes at first, but this is replaced by rea-ling of Moussorgski's Night are generally those which fairly masses of color, swelling as the on Bald Mountain concatenated completely specify sensory input music hits crescendos, winking wi;:l Schubert's Ave M-faria, with and require nothing of the per- in time to the procession of appropriately evil ' and religious ceiver. notes. The return to normal per- actj Jities on the screen. Apply this to Disney. On one ceptions coincides with the end Tainted psychedelics level, of course, he was on an of the, piece, as images of the Let it be.said at once that the ego-trip-"interpreting" music orchestra reappear. The capper is- amazingly .real animation, the for the masses. But McLuhan's the final picture of Stokowski, incandescent colors, and the theories.can reveal two far more vers. the society. backed by the flaming corona of synchronicity of sight and sound serious points. . ' At the conclusion of the third This one, however, enabled the sun's fireball as the music make Fantasia an incredible First: The method Disney -movement of Beethoven's Sicth, Disney to make a buck doing it. blasts its final chord. head flick. On 'a psychedelic uses to "explain" classical music a cupid stays behind to watch a .The advertisements for the And onward. Tchaikowski's basis, the movie is, without qual- is to accompany'it. with synch- centaur woo his mate. As he l'antasia revival proclaim that Nutcracker features fairies flit- ification, great. ronized pictures. -This is con- draws a curtain over the couple, "Walt Disney is on our side," ting about, glowing in neon pas- But there is the poisoned half verting the "hot" medium .of who are gazing at each other presumably because somebody tel hues, yawning like bored of the apple. . . music, which requires effort and with longing, hoof in hoof, in a on the Disney staff realized that transvestites; mushrooms danc- Milking music attention to appreciate (as does, typical Disney courtship, the cu- the movie made a great head ing, ted-capped,' with Chinese Consider first the musical per- in fact, anything worthwhile, pid turns his posterior to the flick, and Disney, having gone to faces; alluring fish with diaphan- formance of Stokowski and- the from mathematics to love), to a audience. The twin lobes and that great cutting room in the ous fantails, pouting like sultry Philadelphia Orchestra. "cold" medium, -prefered by updrawn legs contract into the robin's-egg blue sky, is unavail- Betty Boops- The orchestral transcription American'audiences. This- con- shape of a heart. able for comment. But it is an Dukas' Sorcerer's Apprentice of Bach's Toccata and Fugue is version may took good, it may .. Sexuality... amusing --statement to make stars Mickey Mouse in the title milked. Cheap orchestral power be entertaining, but it is at bot- The sexlessness of thie fauns about a man whose political and role. The Sorcerer is straight is.gained by rioss instruinenta- tom mind-dulling. and cupids has already been psychological nature can be ex- from Dr. Strange comics, the tion and grotesquely distorted Second-: Animation itself goes mentioned. There is repressed pressed by the plastic robots he animation is startlingly real, with rhythm. The introduction to the from "hot" to "cold." Cartoons sexuality in the film as well. created to chant "There's a great creful attention givers to splash-. Nutcracker reflects the philistin- can -be playful -abstractions that The centauresses' breasts are big beautiful tomorrow" at the ing water, and shadows. In fact, ic Disney concept that popular reqluiire the viewer's mental co- petite and nippleless, true, but 1964 New York World Fair's Mickey's ax murder of the art equals great art; Taylor ex-. operation to produce their "re- nipples do appear on one occa- General'Elect-tic Pavillion. __ · · _ ·- ,-I ,, ' ' --e s I-