FOR YEARS Theodor Adorno’s theoretical work has suffered from either neglect or semi-hostile “interpretation.” It is therefore refreshing to see Detlev Claussen, who studied under Adorno at the Institute for Social Research in Frankfurt from 1966 to 1971, take a more sympathetic approach to the study of Adorno’s philosophy and intellectual life. In Theodor W. Adorno: One Last Genius, Claussen attempts to track the historical and biographical factors that influenced Adorno’s critical theory and, in doing so, strives to carefully reconstruct both the changing context and the abiding problematic that Adorno was attempting to grasp in and through his work.
THE AESTHETIC EXPERIENCE OF DRONE MUSIC is not just aesthetically defined, but socially and historically located. The significance of this location is especially intriguing when concealed in a music legacy that aims exclusively at the pure presentation of sound, a music intent upon expelling all that is foreign to the aesthetic experience while underscoring a formal, perceptual physicality. As such, it is difficult to review an instance of drone music in isolation from either the widespread classification of the genre that increasingly defines the music listening experience or drone music’s historically accumulated predilection for spatial sound masses over temporal themes.
IN MAY OF 2009 SCIENTISTS IN BERLIN claimed to have unearthed the corpse of the martyred revolutionary leader Rosa Luxemburg. Stored in the cellar of a hospital, the corpse had neither a head, nor feet, nor hands. The stump of a corpse of Rosa Luxemburg lay rotting in a basement, subjected to the un-tender mercies of modern forensic science.
RANDI STORCH’S RED CHICAGO takes to task prevailing caricatures of American Communism during the so-called “Third Period” of the late twenties and early thirties, a period in the history of American Communism frequently criticized for its growing ideological rigidity, its organizational Stalinization, and its ultimate failure to revitalize the flagging world revolution and to check the threat of fascism. Against such views, Storch argues historians have been unfair to the early Chicago Communists, falsely constructing them either as mannequins manipulated by Soviet puppeteers, or else as heroic defenders of the city’s working class, a collection of hyper-romantic organic radicals whose every breath stood in defiance of both employers and the party itself.
ON SEPTEMBER 24, 2009, approximately 900 Chicagoans rallied on the sidewalks in front of the Park Hyatt Hotel near the Magnificent Mile. At the height of rush hour, about 200 members and community allies of UNITE HERE Local 1, Chicago’s hospitality workers’ union, arrived at the scene and blocked all four lanes of Chicago Avenue by sitting down in rows and linking their arms.